Has the Internet done more to amplify the voices of the media mega machine or to redistribute power to individuals? I often wonder. Personally, I am more likely to see a show based on a friend's recommendation on social media or a post on this site than on a New York Times review, as I suspect many people increasingly are.
The idea that critics are more powerful and influential today than ever before (regardless of the internet's influence) is hogwash. Fifty years ago, a handful of critics could make or break a show. Out of town critics in Philadelphia, Boston, or D.C. could stop a show in its tracks. No critic -- even the most nominally "powerful" ones -- working today has that power. Just look at how many New York Times "critics' picks" have dismally failed to find an audience this season.
There is no cabal or conspiracy, because there is no need for any. When you have people in positions of power who share the same mentality and aims, they don't need to conspire to achieve their goals. They just naturally think and act in unison.. They don't rig anything, for nothing needs to be rigged: everyone's on the same page. Together, their outlook and actions work to determine the present and future course of the theatre by steering it in the way they want it to go with respect to the kind of shows that will be written, produced, showered with praise, pushed for success, and granted it. And as we have seen, when the mega-machine flexes its formidable muscle, it is very successful in achieving its goals. As for disagreement --- what disagreement? How many unfavorable reviews were received by Once, Book of Mormon, Fun Home, Hamilton, The Humans, The Flick, COMBINED? Do they number even a half dozen?
Yep. Quite the jolly state of affairs, wouldn't you say?
Translation: After Eight is mad that Jerry Herman isn't writing every show on Broadway and doesn't understand why people want something different.
"After Eight is mad that Jerry Herman isn't writing every show on Broadway and doesn't understand why people want something different."
I understand that the elitist arbiters of culture have had the power to impose their wants upon the rest of us. What everyone else wanted/wants is another matter entirely. But now it no longer matters what everyone else wanted/wants because the damage has already been done, and we just have to settle for what we've got. Sad, really, but then, no one ever said life was a bed of roses. Those of us who were fortunate enough to smell them while they were in bloom should be eternally grateful to have had that opportunity. I know I am.
After Eight said: "...we just have to settle for what we've got. Sad, really, but then, no one ever said life was a bed of roses. Those of us who were fortunate enough to smell them while they were in bloom should be eternally grateful to have had that opportunity. I know I am."
I think Fun Home is better than everything else that's new on Broadway, and is one of the most well-crafted shows in the last couple decades. The relative smallness of it gives it power and makes it feel deft, and, beyond Alison finding her sexuality, what really resonates is that feeling of trying to go home again. I've had a long history with my own dad of finding him difficult to relate to, and sometimes it feels like there's a wall between us, and Telephone Wire makes me sob even though he's still alive. It's such a powerful moment that totally capitalizes on how musical theater can tell a story. I'd like to see more Broadway shows aim in Fun Home's direction.
Some had criticised the show as being apologetic for pedophilia. I have not seen it however, I have to judge for myself, if it is apogetic towards pedophilia, it is not a shock the critics love it, as the current agenda is to push pedophilia as acceptable, the NWO are pushing it
Your statement is ridiculous on so many levels, it beggars the imagination.
No, there is no attempt to paint Bruce's pedophilia as acceptable. Here's a brainstorm: see the show first before you lob such incendiary devices at it.
Lots of typos, sorry. I understand from someone who saw this show it is apologetic towards pedophilia. If it is, (I have not seen fUn Home) it is not a shock as the current agenda is a soft promotion of pedophilia as acceptable. Salon.com has a writer who writes about his pedophilic urges. So the elite are pushing a soft acceptance of pedophilia and it would be no shock the critics raves about such a show, to push the agenda.
No, Fun Home is not apologetic towards pedophilia and neither is society in general. Fun Home is a true story. Yes, Bruce was with underage boys and yes this is depicted in the show but no, it is never shown to be something that is okay.
aaaaaa15 said: "No, Fun Home is not apologetic towards pedophilia and neither is society in general. Fun Home is a true story. Yes, Bruce was with underage boys and yes this is depicted in the show but no, it is never shown to be something that is okay.
"Explain to me why Todd Nickerson, gets published in salon than. He is a self admitted straight pedophile and published in a mainstream journal
I have no idea as I have never heard of him, nor read the articles. Nevertheless, that is one website. Mark Salling just got arrested for child porn, fired from his latest movie and could face up to 40 years in jail. It is not acceptable to the vast, vast majority of people and media outlets.
undercoverusher said: "Some had criticised the show as being apologetic for pedophilia. I have not seen it however, I have to judge for myself, if it is apogetic towards pedophilia, it is not a shock the critics love it, as the current agenda is to push pedophilia as acceptable"
I'm going to go out on a limb and say you probably aren't going to like it, even after you discover there is no pedophilia in it.