Mulay said she surprisingly was seen quickly, but that the meeting didn’t get any easier. So at 7:30 a.m., I showed up and signed my name up.” “But I heard on certain days you could just walk in. “I was in Boston and wanted to meet this retailer who was impossible to get an appointment with,” Mulay told BizWest while sitting at the large circular table in her Longmont kitchen. Mulay’s Sausage is now available in King Soopers stores. In fact, Mulay’s can be found in stores across 40 states.īut Loree Mulay still has to hustle to get her company, which started taking off in 2013, into stores. Mulay’s has been expanding quickly: The brand is available in all Natural Grocers stores and on the East Coast has sold to Ahold, parent company to Stop and Shop. After about two weeks on shelves, Mulay’s is already getting additional orders.
Sausage fest 2017 free#
The producer of all-natural and antibiotic free sausage has gained the attention of King Soopers parent company Kroger, which is also adding Mulay’s to its City Market stores. The duo might be feeling a sense of deja vu over that gangbusters reception: Mulay’s Sausage, now a full-fledged business, is available in King Soopers stores wherever they exist.
If you want to gaze on the fair countenance of Hunnam as he sword-fights his way across the land, dive right in.īut if you’re craving a meaningful take on the Arthurian legend? “The Once and Future King” is a pretty great read - and, at two bucks on Kindle, a steal compared to a night at the movies.LONGMONT - Loree Mulay and her husband Ward Weisman started selling sausages at the Fourth of July festival in Crested Butte 28 years ago as a way to make some quick cash.Īfter taking an entire day and a few cases of beer, the young couple was able to convert her Nana’s recipe into 400 sausage links to be sold at the barbecue. If you’re in the mood for a smattering of “Snatch”-reminiscent banter in a fantasy setting, great. So maybe this one is best taken with a Londinium-sized grain of salt. (Hunnam is also reunited here with Aidan Gillen, who plays the sneaky archer Goosefat Bill back in the ’90s, these two were quite the hot item in the UK show “Queer as Folk.”) Eagle-eyed viewers will also spot soccer legend David Beckham in a fairly unremarkable cameo as one of Vortigern’s soldiers.
I’m not saying “King Arthur” is homoerotic, but Ritchie’s camera sure does linger lovingly on the muscular back of its hero, slo-moing his fights, horseback rides and his manhandling of his, ahem, magic sword. No Guinevere here: Every female character is either a witch, whore or murder victim, and none gets a name. Unfortunately, “Arthur” is rarely at its best, bogged down in countless CGI sequences of battlefields or monsters (I’m hoping Ritchie’s inclusion of rodents of unusual size was meant as a shout-out to “The Princess Bride,” but I have my doubts). Sure, it’s exactly what he did with his “Sherlock Holmes” movies (and everything else) but it works nicely in the telling of a basically humorless text. “King Arthur,” following its reluctant hero’s path to greatness, is at its best when Ritchie does his quick-cut thing, jumping between storyteller and story in flashback or flash-forward, occasionally rewinding or restaging the action. Eventually Vortigern becomes king, hosting a countrywide search for his prophesied challenger - aka, whoever can pull his late brother’s sword out of a stone. We meet him after a rather interminable backstory: His father, the king, Uther Pendragon (Eric Bana), embattled by a villainous wizard, sends his son on a boat out of the kingdom, while Uther’s snakelike brother, Vortigern (Jude Law), gives a lot of side-eye from room corners. His Arthur, orphaned and raised in a brothel, is less saintly storybook hero than amiable grifter. Thank goodness, at least, for Charlie Hunnam (“The Lost City of Z”): There is no camera filter muddy enough to dim this guy’s charisma. (Have we reached Peak Grit yet? My kingdom for a splash of turquoise or saffron.) It also appears to be a man’s struggle against a studio: For every Ritchian moment of cockney camaraderie or narrative trickery, there’s a generic scene of mass sword-fighting in the muck, regrettably shot in that gray-brown palette mandated for all gritty fantasy reboots. Guy Ritchie’s “King Arthur” is the story of a man’s struggle to accept his fate as Britain’s Born King.
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