Forum Replies Created
April 6, 2020 at 10:17 am #1203412568
Carrie’s hunt for the flight recorder was great, and the scene between Tasneem and Jalal. Something told me that finding the recorder wouldn’t be that “easy,” and of course, it wasn’t. Yevgeny is such a complicated character, so that last scene with Carrie was both uneasy and perplexing. Sad that Saul and Wellington are being phased out by Hugh Dancy’s character, but this is kinda how I envision Trump’s White House being where it’s just a musical chairs of who can influence the president at any given moment of time with a bunch of rotating senior advisors and acting cabinet members. And just b/c I’m watching old “True Blood” episodes again, it’s interesting to see Sam Trammell again and doing something completely different than what he’s best known for.April 6, 2020 at 9:02 am #1203412445
So it looks like Dua Lipa’s new album is going to underperform quite hard: 63K total sales, or only #4 on the Billboard 200 in it’s debut week. I guess this is just another example of how public opinion very rarely matches Twitter’s. Clearly people just weren’t that interested in the “album of the year”.
Also according to projections Don’t Start Now stays at #3 and none of her other songs even hit Top 20.
But there’s also a global pandemic going on too, so maybe some people have more important things on their mind than buying Dua Lipa’s latest album when most have stopped buying full albums anyways. Doesn’t change how brilliant “Future Nostalgia” is, but priorities and context.April 6, 2020 at 7:39 am #1203412299
Synopsis: Evelyn and Rabbi Bengelsdorf receive an invitation from Mrs. Lindbergh to a state dinner for Nazi Germany’s foreign minister, as Evelyn makes Sandy the face of the youth assimilation program. Back from the war, Alvin takes a job at his uncle’s warehouse. Philip is traumatized by a death in the neighborhood.
Discuss.April 5, 2020 at 12:47 am #1203410559
Close should have won fairly easily that year.April 5, 2020 at 12:45 am #1203410551
Episode Title: “In Full Flight”
Synopsis: Hayes has ideas; Carrie goes shopping; Tasneem has problems.
Discuss.April 4, 2020 at 8:18 pm #1203410298
Yay Joe Sasto! Keep the momentum going!April 4, 2020 at 7:54 pm #1203410277April 4, 2020 at 4:29 pm #1203410121
Finally some meaningful screentime for Giancarlo Esposito! It feels like he hasn’t been utilized well so far this season, so Gus’s scenes were nice to see. Seeing Lydia still pop up in this story makes me smile. Laura Fraser is great every time she’s on here. Loved the scenes between Nacho and Mike. I’m kinda hoping the endgame for Nacho is that he gets out of all this alive somehow, but having to play both sides between Gus and Lalo can’t end well. Jimmy and Kim’s “marriage,” meh whatever. As fulfilling as it should have been to see Saul tell off Howard in public like that, it so wasn’t for some reason. Very uncomfortable scene there, and Bob Odenkirk really overdid it at the end. It doesn’t feel like only three episodes left for the season. What will I do lol? Wish the season had been longer, especially now.April 4, 2020 at 2:52 pm #1203410027
Jennifer Aniston. She was very close for “Cake.” She’ll need to Oscar-bait again and win another Emmy first.April 4, 2020 at 12:23 pm #1203409838
Damn, they cut Sherry Pie completely out of the runway! Her designer doesn’t deserve this. Sad.April 3, 2020 at 7:55 pm #1203408952
Terrible Snatch Game, terrible lip sync, and mediocre runway results. BOOOOO!!! Ten queens are too much for Snatch Game. A more streamlined eight and some of them actually taking Mama Ru’s advice would have done wonders for this Snatch Game. Crystal Method as El DeBarge should have been a no-brainer since no one knows who the hell Poppy is. Heidi was no Leslie Jones, and yes, she would have killed as an Atlanta housewife. Poor Widow was funnier as Ike Turner than Tina Turner. Aiden and Brita tanked and probably shouldn’t have been there to begin with. I’ll give it up to overshadowed Jan as Bernadette, Sherry’s shaky Hepburn, Jackie’s manic Lisa Renna, and Miss Gigi killing it as that robot character. Is this season as simple as Gigi getting the Aquaria edit and that’s it? Really? She’ll even make up with Heidi mid-season just like Aquaria did with the problematic black queen The Vixen lol. Yawn. Enjoy ur press conference finale win! I guess it was fitting that Brita sent Aiden home. His Snatch Game was horrible, but I didn’t like the bullying he suffered this season. His best moment this season was with Bob’s clapback to his black pussycat wig using Valentina’s famous line lmao. I’ll miss him for making all those too try-hard gurls panini pressed for a few weeks. At least it looks like Brita will get a mid-tier exit, I can only hope. And Aaron Samuels ending up being gay is certainly a mood, isn’t it?April 3, 2020 at 1:14 pm #1203408479
If you’re going to single out “The King,” the scene-stealing small role there was by Robert Pattinson. It’s startling how far he’s developed artistically since “Twilight.”April 3, 2020 at 9:14 am #1203408138
“Little Fires Everywhere”
“The Plot Agaisnt America”
“Watchemen”April 3, 2020 at 9:00 am #1203408104
THREE OF TERRENCE MCNALLY’S COLLABORATORS REMEMBER HIS LIFE AND LEGACY
by Brent Lang | Apr 1, 2020, 10:00 AM
Terrence McNally, a towering force in modern American theater who died on March 24 of complications from the coronavirus, had a career that spanned five decades. He wrote farces, dramas and books for musicals. He also had a talent for dramatizing gay lives, middle-aged romances and fading opera divas in works like “Love! Valour! Compassion!,” “Frankie and Johnny in the Clair de Lune” and “Master Class.” Three of McNally’s collaborators and friends share their thoughts on the Tony Award-winning playwright’s life and legacy.
“Master Class,” “Frankie and Johnny in the Clair de Lune,” “Ragtime”
Terrence is one of the greatest modern American playwrights. He wrote about LGBTQ people in such Technicolor. He put their lives center stage and gave them leading roles and fully fleshed-out characters. He was able to portray so many different types of people — regular people, as well as flamboyant personalities — and to find the heart in all of them.
He was so versatile because he was just incredibly curious about people and the human condition. He was empathetic, and he used his empathy to put little bits of himself into characters.
I was doing “Carousel” and he invited me out to lunch between shows to talk about “Master Class.” I was so nervous and thinking what am I going to say? He was THE Terrence McNally. But he was so kind and sweet and genuinely interested that he put me immediately at ease. He asked ‘do you know Zoe Caldwell? Because I really think you’re going to like her.’ It’s amazing to think about the impact that she and Terrence would have on the rest of my life.
He was a calming, supportive presence. He was always there to ask advice, to answer love life questions, as well as life questions and career choice questions. He was a mentor and a friend.
Terrence, in “Love! Valour! Compassion!” and his other plays, confronted the AIDS epidemic that wiped out so many people close to him. To have this pandemic come in and take Terrence, there’s something so tragic about it. The lights are out on Broadway, so we can’t even dim them for him.
John Benjamin Hickey
“Love! Valour! Compassion!”
I never really understood the title of the play “Love! Valour! Compassion!,” but now I think that is Terrence’s legacy as an artist. And the most important part of that is valor. Because to me that means courage in great adversity. Terrence was writing his truth as a gay man at a time when no one was doing that. And he was doing it without apology and without fear.
His humor could be biting and tough and filled with anger, but he also had the capacity for joy and he was so funny. He was so mischievous. We’re both from Texas and he had, what we used to call a shit-eating grin and just a twinkle in his eyes.
When we were rehearsing “Love! Valour! Compassion!,” we knew it was good, but we never in a million years thought it was going to be a commercial, mainstream success. But on that first preview, it played through the roof. I realized, “Oh, my God, this is not just going to be treated as a gay play. It’s going to be seen as a piece of art about human beings and mortality and loyalty and friendship.”
There’s a horrible irony to the fact that he died of this pandemic, when he was a man who wrote so eloquently about what a virus was doing to his fellow human beings. I feel so incredibly lucky to have lived in a time when he was at the height of his powers and to have played a small part in it all.
He gave me my career. I didn’t know it at the time, but it was such a gift that the role he gave me allowed me to make sure that I didn’t closet myself. That I didn’t hide who I am. He gave me that courage, because all I wanted was to be like Terrence. I wanted to be as brilliant and funny and capable of loving and being loved as he was. He didn’t just show me what kind of actor I wanted to be. He showed me what kind of human being I wanted to be.
André De Shields
“The Full Monty”
When I learned of Terrence’s death, I was not initially consumed with sadness. The emotion that did wash over me was immense gratitude, that I had witnessed his long service as playwright laureate of contemporary American Theatre. It seems perfectly coherent to me that the author of “Corpus Christi” —at the zenith of his calling—would eventually transcend the mundane world of temporal gravity and enter the spiritual world of infinite gravitas. Am I sounding esoteric and erudite? Well, good! You see, I lovingly embrace Terrence McNally’s literary legacy, his gift of restoring to the center of society those who had traditionally been banished to its edges.
I have been the beneficiary of that gift on three separate occasions, inspiring between us a relationship of mutual admiration and respect. In 2007, Terrence asked me to participate in a fund raising event for The Philadelphia Theatre Company, an artistic home where several of his plays experienced their nascent beginnings. After offering a musical number, it fell to me to introduce the guest of honor, Terrence’s colleague, the equally revered Edward Albee. Albee admired my red gabardine tuxedo and remarked that he was a fan of my work. My heart skipped a beat. More recently, I responded to another request from Terrence to perform in Pride Plays, a celebration of Pride Week 2019, produced by The Rattlestick Theatre in the West Village. In his play Some Men—an arc of eighty years illustrating the diverse lives of same-sex loving men—I portrayed the character “Angel Eyes,” a corrosively humorous amalgam of James Baldwin and Bobby Short. Of course, the most profound of our collaborations was “The Full Monty,” which opened on Broadway in October 2000, and resulted in my second Tony Award nomination. Most people would, understandably, refer to that production as musical comedy. And that description would not be incorrect, but it would be incomplete. You see, the book of “The Full Monty” is a play, masterfully intertwined with an eclectic score by David Yazbek, the combination of which exposes six unemployed blue collar working men as the very essence of vulnerable and complicated humanity. I portrayed the character of Noah T. Simmons, whose dilemma was how to square his ability to boogie down with his insecurity about not possessing the physical prowess to match the urban legend suggested by his nickname “Horse.” Terrence took full advantage of this opportunity to not promulgate a stereotype, but rather to create an archetype that still resonates as a character study in identity, gender and ethnic politics.
Finally, it is said that a playwright writes about what he knows best. If there’s any truth to that adage, and any then Terrence McNally excels in the knowledge of how love conquers hate. As evidenced by the longstanding marriage to his husband, Tom Kirdahy, apparently love simply conquers.