that is so cute. were you positive or negative on the tufty lynx
BUBASTIS IS AND WAS CUTE, but not cute enough to prevent me from whining at length about the direction choices
"In the novel, a voodoo curse is used to explain away the idea that a shark understands the concept of revenge, and that it can somehow figure out where and when to find these people."
fuckyeahmarshworth said: 19!
NINETEEEEEEN. that was kind of a bad year; however, the one reliable answer i can give to this is that at age nineteen i would have been COMPLAINING ABOUT ZACK SNYDER’S WATCHMEN MOVIE, AT GREAT LENGTH
spiralwaves replied to your post “my ROOMMATE bought a PORK SHOULDER that turned out to have PIG HAIR on…”
wow, you missed a prime opportunity to bust out the lighter.
well i’m sorry that my first impulse wasn’t to set pig hair on fire
The next time anyone tells you that musicals are terrible nowadays because they’re all adaptations of movies or whatever, send them to look at the first ten Tony Award winners:
- Kiss Me, Kate: based on The Taming of the Shrew
- South Pacific: based on a book by James Michener
- Guys and Dolls: based on short stories by Damon Runyon
- The King and I: based on a novel based on the memoirs of Anna Leonowens
- Wonderful Town: based on a play based on short stories by Ruth McKenney
- Kismet: based on a play by Edward Knoblock
- The Pajama Game: based on a novel by Richard Bissell
- Damn Yankees: based on a novel by Douglass Wallop, which is a retelling of Faust
- My Fair Lady: based on a play by George Bernard Shaw
- The Music Man: an original story, based on the writer’s childhood
So that’s NINE OUT OF TEN based on previous works. I find this FASCINATING.
It’s a fair observation, but I think most who casually grouse about the plethora of movie-based musicals on Broadway nowadays are less annoyed about adaptations at all than they are specifically about adaptations of existing Hollywood properties, though they may not verbalize it in that precise way. Like: movie-based musicals aren’t ‘just’ adapting something, they’re counting on most of their audience to be very familiar with the original (often recent) work—My Fair Lady doesn’t have the same marketing and financial relationship with Pygmalion that the Legally Blonde musical does with Legally Blonde, in that My Fair Lady was a popular adaptation mostly intended for people who didn’t care about Pygmalion.
The complaint’s often in the same breath as complaints about jukebox musicals—basically an accusation that Broadway’s gotten obsessed with name recognition and and current pop franchises that are already proven to sell. I dunno if it’s made anything better or worse per se (like 80% of musicals have always been godawful, come on) but in terms of conception and business significance, there is a difference between Guys and Dolls and Billy Elliott.
Basically Broadway is always struggling these days to fill expensive seats and find the x factor that lures in tourists, and if that’s a ten-year run of Mamma Mia then that’s a ten-year run of Mamma Mia. :O