Profile for darquegk

So what’s her brand as a star, that can be catered to? I hope you won’t think me crude if I say JLo’s brand is “milf:” she’s not the youngest but is the fittest, hottest and toughest in any room she walks into. She balances high glamour and diva vibes with a gritty down-to-earth side. Like a Nuyorican Auntie Mame. 
 

In fact, that’s my pitch if I were her agent: a new adaptation/reimagining of the Patrick Dennis novels, abou

Whenever people talk about changing perspectives or diminishing returns on either Into the Woods or The Princess Bride, I like to bring up the fact that we're living in a very different world in terms of ethnic culture. The central chunk of those two stories' ethos is the imposition of cultural American Jewishness into the extremely WASP world of the fairy tale canon. 

We're a century from the shtetl and more than half a century from Woody Allen and Lenny Bruce. The ne

He's famous for playing two somewhat problematic, predatory or outright sleazy characters (Mr. Schu and his version of the Grinch). Those are the only real dent he made in public consciousness, and he's long been dogged by rumors that his real life behavior is similar, including the fact that he was allegedly dating the (not-actually-that-much-younger) actress who played the student he had uneasy boundaries with on Glee during the early years.

Personally, I think Morrison is pr

When you do punk rock theatre (I mean the ethos, budget and production style, not the actual musical tone per se), you’re going to have punk rock problems. I’m not excusing or condemning, I’m basically saying “this is what the fringes are like, and now a spotlight is on one particular fringe act in a way that’s basically unprecedented in theatre.”

I can almost guarantee things are exactly the same at your city’s edgiest storefront/black box/que

This whole thing is starting to feel like the season-long B-plot of the theatrical equivalent of "The Morning Show," with Ben Schwartz playing an Andrew-Fox-esque character.

With all the talk about deleted threads and leaked conversations, I was expecting something MUCH more damning, but that call seems like more of the same in terms of the show's marketing and tone... plus the fact that it's from last year and not in regards to the current controversy left me wanting

I'm not going to weigh in much on the politics of casting in these roles. I'm just gonna say that the elevator pitch for this show in its style, content and presentation is "musical Kdrama." So even if it's not something we're legally or ethically obligated to maintain, a primarily Asian cast makes sense creatively. It's part of the aesthetic and the sensibility.

If I were these producers, I'd have the wikipedia page for Kpop Demon Hunters open and I&#

We've had podcast pop-ups on and off Broadway before, and I'm going to extend that to the wider world of scripted spoken-word content like The Moth.

But that's still what this is: a podcast live show (that just happens not to have a podcast per se, just an audiobook). I'm not saying that with any derision or condescension; it's just a new subgenre that we haven't really codified as such. And this is an undoubtedly star-studded one, but there's still probably

I still stand by my theory that the only way to win public approval on Part 2 was not to play, and simply to release Part 1 with a "to be continued" before pausing indefinitely.

But as far as a shortened director's cut of the two films? Despite theatre people's opinions, the current trends in alternate cuts go in the other direction: he's likelier to make a hyper-extended "Wicked: the Epic Experience" cut with both films plus additional material, or

People in America are mostly aware of Paddington on two levels: one being purely as a mascot character, divorced of context; the other being the quasi-meme of “Paddington 2 is a perfect film,” the British Amelie. And much like Amelie, more people will say they love it than have actually seen it.

If I were a potential investor, my concern would be the inevitable end point of the musical’s viability. After all, this is a King Kong situation: you can’t get much hop