#jeremyshamos

[etcemais]

Com o fim a terceira temporada, parece de Only Murders in the Building pode se muder para novos ares. Segundo John Hoffman, cocriador da série ao lado de Steve Martin, não descarta a ideia da série se cituada em uma nova cidade.

“Eu amo Nova York – os personagens, a riqueza, a profundidade são infinitas – e é uma série de Nova York. Mas não quero ter medo de coisas que fazem você pensar: “O quê? Onde estamos? Onde eles estão agora?" Acho que você tem que fazer isso para não parecer muito insular”, explicou John em entrevista ao TVLine.

“Lá está o nosso prédio de apartamentos, e assim como queremos sair e estar em Nova York o máximo possível, acho que você também deve se lembrar desse trio e do potencial para o que quer que esteja acontecendo em suas vidas que possa levá-los a ir embora por algum motivo. Vamos ver! Tenho grandes esperanças nesse sentido, de mudar o visual, mas tem que ser impulsionado pela história. Você está certo quanto ao fato de que há muitas partidas no final da 3ª temporada e muitas conexões e relacionamentos que se estenderam”, concluiu.

Na série acompanhamos Charles-Haden Savage, Oliver Putnam e Mabel Mora, moradores do prédio Arconia, que se unem pelo amor a podcasts de crimes reais e acabam embarcando em uma jornada cheia de misteriosos assassinatos.

A 3ª temporada acompanhou o trio à procura do assassino de Ben Glenroy, um ator famoso que morre na estreia da peça de Oliver, na Broadway. Além de Steve Martin, Selena Gomez, Martin Short, James Caverly, Tina Fey, Da'Vine Joy Randolph, Michael Cyril Creighton, Jason Veasey e Jackie Hoffman, o elenco da temporada contou com Meryl Streep, Jesse Williams, Noma Dumezweni, Jeremy Shamos, Paul Rudd, Linda Emond e Peter Bartlett.

As três temporadas de Only Murders in the Building estão disponíveis no Star+.

[doomonfilm]

Review : Ma Rainey’s Black Bottom (2020)

For all of the ups and downs that came with 2020, one of the biggest impacts felt was the passing of Chadwick Boseman.  His illness (due to complications from colon cancer) was one of the most tightly guarded secrets in Hollywood, which made his passing drop like a bomb for both fans and collaborators alike.  Initially, announcements about his involvement in the MCU and the Black Panther franchise were the main talking points, but attention quickly shifted to the posthumous releases slated for 2020 that would symbol the end of his brief but impactful legacy.  Da 5 Bloods was a powerful performance, and one that visually presented his suffering from the disease in hindsight, but with its release, one film remained before Boseman’s run would eventually end : Ma Rainey’s Black Bottom. 

Ma Rainey (Viola Davis) and her band are scheduled for a recording session in 1920′s Chicago.  The session, run by Ma’s manager Irving (Jeremy Shamos) and recording studio owner Mel (Jonny Coyne), promises to be a tense one from the start : not only is Ma running late, but tensions are brewing between the members of her band.  Band leader and trombonist/guitarist Cutler (Colman Domingo) is ready to work, along with double bass player Slow Drag (Michael Potts) and pianist Toledo (Glynn Truman), but the spirited young trumpeter Levee (Chadwick Boseman) complicates matters by not only pressing for his arrangements to be recorded (in hopes of locking in a deal to record songs with his own band), but his youthful energy flies in the face of the remaining older members of the band.  Upon Ma’s arrival, the already tense situation grows as Sylvester (Dusan Brown), her young, stutter-laden nephew, is given a key speaking role on the record, and her young girlfriend Dussie Mae (Taylour Page) stirs up the emotions of Levee.  With money and reputation on the line, all parties involved attempt to find ways to circumvent the rising tensions in hopes of committing Ma Rainey’s magic to record.

The blues has a rich history of pain, and Ma Rainey’s Black Bottom goes all in on exploring art as an escape from a less than desirable reality, as well as exploring how the talented (or, sometimes, the desperate) turn their pain into something beautiful in order to not feel defeated.  In rare occasions, disenfranchised African-Americans were able to use fame as a way of taking the power back from those that labelled them as less than human, and Ma Rainey serves as a stark example of this.  Sadly, the dynamic of the band stands as a symbol for how the African-American community is often pit against one another, to the point that the inability to work together allows everyone to remain victims of exploitation.  Strong philosophical ruminations on life, love, spirituality and the thrill of dangerous foolishness exist in the narrative, with all serving as a hopeful passage to leaving a lasting impression on the world.  Despite the story taking place a century ago, it remains a scathing artistic reflection on the condition of living Black in America, and how things have not changed much during our time occupying this land. 

The narrative is driven by the tension caused by band power dynamics, the ware between those with talent and those with leverage, and the strife that often comes in tandem with having a creative soul.  Levee plays a symbolic tug of war with his bandmates, fully illustrating the eternal struggle between youthful, fearless exuberance and comfortable tradition.  All parties involved take part in numerous manipulative power games, be it standard actions like referring to grown men as “boy”, or deeper turbulence, like Ma Rainey’s mixture of a masculine, aggressive nature and primadonna tendencies.  Ultimately (and most importantly), the narrative button illustrates the continued practice of commodifying America’s fascination with the Black experience, all the while ignoring the tragedy that created said experience.  This slow march towards a crisis of faith is the fuel behind much of the art produced by African-American creators, especially prior to the Jim Crow era, and Ma Rainey’s Black Bottom presents it as plain (but all the while as moving) as it has ever been presented to the masses. 

A golden hue is applied to the visuals, as if to lighten up the events we are presented with, or in a bigger sense, add a feeling of nostalgia to a dark time.  The make-up and costuming are top notch, be it Levee’s golden shoes, or Ma Rainey’s extravagant dress and silver teeth that drive home her “my way or the highway” antagonist nature.  The direction keeps the spirit of the August Wilson play while comfortably applying incredibly intimate and vibrant cinematography, lifting the experience to new levels.  The music, of course, is stellar, both in its nature and in the performances by the actors. 

Chadwick Boseman infuses so much pain and fearlessness into his incredibly moving, tragically touching performance that I will be surprised if he does not receive posthumous awards for this performance... it’s sad to see any talent pass on, but Boseman is certainly closing the door on his prematurely ended legacy on a supreme high note.  Viola Davis is a true force of nature in this film, swaying the tides in her favor with every calculated, piercing look and every stark, commanding line read.  Colman Domingo stands as the audience surrogate, helping us navigate the dark and murky waters we find ourselves submerged in.  Glynn Turman’s wise, philosophical nature serves as a sort of grounding force for the chaos, with makes his story arc that much more powerful at its point of culmination.  Dusan Brown and Taylour Paige bring different hues of tortured souls as they run parallel to the gravity of Davis’s Ma Rainey.  Michael Potts, Jeremy Shamos and Jonny Coyne turn in sound supporting performances to help round out the tightly in-sync cast.

Most of the Netflix originals are mediocre at best, but Ma Rainey’s Black Bottom is an achievement that should be mentioned in the same breath as films like The Irishman, Marriage Story and Roma.  Films of this level further solidify Netflix as a force to be reckoned with in the film industry, and will likely rack them up awards with each film of this quality made.  With the holidays coming up, be sure to find some time to jump into this one... you won’t be sorry for doing so.

[wherever-i-look-blog]

Ma Rainey's Black Bottom (Film) - Review/Summary (with Spoilers) Ma Rainey's Black Bottom gives you what you expect from Viola Davis, and in Chadwick Boseman's final film, he makes it clear he could excel in a role of someone not already an icon. https://wherever-i-look.com/movies/54123?feed_id=1577&_unique_id=5fde57000a8b5

[donnettawilliams]

I’m crying watching @chadwickboseman perform in his last film. He’s again awesome to watch and it’s just a reminder of how much he will be missed. I am loving the movie, August Wilson a brilliant playwright,artist, poet... as we also just watched an all time favorite The Piano Lesson which we can watch back to back over and over again... #augustwilson #violadavis #chadwickboseman #blues #music #plays #playwright #movies #maraineysblackbottom #marainey #taylourpaige #colmandomingo #glynnturman #michaelpotts #dusanbrown #jeremyshamos #jonathancoyne #givingvoice https://www.instagram.com/p/CI9YkDsrwju/?igshid=ozratm13rk2j

[netflixcenter]

🎬 Ma Rainey's Black Bottom [TRAILER] Coming to Netflix December 18, 2020 FULL POST: 🔗 https://netflixcenter.com/ma-raineys-black-bottom-trailer/?feed_id=25&_unique_id=5f904e6a302e2 Original Netflix Drama / Music Film... Ma Rainey's Black Bottom   Chicago, 1927. A recording session. Tensions rise between Ma Rainey (Viola Davis), her ambitious horn player (Chadwick Boseman), and the white management determined to control the legendary “Mother of the Blues.” Based on Pulitzer Prize winner August Wilson's play. ...

[theatrefacades-blog]

Noises Off - American Airlines Theatre, Broadway - 27/02/16 @rtc_nyc #noisesoff #michaelfrayn #roundabouttheatrecompany #andreamartin #meganhilty #campbellscott #jeremyshamos #davidfurr #robmcclure #danieldavis #katejenningsgrant #traceechimo #tonyaward #nominee #bestrevivalofplay #play #americanairlinestheatre #broadway #theatre #newyork #nyc #theatrefacade #marquee #theatremarquee #design #graphics #graphicdesign #culture #nyculture #tbt #2016 Photo by @timmy5685 (at American Airlines Theatre)

[tamarabeck]

Identity Politics

Identity is both personal and political. For the Fischer family in Steven Levenson’s new play, If I Forget, closing at the Laura Pels on April 30th,  the realities of their identity are fraught. Of the siblings, Michael (Jeremy Shamos), sees the Jewish Studies he teaches at an university from the perspective of liberal politics gone…

[lauraosnessource]

Another fab @KarenMillen dress for another fabulous #openingnight! Congrats to the hilarious STARS of @MeteorShowerBwy! @amyschumer @LauraBenanti @jeremyshamos @KeeganMKey

[frontmezzjunkies]

#TonyAward #nominations @Playbill #frontmezzjunkies reviews: #Summer - #TheDonnaSummerMusical @DonnaSummerBway #LaChanze https://frontmezzjunkies.com/2018/05/10/summer-the-donna-summer-musical/ #BernardShaw's #SaintJoan @MTC_NYC #CondolaRashad https://frontmezzjunkies.com/2018/05/07/mtcs-saint-joan/ @LesserGodBway @LaurenRidloff @VancityJax #JoshuaJackson #Studio54 @RTC_NYC https://frontmezzjunkies.com/2018/04/21/broadway-children-of-a-lesser-god/ @MeteorShowerBwy @SteveMartinToGo @AmySchumer @LauraBenanti @KeeganMKey @JeremyShamos https://frontmezzjunkies.com/2017/12/15/steve-martins-meteor-shower/ Check out all the nominations and watch for my @TonyAwards predictions posting Sunday before the show. https://frontmezzjunkies.com/2018/05/02/the-tony-nominations-2018/ tw: frontmezzjunkie IG/tumblr/FB: @Frontmezzjunkies #outercriticscircle

[realitytvworld]

Amy Schumer "really grateful and proud as hell" for Tony nomination

Amy Schumer reacted to her Tony Award nomination for her work in Steve Martin's play "Meteor Shower" with a heartfelt Instagram post Tuesday.

#GlendaJackson #AmySchumer #SteveMartin #LauraBenanti #KeeganMichaelKey #JeremyShamos #Sgt.Bilko

READ IT: Amy Schumer "really grateful and proud as hell" for Tony nomination

[instapicsil1]

Hey! I got nominated for a TONY for being in Steve Martin’s play “Meteor Shower” i don’t think i have a shot at winning so I’ll thank everyone here. I’m really grateful and proud as hell. Thank you Jerry Zaks for directing and encouraging me. Steve for your confidence in me and for writing this play. Getting to spend time with you laughing and listening to you play the banjo was heaven. @jeremyshamos for being such a great partner. @keeganmic for tirelessly showing up each show and always being so kind. And @laurabenanti for being my absolute partner in crime and making me laugh every day and being my friend and flawless in this play. You are a real broadway star and taught me everything with grace and patience. And you’re a cunt! All my friends for showing up and supporting me. My girls from home. Comics and friends. My family. @mofischhh for going over lines with me. @kimcaramele and @caramelodies for always showing up for me. Chris and Tati for coming a million times and for loving me. The producers. The crew who were so giving with their work and their time and their baking skills. My girls @andrea_tiller @kimmykuppkakes and @robinfitz for keeping me looking right. Vickie and Kunchok and @clubsodakenny for keeping me safe and getting me Korean food. And the audiences who came. Even tho sometimes I would yell at them for eating m and ms too loud. I’ve dreamt about being on broadway since I was a little idiot and man it delivered. The broadway community made me feel welcome and i think it’s because they know how much love and respect i have for their work. Seeing theater is one of the greatest joys in my life. I’m proud to have studied under Bill Esper at the William Esper studio and of my theater company @collectivenyorg Who I am a founding member of. Thank you @mugsykane As always for your guidance. Thank you. I love you alll! #balmain https://ift.tt/2rdwCdb

[etcemais]

Seguindo o histórico das temporadas anteriores, o fim de Only Murders in the Building não só nos trouxe o assassino da temporada como também nos garantiu mais uma temporada.

A Hulu confirmou a continuação da série logo após a exibição do último episódio nos EUA. “Only Murders in the Building voltará para a 4ª temporada! Que comece a investigação…”, escreveu o serviço de streaming.

Na série acompanhamos Charles-Haden Savage, Oliver Putnam e Mabel Mora, moradores do prédio Arconia, que se unem pelo amor a podcasts de crimes reais e acabam embarcando em uma jornada cheia de misteriosos assassinatos.

A 3ª temporada acompanhou o trio à procura do assassino de Ben Glenroy, um ator famoso que morre na estreia da peça de Oliver, na Broadway. Além de Steve Martin, Selena Gomez, Martin Short, James Caverly, Tina Fey, Da'Vine Joy Randolph, Michael Cyril Creighton, Jason Veasey e Jackie Hoffman, o elenco da temporada contou com Meryl Streep, Jesse Williams, Noma Dumezweni, Jeremy Shamos, Paul Rudd, Linda Emond e Peter Bartlett.

As três temporadas de Only Murders in the Building estão disponíveis no Star+.

[doomonfilm]

Favorites : Birdman, or (The Unexpected Virtue of Ignorance) (2014)

Sometimes, a film comes out, and it is well received, but as time goes on, the reverence grows, and it eventually reaches classic or masterpiece status.  As a longtime fan of film, I would say that this is the normal trajectory for films heralded at this level.  There are a few special moments, however, when a film is released, and from day one its status as a masterpiece is undeniable.  This was the case in 2014, when Alejandro G. Inarritu released Birdman, or (The Unexpected Virtue of Ignorance). 

Former movie star Riggan Thompson (Michael Keaton), world renowned for his performances as Birdman in the superhero film series surrounding the character, is attempting to revitalize his career via the stage.  Riggan plans on financing and starring in a production of Raymond Carver’s What We Talk About When We Talk About Love for Broadway, but at every turn he learns that the stage and the screen are completely different beasts.  Riggan is supported by his lawyer and best friend Jake (Zach Galifianakis), his actress girlfriend Laura (Andrea Riseborough), and his daughter/personal assistant Sam (Emma), but issues with the production and press constantly make Riggan second guess himself.  The evening before the show reaches preview stage, star of the show Ralph (Jeremy Shamos) is struck by a light that Riggan believes he willed to fall, further causing Riggan to second guess himself and his sanity.  Stuck between a rock and a hard place, Riggan finds himself in desperate need of a new star, but his co-star Lesley (Naomi Watts) comes to the rescue by convincing her boyfriend and Broadway star Mike Shiner (Edward Norton) to join the cast at the final hour.  Mike brings a level of acting chops to the table that is much needed, but the tension between he and Riggan further frustrates show efforts, eventually leading to an opening night that nobody in attendance would soon forget.

The subtlety with which Alejandro G. Inarritu approaches the possibility of madness within Riggan Thompson is nothing short of pure brilliance.  I can only imagine that being an international superstar that plays a superhero can give the average man something akin to a God complex, and watching Riggan struggle with that former superiority and his current status as a ‘nobody’ is absolutely heartbreaking to watch.  Most times, we are unsure if he is throwing a tantrum, or if he actually possesses the powers that are hinted at with each instance, and it is precisely this hook that keeps us hanging on throughout the film.

Just underneath Riggan’s personal narrative are two concurrent and classic conflicts : family versus career, and stage versus film (or Hollywood versus Broadway).  In terms of family, Riggan displays the classic trap of, as his ex-wife puts it, ‘confusing love for admiration’, which therefore isolates him from those he supposedly loves the most.  His daughter is ultimately only in his life because of a job opportunity, and he’s willing to jeopardize her financial future to pay Mike Shiner to essentially publicly humiliate him.  When it comes to Hollywood versus Broadway, the tension is palatable between Riggan and Shiner, specifically when it comes to Riggan’s idea of what acting is versus Mike’s undying dedication to his craft (to the point that it cripples his ability to be real anywhere but the stage).  The true humor lies in the fact that even these two actors will always band together against their true ‘enemy’, the critic.  

The meta-humor at the expense of Hollywood is one of the best aspects of the film, especially the paradox of ‘cape’ films done by high-level actors.  Part of the film’s immediate legend is the one-take illusion, where the camera floats through hallways, rooms and the streets like a specter observing Riggan’s descent into madness.  The underlying and ongoing digs at superhero culture are maintained from start to finish, be it the titular and made up Birdman character, the mentions of top notch Hollywood talent becoming Avengers, or even Riggan’s stroll through Times Square and a collection of costumed heroes in a parade.  The score shifts seamlessly between orchestral pieces and a driving, drum-centered set of selections that both cue us emotionally and push us forward through the film.  One of the nice, subtle touches of the film is the presence of viral social media culture, and Riggan’s slow realization/acceptance of it.

Michael Keaton is running on all cylinders, bringing a beautiful unbalance to the table of pride, fear, uneasiness, and a commitment to completing a work that may ultimately break all of his loving connections.  Emma Stone plays a troubled, lost soul looking for connection from a father figure that was never able to give it to her, allowing her natural magnetism to make us feel bad for her without pitying her.  Edward Norton brings his top notch acting chops to the table while relishing in acting as a pretentious actor.  Zach Galifianakis lays heavy on the drama and reality while still managing to let his offbeat sense of humor have a solid presence.  Naomi Watts, a personal favorite of mine, brings the innocence of hope to her role, while still presenting a woman attempting to take a stance against an overbearing significant other, all in hopes she is not ultimately overshadowed in the world of Broadway.  Andrea Riseborough, though only being allowed a limited supporting role, makes her appearances memorable with a tender humor solely present only in her character.  Lindsay Duncan brings equal levels of pretension to the table that Norton does, but with a significantly more vicious edge.  Appearances by Merritt Wever, Jeremy Shamos, Amy Ryan, Benjamin Kanes and more round out a wonderfully solid cast.

Birdman, or (The Unexpected Virtue of Ignorance) hits me the way that a film like 8 1/2 hit me in terms of the way it is able to be complex, brutally honest, meta and humorous when turning the lens on itself.  The Birdman section of the title is clearly a nod at Keaton’s time as Batman, but the true genius of the title lies in (The Unexpected Virtue of Ignorance)... in my opinion, this is a glorified way to identify Riggan’s symbolic and literal leap of faith, which is a very human moment we all deal with eventually.  Sometimes, in fact most times, that leap must be taken despite an unclear landing, if only in hopes we will come out better when all is said and done.

[theodoricofyork]

RT @shellyshenoy: I was laughing so hard I had to bunch my whole scarf over my mouth because it sounded like I was screaming. I couldn’t stop & couldn’t breathe. #sorrynotsorry #getyourtickets ☄️🔥☄️😂🤣😂 @MeteorShowerBwy @SteveMartinToGo @amyschumer @jeremyshamos @LauraBenanti @KeeganMKey https://t.co/dzAiOVJDEX

I was laughing so hard I had to bunch my whole scarf over my mouth because it sounded like I was screaming. I couldn’t stop & couldn’t breathe. #sorrynotsorry #getyourtickets ☄️🔥☄️😂🤣😂@MeteorShowerBwy @SteveMartinToGo @amyschumer @jeremyshamos @LauraBenanti @KeeganMKey http://pic.twitter.com/dzAiOVJDEX

— Shelly Shenoy 🎬🎙 (@shellyshenoy) December 2, 2017

from Twitter https://twitter.com/theodoricofyork December 02, 2017 at 09:36PM via IFTTT

[frontmezzjunkies]

#MeteorShower #Broadway review now on @show_score #frontmezzjunkies reviews @meteorshowerbwy @stevemartintogo @AmySchumer @LauraBenanti @KeeganMKey @JeremyShamos https://frontmezzjunkies.com/2017/12/15/steve-martins-meteor-shower/ tw: frontmezzjunkie IG/tumblr/FB @Frontmezzjunkies #OuterCriticsCircle voting member & sometimes #MovieCritic

[instapicsil1]

@meteorshowerbwy opened last night and we had the best time. I love @jeremyshamos @laurabenanti @keeganmic thanks Jerry and steve and the crew and stage managers and everyone who came! http://ift.tt/2Bzgbwp