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The other day I lamented the West End arrival next year of Ghost: The Musical. Today in the Telegraph there’s a review of the new stage version of Flashdance, and it ain’t pretty…
Now that all the trapped Chilean miners and the rescuers who went down to help with their return to the surface have made it out alive and well, the general consensus seems to be that the rescue, televised around the world virtually nonstop for 24 hours, was riveting TV.
Did you know that Eric Stoltz was originally cast as Marty McFly in Back to the Future? I seem to vaguely recall hearing something along those lines, but now there’s video evidence… because Robert Zemeckis actually shot for weeks before deciding that Stoltz was wrong for the role.
I don’t want comedians not to be offensive: I want them not to be stupid when they give offense. I want them to give offense, if that’s what they’re going to do, for a reason. Universal wouldn’t have had to cut the joke if it were defensible in any way. But it isn’t.
Enigmatic British street artist Banksy struck again last night: on U.S. television. He supplied the ‘couch gag’ bit during the opening credits of a new episode of The Simpsons entitled ‘MoneyBart,’ and it’s a doozy…
Do you gotta boogie? Or not so much?
Buffy the Vampire Slayer the movie sucked. But some folks seem to feel that Buffy the TV series was pretty darn okay. I’m really desperately trying to keep that in mind when I think about how the American network Fox is going into production with a series based on the deeply terrible 2005 Will Smith film Hitch.
Later this month, the U.K.’s Channel 4 will air a ‘dramatized documentary’ about a fictional kidnapping of Prince Harry by the Taliban in Afghanistan. Can this film have any purpose beyond lurid sensationalism? And if that’s the only purpose it serves, is that okay?
For me, it’s the bottling up of emotion required by the (stereotypical) British stiff upper lip, until it just won’t stay bottled up anymore, which results in exquisitely drawn out encounters full of subtext and seething with feeling, and eventually explosive outbursts. You?
How can Zack Snyder and Christopher Nolan make Superman relevant for today? What would a Supeman for the 2010’s look and feel like?
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