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omartinyosef · 6 months

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ST5 POTENTIAL SPOILERS!!!

GUYS I FOUND THIS ON REDDIT AND ACTUALLY IT'S QUITE INTERESTING

ST5 Leaks/Fleaks

Gen Plot

Season picks up briefly where we left off in 1986 before jumping into either late 1987 or early 1988. The season is contained entirely in apocalyptic Hawkins. Things with the government are shaky. Owens doesn't appear in the beginning of the season and it's unclear if he's returning, but Ellen Stinson is the new Owens. Hawkins is like a combination of the UD and Kamchatka.

Labyrinths/Mazes being important to both the supernatural plot and the interpersonal relationships. They're inherently linked.

Two songs to be featured are 'Listen to Your Heart' and 'Alone,' both of which were apparently foreshadowed in a previous conversation between Hopper and Joyce, similar to how Hopper's "I'm the puppet, you're the master" to Joyce in S3 basically foreshadowed Eddie's 'Master of Puppets' in S4.

S1 and 2 scenes being referenced are "Nancy and Mike's conversation in the bathtub" and "Hopper + Lando Calrissian"

Lots of importance in COLOR CODING and blocking from the final shot of S4, and a good chunk is told in the costuming—like passing the torch from one character to another as their arcs overlap. For example, Hopper and Will share the "am I the curse and therefore putting my loved ones at risk by being near them?" sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, whereas Eleven stands out because she's the first one coming into her own this season. The white for her represents shedding of false skins.

Character duos this season will be primarily dressed in colors of blue/green and yellow/red.

There's lots of symbolism and foreshadowing for every character in S5 from the moment Will touches his neck in the last sequence of S4.

S4 focused on themes of lies and miscommunication, and everyone is going to have to work through these lies before they can defeat Vecna.

Murray and Argyle are both back. Dimitri and Yuri don't seem to be in the beginning of the season.

One thing left unresolved with the Russian plot. Something important will happen involving the machine and the green liquid from the Starcourt bunker. Reference of Dustin vowing to die with Steve when they initially discovered it.

Hopper, Joyce, Mike, Will, and El had to be away from Hawkins, otherwise Vecna wouldn't have won.

An important death that they're nervous about given the reception to Eddie (not Joyce or Jonathan—see details below).

Eleven

We'll see her unlike we've seen her before. A badass who doesn't take shit from anyone. Not a Monster, not a Hero, Jane. Think: adult El could be headed for a Charles Xavier type role.

Erica, Lucas, and El will share scenes together.

El has significant blocking and development with many characters this season.

Max, Eleven & Max

The "kaleidoscope of colors" from a script the writers posted makes a feature in both the scene where young El remembers her mother's love in order to defeat Henry in the lab, as well as the scene where El revives Max. This is significant because it's the first time we see El using her powers on someone in a non-violent way.

El was able to revive Max because of she, herself, being revived in the bunker by Brenner and Co. It's a show, don't tell moment from the writers.

Max getting Vecna'd was foreshadowed in the beginning of 2x01.

Will, Henry/Vecna, The UD

Filming was supposed to commence mid-June, but Noah and Jamie were set to begin in May due to more complicated costuming. Will is going to require heavy prosthetics at some point.

Will's character design is blocked in three stages. The more the UD bleeds into Hawkins, the more connected to it he feels. The gates being open will physically influence him, especially when he's not as mentally strong.

He's kind of like "the card up Vecna's sleeve."

It appears they want to confuse the audience about Will.

Will wrestling with his own morality

Henry/Will mirrors. Will will sympathize with Henry because, unlike El, he knows how and what Henry thinks, and he can feel him.

Vecna and Will are very similar, but the difference is Will is made stronger by love not hate. They will play into that duality.

Vecna was nerfed in S4 compared to how we see him in S5. He'll be much stronger.

At the beginning, he'll be taking a hiatus while he plans how to divide and conquer now that everyone's back together in Hawkins.

Soteria will be the key to saving Will. If they want Will to be untraceable to Henry, they'll have to insert it into his neck and it'll be painful. Vecna not having access to Will fucks up his ability to leave the UD.

Byler/Mileven Triangle

Apparently, it's complicated and up in the air as of now.

Mike dealing with guilt this season. He feels guilty/responsibility for El. He feels stuck in a loop that keeps him from a truth he's scared to face.

Will and Mike to spend a good chunk of the season together based on character designs and blocking.

Will telling El that Mike won't like being lied to comes back with the painting. During a pre-time jump scene in 5x01, while everyone's together plotting how to defeat Vecna and brainstorming how to save Max, Mike brings up the painting El commissioned for a D&D analogy. Will has to pull Mike aside and confess he lied about El commissioning the painting. Mike gets angry, because he doesn't know about Will's feelings and feels embarrassed that Will thought he was that pathetic he needed to be given a pep talk. Their own version of a "fight you can't come back from." Immediately after their fight, we get the time skip.

Mike's character motivations are unclear and seem to be kept under wraps. After the time jump, he and El won't be talking as much because he's keeping the details about Will's painting from her. She's gonna ask what's wrong between him and Will, and he lies/is very vague.

Joyce, Hopper, Jopper

Joyce feels immense guilt/responsible over Bob's death since she's the one that asked him to help in S2, which is why she pushed Hopper away at first.

Hopper has a secret from S1 that was never addressed, and it comes back to haunt him.

Joyce sustains an injury in S5 that is reminiscent of the way someone was injured in S3, but it isn't critical and she'll be okay.

Jopper are the most established couple after the time jump. Lots of bickering still, but Hopper trusts Joyce more than he ever has.

Jonathan, Nancy, Jancy

So far, does not seem like a breakup is happening.

Jonathan's still lying about the college letter and distant because of it, and Nancy thinks he's not as into the relationship and that there might be someone else. She confronts him, which leads to a talk. She's touched by the lengths he would go to try and protect her and any of their future children even from himself.

A moment where we're led to believe Jonathan dies but doesn't, like Hopper in S3.

Hopper-Byers Family

These five characters slowly unraveling their arcs together and have always been closely linked. Their perfect endings are together.

We see the family combining, especially in relation to El.

Joyce gets to witness Hopper being paternal and tender towards the boys.

Scenes with Joyce, Jonathan, and Will

Hopper being back lifts a weight off Jonathan's shoulders.

------------------------------------------------------------------------------

So, now time to shine.

''(...) sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, (...)''

Okay. How did we see Nancy in S4? Confused. Confused with the love triangle between Jonathan, her and Steve. Jonathan is her actual boyfriend. And Steve is her posible love interest again.

So, putting this in byler language: Nancy = Mike Jonathan = Eleven Will = Steve

If Mike's and Nancy's character's clothing is important at this point of the time line and that means they feel similar feelings, this could mean that byler has a chance. BUT then we read this: ''(...) He (Mike) feels stuck in a loop that keeps him from a truth he's scared to face.'' And

''Mike's character motivations are unclear and seem to be kept under wraps.''

THIS LITERALLY MEANS BYLER. FOR REAL. Like byler could be endgame. Also, remember Eleven's injury in S3? Do you remember the leak of a shoe covered in blood?

It's Joyce. ALSO YOU CAN READ THAT WE'LL HAVE SCENES BEFORE THE TIME JUMP. And here it comes. Look at this freaking hair:

Does this look more like this

or this?

The season 4 bowl cut right? So maybe this is right in some part? I dont know. But that could make sense why Will is wearing Mike's pants, because his clothes were in California by that moment. But i really do think that the pic that was leaked a few days ago is before the time jump.

Im so late with this info haha :) but i kinda think some things here make sense. Even if this is too well explained to be a leak.

#stranger things s5 #st5 spoilers #stranger things 5 #st5 #stranger things #st5 speculation #st5 leaks #st5 production #will byers #stranger things season 5 #will byers is gay #byler tumblr #william byers #byler is endgame #byler endgame #byler nation #byler #mike wheeler is gay

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pondermoniums · 4 years

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A Rant Nobody Asked for About Stranger Things season 3.

feat. my personal pet peeves.

Disclaimer: when I first watched Stranger Things 3, I massively enjoyed it. I thought it finally captured the 80s aesthetic and vibe with the colors, the neon, and music. I even enjoyed it the SECOND time I watched it, although I was officially aware of some major flaws by that point.

1. The Coca Cola flex.

CocaCola has been all over this show ever since Tommy handed Steve one as a makeshift ice pack after his fight with Jonathan in s1. And then by season 3 it’s just....obnoxious???? And so unnecessary??? Karen Wheeler’s drinking one by the pool in episode one. Billy knocks into someone during his first day being flayed, and a coke rolls over the concrete.

LUCAS DOES AN ENTIRE MONOLOGUE ABOUT NEW COKE.

I mean, Jesus, we get it. CocaCola basically owns Georgia, where a lot of American TV shows are filmed.....but......you’re literally CocaCola. This kind of flex is entirely unnecessary and therefore pathetic.

2. Karen and Billy

Okay, listen. I thought their interaction in season 2 was H I L A R I O U S. But I’m someone who has looked 21 since I was 14, thanks to being an early bloomer. I get it. The cocky prowess of looking older than your peers. Getting to look adults in the eye and get that tiny bit of respect with nothing more than just looking like they do. And, as a writer, the contrast between thirsty, older Karen with young and equally thirsty Billy is an odd pair of puzzle pieces that fit really hilariously - largely because it’s so unexpected, maybe. And frankly, I think it’s one of the first scenes where Dacre’s acting really made my eyes fall out of my head, he did so well.

But it should have ended there.

I’ve been to a LOT of public pools in my day (I’m 26 but hush), and I have NEVER seen older women thirsting over the lifeguards. Ever. It’s predatory - an attribute most women understand all too well - unprofessional, and just downright gross. Their whole interaction in s3 is for “the male lens,” which Hollywood really needs to figure out by now is outdated, predatory, disgusting, and not good writing.

3. Glossing over Billy Chugging Chemicals

Bouncing off of #2, is Karen’s total negligence of Billy’s condition. Many people have pointed it out before, but a row of mothers being completely ???? about Billy’s condition is a raging red flag of bad writing.

(Also that it was written by men, because women are hard-wired to be super aware of other women - a tactic of living on guard in a man’s world all the damn time. So you can always count on a mother, grandmother, or a brave teen/20-something to be the one to walk up to a person who doesn’t look well in order to check on them, even if you’re complete strangers. It’s happened to me, and I’ve done this for other people.)

These women literally stare at him for every shift of work he has, and they.....don’t do anything????

Karen WALKS IN ON HIM DRINKING CHLORINE. It actually took me the second watch-through to realize what he was doing in that storage room, and god, my heart just broke. It’s the only time we actually see a glimpse of Billy making himself flayed like the others. It’s so fleeting (maybe because we already get so much pain from his plot, and we do see what happens with the other flayed people) but it’s also one of the reasons, I think, that we have a whole fanbase ready and eager for his return.

We didn’t get a good glimpse of him poisoning himself to the point that he has to rely on the MindFlayer to stay alive. I’m not saying any of us want that, no way, but that’s my personal headcanon: in s2, Will was super protected and therefore capable of being separated from the Flayer. All of the Flayed IMMEDIATELY low-key drowned themselves in ice water to lower their temperature, and then chugged chemicals. They all die twice.

4. Billy. Just......Billy.

This poor boy’s plot was so pointless. It’s a special thing: creating such a good character and then doing fuck-all with him. The moment you realize his only purpose in season 2 was an introduction is....the beginning of a lot of disappointment. And no, he DIDN’T serve as an antagonist for Steve, because what happened? He slowed Steve down.

That’s it.

He doesn’t keep Steve from helping the kids in the tunnels. He doesn’t break him and Nancy up. He doesn’t gloriously out Steve’s bisexuality to the town by being his shameless lover.

He literally does nothing except just......be there? Looking gorgeous and providing a juxtaposing characterization for Max. That’s all. Billy’s treated like an accessory.

Then we arrive to season 3 and....I guess the only justification for his plot is sort of classic Greek tragic hero. He’s the new Keg King whose hubris makes him stand too long outside the warehouse, and thus, his downfall.

But here’s what’s wrong with that: Steve Harrington.

We were so spoiled with good writing for Steve. Steve had an incredibly refreshing and valid character AND redemption arc. Frankly, all the good writing goes to Steve in this show, so we expected the same writing to go to the other douche bag king of the show.

And we didn’t get it.

5. 80s Bullshit vs. Modern Audience

You can tell they’re trying to straddle the line between, “this is how people talked back then,” and, “this pertains to a modern audience.”

Example: Mike saying to Will, “It’s not my fault you don’t like girls.”

I know they did multiple takes of this scene with different variations of this line, and that’s the one the editors settled with. Regardless, I know I am not the only person who screeched with rainbow pride for Will’s sake. And it’s not the first time they’ve touched on very hot modern topics. Hopper touches on homophobia in season 1 - a fact I completely missed until I read an interview where the actor, David Harbor, mentions it, himself. Then I rewatched season 1 and realized, sure enough, he reacts poorly when Joyce tells him that Lonnie calls Will a f*g. It’s not even fatherly, “that should be my son, how dare he.” It’s straight up, “this kid might not be worth finding if he’s gay.”

Of course there’s the more obvious occasions where Steve calls Jonathan a queer and Neil Hargrove should come with his own neon trigger sign. Slut is a term that’s carelessly thrown around (as high schoolers are wont to do, sure).

But the thing that’s bothered me the most is Steve saying to Billy, “Were you dropped too much on your head as a child, or what?”

Maybe it’s just me being extremely sensitive to mental health stuff (also, WHY does Steve ironically get all the triggering lines? lol), plus he says it very soon after we finally know why Billy behaves the way he does. Just.....*long sigh*. I hurt, okay. Some parts of this show really hurt, and I don’t like “it was the 80s” as an excuse.

6. Lucas and Kali or, the Diversity Check Marks

One black kid. One. Then they gave him a sister. Cool. Somebody give these people BLM awards.

*eyes roll so hard my cat chases them across the floor*

You know what this reminds me of? The East Asian actor who trended in movies like The Goonies and Indiana Jones.

The only thing that even remotely makes this small drop of diversity okay, is that they made Lucas a major player in The Party, and cast a dope actress to be Erica Sinclair, and likewise made her a linchpin in the Scoops Troop plot.

But touching back to #5, you can’t use “it’s the 80s” as an excuse, nor can you say, “it’s white bread Indiana.”

BUT but but but Kali!!!!

You mean the character in one episode? Two, if you count the opening of season 2.

Listen. For all the bipoc folks who wonder, “Do white people realize how.....WHITE everything is?” as a white person, I can absolutely say:

Yes. We. Do. Fucking. Notice.

• • • • •

Well. That’s all lol If you made it this far, I’m sorry and thanks lol

Tip your artists and comment on fics because lord knows that where my seratonin comes from.

#ponder ponders #stranger things #billy hargrove #steve harrington #a sprinkling of #harringrove #i could probably find more things to nit pick #but these have been the biggest ones #might delete #rant

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irondevilpunisher · 6 years

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Hi! I hear you about marvel/ Netflix bullshitting but I was with this idea that IF would be merged with Luke Cage and we would be gifted with a Heroes for Hire show Right now with LG cancellation I can't help but wonder that we might be even closer of this What are you thoughs about my hopes ?

Hey! I’m going to answer this as a response to the other asks I’ve been getting on this matter. Seems we’re all reeling over the sudden yet suspicious double ax two weeks in a row during Daredevil’s promotion/airing. And I’m personally still nursing the wounds after Iron Fist but here’s my take away.

Earlier this year and last year before their respective solo shows dropped Finn Jones and Mike Colter were asked about a possible Heroes for Hire series:

‘Luke Cage’ Star and Showrunner Tease Heroes For Hire Series’ [x]

‘Luke Cage Season 2 Mike Colter Talks Heroes For Hire Dynamic’ [x]

Whether this was going to be a mini series like Defenders or a stand alone series is unknown. But Jones out of the two expressed more enthusiasm in the project and also doing another Defenders:

‘Iron Fist’ Star Finn Jones Wants ‘Defenders’ Reunion, ‘Heroes For Hire’ [x]

‘Luke Cage Star Isn’t Sold on a Heroes For Hire Crossover’ [x]

Yet at the same time Finn was killing any rumors about the team-up series being in the works:

‘Finn Jones Says No Plans For HEROES FOR HIRE Series – Yet’ [x]

But then just hours after LC gets the ax we get this:

‘Iron Fist’ Star Finn Jones Reacts to ‘Luke Cage’ Cancellation’ [x]

‘Iron Fist Star Reacts To Luke Cage Cancellation, Sparks Spinoff Speculation’ [x]

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Funny how this all happens before and after Daredevil drops its much anticipated 3rd season. I’m not going to lie the timing of all this and the rumors is very suspicious to me especially now. Netflix MCU has been lowkey selling these characters as a package deal that has been going on since Defenders.

Now much as I hate what happened to these solo shows I’m not entirely against the idea of them getting a duo spin-off. There are some great story arcs in the Power Man and Iron Fist comics that I’d love to see explored. However I do have some issues with a Heroes for Hire series.

1. Not everyone who watched Luke Cage is a fan of Iron Fist and not everyone who watched Iron Fist is a fan of Luke Cage. Each of these shows have developed their own respective audiences and solo storylines that their fans are passionate about. Messing with that in my opinion will only upset the masses. Not to say that they don’t enjoy when Luke and Danny team up but for argument’s sake its usually preferred in small doses.

2. What about the supporting characters in each show? There are fans who want a follow up to these arcs. The cancellation of Iron Fist and Luke Cage almost dulls the possibility that we’ll ever get a fitting conclusion to these characters’ journeys on either show. Now if Heroes for Hire does happen all these supporting players would probably move over to that series but at the same time that is a lot of characters and arcs to service which is why I’m so doubtful that they would all return full-time or ever again.

3. Each show has unresolved cliffhangers/storylines after their 2nd year. This is a big one because LC and IF both ended on cliffhangers that can’t just tie into a Heroes for Hire journey. Luke was just made into a crime boss and Danny [who mysteriously got his power back] is over in Japan with Ward looking for Orson Randall. Luke hasn’t resolved his issues with Claire and Danny & Ward haven’t resolved their issues with Joy. And then there’s Colleen running around with the Iron Fist too. See where I’m going with this? You can’t just jump the shark onto a new thread without first finishing what came before.

4. There’s absolutely no guarantee that a team-up series will work. Daughters of the Dragon is a different story because neither of these characters had their own solo series to start. As I said both IF and LC built up their solo audiences. Much as Defenders was a hit with fans it was ultimately because the series followed all four of the established Netflix MCU heroes. Of course people tuned in to see all of them interact and fight together. But again that’s because it wasn’t a full-time deal. Heroes for Hire sounds good on paper but it might not be as successful as Defenders was or their stand alone shows. It was popular in the comics but as a tv series it might not be as popular.

All and all I probably wouldn’t be against a Heroes for Hire series because it means Danny and Luke won’t be going anywhere. I wouldn’t be the least bit surprised if this is what they were planning all along. It means fans get more of their favorite characters. I’d have to see the storylines on each of their cancelled shows wrapped up before they decided to do this though. I’m less forgiving when shows forfeit and reboot everything that was previously established. I don’t want that. If they are gunning for this duo-series they have to finish up the arcs that were presented before their solo shows got the ax.

I will say though that according to DD3 star Wilson Bethel he mentioned being signed onto a seven year contract with Netflix MCU. Most likely the other actors of the other shows [including Finn Jones and Mike Colter] were given the same deal. So if this is the case why the early cancellations?

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Now lately I’m hearing rumors that there is bad blood going on between Marvel and Netflix. And this could possibly affect Daredevil, The Punisher and Jessica Jones. Remember that whole Disney streaming site debacle where they announced they would take back their Marvel properties [possibly excluding the Netflix marvel shows]?

What Does Disney’s Streaming Service Mean for Fans of the Marvel/Netflix Shows? [x]

Yes at the time they assured us this development wouldn’t affect these shows. But now we’ve come a year later since that announcement and two Netflix MCU properties are already gone prematurely. Since my optimism is shot these days I’m not one for creating much hope. But I can’t help but think they’re going to announce something in a month after Daredevil’s release that will ultimately determine the fate of these shows. And it’ll either be good news or bad news.

This horrible PR stunt whatever it is could either be generating buzz for Heroes for Hire [and in poor taste if I might add since it happened during the time DD3 was coming out]. Or it could just be that Netflix has decided to flush their brand and 7 year contracts down the toilet. For all our sakes I’m betting on the first option.

Thanks for the ask!

#iron fist #Luke Cage #Heroes for Hire #Danny Rand #finn jones #mike colter #danny x luke #Power Man And Iron Fist #marvel's iron fist #marvel's luke cage #Daredevil #the defenders #marvel's defenders

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roominthecastle · 6 years

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Mike Schur on Ted Danson, the ethics of surprise twists, objectives vs superobjectives, and the narrative pitfalls of the reset button

(2017 Gold Derby interview)

How did Ted Danson come to join the project?

Mike Schur: He's my hero, acting-wise and comedy-wise. Cheers is my favorite show and Sam Malone is my favorite character in the history of TV. So I decided to pitch him the character, to write the character for him. I was driving to meet him at his manager's office and I had one thought going through my head constantly, which was "You've gotta be cool. Don't look like an idiot." I'm not a person who gets really revved up by a celebrity. There's a movie star or a TV star at my workplace every week, so I've kinda got inoculated to it a little bit. There are still some people who would make me jittery but not many. Ted was the biggest one. Honestly. Cheers was so formative for me, so important to me, that I got actively nervous. I kept thinking "You gotta be cool. You gotta be cool. You gotta be cool." I got to his office and I met him and he said, "I'm very excited to meet you." And I said, "I BET I AM MORE EXCITED!!" and immediately I was like "you are already blowing it." And he said, "Oh. Why is that?" And I said, "Because I consider you to be the greatest actor in the history of the medium of television." And it was so embarrassing, so not-cool, after telling myself to be cool a hundred times. I honestly thought I had blown it. I remember thinking that if I were this man, I would either think I was a disgusting suckup, or I would think this guy is trying so hard to make me believe something that isn't true, which is that he loves me this much, that either way I am out. Fortunately, Ted is a more centered person than I am. He let it go and I pitched him the show, we had a really great conversation and he signed on. That was the bumpiest moment for us. The first moment when I was an idiot. After that, completely smooth sailing.

He couldn't be a nicer person. He's very thoughtful and very kind and very chill. The reason I fell in love with him as an actor is his timing. I remember loving his comedic timing before I knew what the concept of comedic timing was. There's something about the rhythm of his delivery and the way he would pause. He commands a space better than anyone I've ever seen. We are writing these lines for him and I look at a script and because his style is so distinct and his timing is so good, you can imagine exactly how it's gonna sound, and then he executes it and it's exactly the way you imagined it. He's worked so hard at being good, it's inspiring. He's in his 60's and he doesn't need to prove anything to anyone ever, and yet he works so hard, he wants to get it right so badly and he's so humble in his approach. By human standards, it's great, we should all try to do our job well. But by Hollywood standards, it's shocking and truly inspiring how hard he works at his craft to try and get better every day at his age with his resume.

It's hard to think of a person who has done a better job in more different genres. You put him in a multi-cam sitcom, he creates an all-time hall of fame iconic character. You put him in a very dark, twisted drama in Damages, and he's still probably the best villain that show had. You put him in a single-cam sitcom, and he just blows the door off of it. Especially one where the character had to undergo a massive transformation over the course of the season. He was playing six different things at any one time and once we got to the end with the big twist, they all had to retroactively fit together, they had to be consistent. And Curb is largely improvised, for God's sake. It's like he's checking off genre by genre, being great in every one of them.

Did Ted know that twist was coming?

MS: Yes, from the beginning, from the meeting where I cracked into pieces. Ted and Kristen knew. I felt that actors of their stature deserved to know the full range of what they were signing on for. The entire show was going to be on the backs of Kristen and Ted in different ways. It was almost an ethical question for me because I was approaching these two actors who can basically do whatever they want in TV or movies or anything. In order to get them to sign on, I felt it would be almost unethical - knowing where I was going and what I wanted to do with the season and the show in general - I felt it would be borderline unethical to get them to sign on without them knowing the whole thing. And it was more unethical with Ted because SPOILER ALERT the secret is that this is not actually heaven, it is hell, and this entire thing is a torture chamber. Michael - Ted's character - has appeared to be the architect of a little slice of heaven, but everybody else except for the main 4 characters is an actor and they are torturing these four people. This neighborhood he put together was designed for the four of them to torture each other. They are supposed to be driving each other crazy for all eternity.

It wouldn't have been super unethical if I hadn't told Kristen because she was playing the same character all the way through the 13 episodes. But for Ted, I felt that if I don't tell him this, what I'm doing is getting Ted Danson to sign on to a show where he thinks he is playing essentially an angel, and then I'm going to reveal at the end that he is a demon. And that felt uncool. If he, for whatever reason, didn't want to do that, he should be able to say, "I don't like where this is going." If I hadn't come up with that twist when I pitched the show to him, I don't think it would have been unethical. But since I knew from before I ever talked to him or Kristen, I felt I owed it to them to tell them the whole story. Fortunately, they both liked it, they were both into it, and Ted was far more interested in playing a secret demon who appeared to be an angel than he was in just playing an angel, which I understand. It's a better gig. It's more fun to play the guy who turns out to be a crazed person than just a nice, pleasant, boring, happy nice guy.

It was also probably good to fill him in because it could have influenced the way he played scenes earlier in the season.

MS: True. Ted and Kristen knew and the other four actors in the main cast did not. [Their characters] were being fooled and I was like "let [the actors] be fooled, too, for as long as it's appropriate”. But because they didn't know, Ted, Kristen, and I had to come up with ways on the set to talk about what was going on. We used these acting terms called "objective" and "superobjective". Objective is what you are trying to accomplish in the scene and superobjective is the emotional, kind of resonant thing like a giant umbrella you are going for. So I'd say, "Ted, your objective in this scene is to make Chidi feel better, but your superobjective is to get him to throw his life's work into the garbage.” That's the "true task" that you're quietly, secretly aiming for. “What am I appearing to try to do?” versus “What am I actually trying to do?” He and Kristen handled it amazingly well. I really think that if you go back and watch everything that's in the show, you will see these tiny glimpses from time to time of Ted taking a certain amount of delight in what appeared at the time to be something good that was happening for one of the characters, but in reality it was a thing that was going to make that character's life even worse. It's a testament to how well they can juggle these objectives and superobjectives.

Ted really locked onto this one idea that he was a sort of a middle manager. That was a thing that appealed to him very early, that he is not God, or, in this case, the Devil, but he's in the middle, sort of a bureaucrat. He really liked that because it allowed him to play a middle manager trying to climb the corporate ladder, but also he doesn't have a lot of power and there's people above him that he has to answer to. Sometimes he screwed up and was incompetent, sometimes it looked like he was screwing up and incompetent but it was all part of the plan. He really liked that idea of inserting himself - in terms of this hierarchy - right in the middle. He's not the weakest guy but he's not the strongest, either. He really enjoys playing the nuanced middle, which is a very smart instinct.

Season 2

MS: The advantage of the way that we produced the first season and of knowing what the ending was before we even started writing episode two was that it gave us a lot of time to think about how we’re gonna dig ourselves out of the hole we were about to put ourselves in. Because when you upend the show to that extent and you literally press the reset button, it's a very risky thing creatively because number one: you hope the audience doesn't think "am I just gonna watch the same season again? How's that interesting? Everything goes back to square one." And the other dangerous thing is, you start to run the risk of the audience feeling like nothing matters. If Michael can just reset them whenever he wants to, then who cares? Who cares what they go through? Who cares whether they learn or grow or change or become better? So the main thing we tried to do was come up with a couple different structural pieces that couldn't happen, so it wouldn't be just the same season from beginning to end.

There is some external pressure that meant that Michael couldn't just reset them for the next five seasons. That pressure comes from this boss played by Marc Evan Jackson who basically says, "You can try again but if it goes sideways, you're done." There is a threat, a sort of sword of Damocles hanging over his head. And Eleanor managed in a very quick thinking kind of scrappy Eleanorish kinda way to sneak herself a note by shoving it in Janet's mouth. It says "Find Chidi." So when she wakes up, instead of having to put the whole thing together from scratch over the course of an entire year, she has directed herself to a person who can accelerate the process. These and a couple of other things we buried in there are our way of saying to the audience "it's not the same season, things are going to change and move on."

#the good place #mike schur #ted danson #long post #writing

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km-theatre · 7 years

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Cast & Creatives The Ladykillers

NEW WOLSEY THEATRE IPSWICH SUFFOLK UK 15 SEP 2017

Friday 15 September 2017

Ann Penfold — Mrs Wilberforce

Theatre credits include: The Taming of the Shrew (RSC),Brighton Till I Die(Brighton),, Revenger's Tragedy, Deep Blue Sea,(West Yorkshire Playhouse)Saturday Sunday Monday (National Theatre/West End) The Wars of the Roses(English Shakespeare Company, world tour and Old Vic) Design for Living (Peter Hall Company,) The Winslow Boy,(Guildford and tour) The Contractor (Oxford Stage company tour) Forty Years On (Scarborough)The Glass Menagerie,(Greenwich), In Celebration,(Chichester.) Duet for One (Edinburgh, Lyceum)

At the Wolsey Theatre: The Winter's Tale; Hamlet; Romeo and Juliet; Mrs Warren's Profession; Perfect Days.

And at Salisbury Playhouse: For Services Rendered ( and at the Old Vic), and The Lady in the Van.

Television credits include: Tripped (Mammoth Screen), Doctors, Casualty, Sea of Souls, Dangerfield, No Place Like Home, Mrs Pym’s Day Out, Cranford, Villette, There is Also Tomorrow (BBC), The Bill, The Vice, Coronation Street, The Brontes of Haworth, The Ruth Rendell Mysteries (ITV) A Wing and a Prayer, Family Affairs (Ch5)

Film credits include: Keeping Rosy, Winter Sunlight, Family Life.

Steven Elliot — Professor Marcus

Theatre Credits Include: Frankenstein, The Winter’s Tale. (Royal National Theatre) Titus Andronicus, Julius Caesar, Revenger’s Tragedy, Henry V, Twelfth Night, Pentecost, The Bite of the Night, The Jew of Malta, Measure For Measure (Royal Shakespeare Company) The Devil Inside Him (National Theatre Wales) Dancing at Lughnasa (Abbey, Dublin) King Lear (Almeida, London) True West (Glasgow Citz) Arcadia (Bristol Old Vic) Frank, in Educating Rita (Oldham Coliseum) Dumb Show, Inherit the Wind (New Vic Theatre) The Weir (Sherman, Cardiff) Amadeus, Hamlet, And Then There Were None, Jane Austen’s ‘Emma’ (Salisbury Playhouse) Macbeth, Two Princes, A Chorus of Disapproval, Arcadia, Troilus and Cressida, Measure for Measure, The Suicide, Noises Off, Jumpy, Cyrano de Bergerac (Theatr Clwyd) Steven recently played the role of George Ring in an adaptation of ‘Adventures in the Skin Trade,’ by Dylan Thomas, at the Sydney Opera House and Melbourne Arts Centre, Australia. He also recently played Oscar Wilde in a tour of ‘The Trials of Oscar Wilde.’

Directing Credits Include: Assistant Director to Terry Hands on ‘Pygmalion’ by George Bernard Shaw (Theatr Clwyd) A Midsummer Night’s Dream (Rose Theatre, Kingston) Well Thumbed (Notional Theatre) The Dreamer (Maltings, Farnham)

Television Credits Include: Da Vinci’s Demons, Holby City, Judge John Deed, Ghostboat, Crash, Tunnel of Love, Porthpenwaig, Inspector Morse, Harpur and Isles, Art that Shook the World, 90 Days in Hollywood, Return to Treasure Island, That Uncertain Feeling, Rhinoceros, Van der Valk, 999 Killer on the line, Mike Bassett - Manager, Gwaith Cartref.

Film Credits Include: Steven has just finished filming ‘The Watcher in the Woods’ with Anjelica Huston, in which he plays the title role. Other Film work includes; Hamlet, Cold Earth, Rise of the Appliances, Trauma, Trail of Crimson, De Sade, Green Monkey and Time Bandits. Also recordings of Frankenstein (NT Live) King Lear and True West (Digital Theatre)

Graham Seed — Major Courtney

Graham trained at RADA and is best known for playing Nigel Pargetter in the radio series The Archers for 27 years, until the character’s untimely demise in January 2011. Theatre credits include: Dead Sheep and An Audience with Jimmy Savile (Park Theatre), Dead Sheep (National Tour),  Bedroom Farce and Separate Tables (Salisbury Playhouse), Flare Path (National Tour) Jim Hacker in Yes Prime Minister (National Tour), Basket Case with Nigel Havers (National Tour)Major Metcalf in The Mousetrap (60th Anniversary tour), Toad of Toad Hall (West End); Me and My Girl (Adelphi Theatre); Relatively Speaking and Confusions (national tour); Design for Living (English Touring Theatre); Twelfth Night (BAC); Translations (Watford and tour); A Chaste Maid of Cheapside (Almeida and tour); Someone to Watch Over Me (Frankfurt); An Eligible Man (New End, Hampstead); The Skin Game (Orange Tree); Nelson (Nuffield, Southampton); Present Laughter (Theatr Cymru); French Without Tears (Mill at Sonning); Journey’s End (National Tour) Accolade at the Finborough. He has also played many repertory seasons including: Birmingham, Greenwich,  Library Theatre, Manchester, and Perth.

Television credits include: The Durrells, I, Claudius, Edward VII, Brideshead Revisited, Mike Leigh’s Who’s Who, Victoria Wood: As Seen on TV, Jeeves and Wooster, The Cleopatras, Crossroads, Coronation Street, Brookside, Prime Suspect, Nature Boy, Dinnerladies, Station Jim, Band of Brothers, The Chatterley Affair, Doctors, Midsomer Murders and He Kills Coppers. Film credits include: Peterloo, Gandhi, Good and Bad at Games, Honest, Little Dorrit, These Foolish Things and Wild Target with Bill Nighy and Emily Blunt. Radio credits include: Nigel Pargetter in The Archers. He is an occasional presenter on ‘Pick of the Week’ and was a regular voice on ‘What The Papers’ Say’ both for Radio 4.  He was the recipient of the Broadcaster of the Year Award 2010 from the Broadcasting Press Guild and the Voice of Listener and Viewer Special Award 2010.

Marcus Houden — Constable Macdonald

Theatre credits include: The Tempest (Hope Theatre, London) - BroadwayWorldUK Best Leading Actor nomination, Overture Live (Hippodrome, London), Peter Pan (UK Tour), Robin Hood and the Babes in the Wood(Gala Theatre, Durham), Treasure Island (Cambridge Touring Theatre), A Midsummer Night’s Dream (International Tour), Romeo and Juliet, Sense and Sensibility (Chapterhouse Theatre Company), Bouncers(UK Tour), The Three Musketeers (Jamie Marcus Productions), The Merry Wives of Henry VIII (Edinburgh Festival), Art, Macbeth(Seagull Theatre), Tartuffe, The Beaux’ Stratagem (Lichfield Garrick) and Dick Whittington (Theatre Colwyn).

Damian Williams — One-Round

Damian became well known to television audiences in the early nineties for his appearances as Ginger Gahagan in the BBC series Billy Webb and the second series Alfonzo Bonzo. His other television appearances include Lumpy in Spatz; Gavin in Exam Conditions and Ian in The Bill. Damian was the presenter of Damian’s Are You Smarter Than Your 10 Year Old for Sky One and was also in the new series of Birds of a Feather.

Damian is always in demand for Musical Theatre and in 2013 and 2014 Damian played Edna Turnblad in Hairspray both at the Leicester Curve as well as a tour of Singapore and Kuala Lumpur.

Damian’s first love is comedy (his heroes are Laurel & Hardy) and he has played various comedy roles from Luther Billis in South Pacific to Pseudolus in A Funny Thing Happened On The Way To The Forum. Damian played Tommy Cooper in the new play Being Tommy Cooper, and toured in the one man play My Dog’s Got No Nose. Most recently he’s also played Tommy Cooper in the short film The Last Laugh, written and directed by Paul Hendy for which Damian won best Actor (Southampton film festival)

Damian has toured the country for over 25 years and has a wealth of experience in Theatre, a well respected farceur Damian has appeared in; Run for your wife, Cash on Delivery, Funny Money, Tom Dick & Harry, It Runs in the Family, Not now darling, There Goes The Bride, Out of Order, Caught in the Net, Dry Rot, See How they Run and Don’t Dress For Dinner.

As resident Dame of 10 years at the Sheffield Lyceum Damian is set to play Mother Goose this year.

Damian was born in Tilbury in Essex and now resides in Southend on sea with his wife Barbie. They are proud parents of twins, Joshua and Esme, undoubtedly Damian’s finest productions to date!

Anthony Dunn — Louis Harvey

Anthony has worked extensively as an actor in the UK, Europe, Canada and the United States over the last 30 years. Theatre includes Calamity Jane (UK and Ireland Tour), Paved in Gold (Canada), Birds (US Tour), Face (UK Tour), Buddy (Victoria Palace), Bouncers (Hull Truck), L'Ascencore (European Tour) and Don Quixote(Warehouse Theatre). His television appearances include The Murdoch Mysteries (US and Canada), Roomers and The Last Word for the BBC and Stuck on You, The Upper Hand and Frank Stubbs for ITV. Anthony has also worked in academia, teaching and doing Ph.D research in Washington and New Orleans. When not working as an actor, Anthony can be found taking groups of people on entertaining historical tours of London by road, river or foot.

Sam Lupton — Harry Robinson

Training: Manchester School Of Theatre (Man met, Acting)

Theatre includes: ‘Wilfred Crompton’ in Spring and Port Wine (Oldham Coliseum 2017); 'Seymour' in Little Shop Of Horrors (UK Tour 2016), 'Boq' in Wicked (Apollo Victoria Theatre, West End); 'Princeton’ & ‘Rod' in Avenue Q (UK Tour 2012); 'Man' in Starting Here, Starting Now'; Greg' in Single Sex and 'Gena Hamlet' in Galka Motalka (Royal Exchange Theatre, Manchester); 'Harry' in Love On The Dole and 'Young Collector/Sailor' in A Streetcar Named Desire (Bolton Octagon); 'Colin Ireland & Robin Oake' in Out Out Out (Pitgems Theatre); "Jim/Ensemble" in The Hired Man (Bolton Octagon) which won the 2010 TMA Award for Best Performance in a Musical, awarded to the entire ensemble. He Also originated the role of 'Ben' in Firing Life.

Television includes: The Late Late Show (RTE) and Ireland:AM (TV3).

Radio Includes: 'Nino Sarratore' in The Story Of A New Name & My Brilliant Friend (BBC Radio 4), Various Characters in National Velvet (BBC Radio 4)

Workshops: 'Boy & Zacky' in Big Fish; 'John-Michael' in Doris Stokes

Other Work Includes: The Music of Kooman & Diamond (IlliaDebuts, London Debut), "The Concrete Jungle": UK Album Launch (IlliaDebuts), 'West End Switched Off' (Parallel Productions)

Sam has also worked as a puppet coach for the 2014 professional UK tour of Avenue Q. In 2016 he made is directorial debut with How To Curse at London's Etcetera Theatre.

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cynthiajayusa · 6 years

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What’s Hot Central Florida: April 2019

Thursday, April 4

The Dr. Phillips Center for the Performing Arts presents Piff the Magic Dragon in The Lucky Dragon Tour at 7:30pm. 50% Comedian. 50% Magician. 100% Dragon. After earning national acclaim as the standout star of NBC’s America’s Got Talent and Penn & Teller: Fool Us, Piff the Magic Dragon continues to win over audiences across the globe with his mythical mixture of wizardry, wit and sarcasm that ignites a one-of-a-kind comedy magic show you have to see to believe. Joined by his trusty sidekick Mr. Piffles, The World’s Only Magic Performing Chihuahua™, the dynamic duo performed to sold out rooms at the world-famous Flamingo Casino in Las Vegas in the Piff the Magic Dragon Theatre. Now Piff and Mr. Piffles—along with Jade Simone, a genuine Las Vegas Showgirl, and Francis the Squire, a.k.a. the Eunuch in a Tunic—take to the road for the Dog Who Knows national tour.

Ballet and drag – merge in The Trocks, the world-famous all-male comic ballet company. Les Ballets Trockadero de Monte Carlo give new meaning to men in tights and go where no man has gone before: on pointe. Their hilarious spoofs of famous ballets like Don Quixote, Swan Lake and Nutcracker are done with impressive classical technique, making The Trocks “a mocking, loving, beady-eyed and wildly merry view of ballet. Not to be missed.” (Financial Times, London). Catch them at the The Van Wezel Performing Arts Hall tonight at 7:30pm and tomorrow (April 5) at the Straz Center for the Performing Arts in Tampa at 7:30pm.

Friday, April 5

Southern Nights Orlando welcomes Soju, from RuPaul’s Drag Race Season 11 (18yr+ Welcome). Drag Shows at 11pm & 12:30am featuring Roxxxy Andrews, Maya Andrews, Sassy Devine, Tasha Long & Tashae Sherrington!

Southern Nights Tampa presents their monthly NeiBEARhood Takeover with the 4th Annual Circuit Cub GLOW Jockstrap Party (Neon/Glow/Jockstraps strongly Encouraged) starring DJ Neon the Glowgobear. Come early and stay late as this is one of our LARGEST events of the year!! 21+ Only with free admission before 10pm.

Saturday, April 6

Cristoph’s Tampa will be celebrating their 1st anniversary tonight with performances by Alexis De La Mer, Stephanie Stuart, and Lady Janet along with music by Mike Sklarz. We here at Hotspots Central wish Jaqueline and her entire staff a very happy anniversary and wish her many more years of success!

The Parliament House presents a celebration of hair: “Wigfest 2019” featuring a Wig Fashion show featuring the most creative looks, on-site barber and wig stylist, vendors & exhibitors, and $300 cash for the best wig.

One of Tampa’s best parties is back with a new name, a new look, but the same “eat, drink, party” spirit! Best of Tampa Bay is now TASTE at The Straz, an ALL-INCLUSIVE all-you-can-eat food and drink extravaganza boasting more than 50 of Tampa Bay’s finest restaurants and caterers, and wine, liquor and craft beer tastings. Also, enjoy full open bars and 5 live bands! Since its inception 34 years ago, the Straz Center’s signature fundraising event has generated more than $2.5 million for arts education programs. Supporting the arts never tasted so good. Admission is $85 and $140 for VIP Admission. To purchase in advance call at (813) 229-7827.

Tuesday, April 9

Winner of six 2017 Tony Awards, including Best Musical—and the 2018 Grammy Award for Best Musical Theater Album, Dear Evan Hansen makes 2 stops in Central Florida. The first is in Tampa from April 9-14 at the Straz Center for the Performing Arts, and the second is in Orlando from April 16-21 at the Dr. Phillips Center for the Performing Arts. A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. Dear Evan Hansen is the deeply personal and profoundly contemporary musical about life and the way we live it. To find out more see the feature in this issue.

The Straz Center for the Performing Arts presents, Spamilton: An American Parody from today through Sunday, May 12. Don’t miss this “convulsively funny” (The New York Times) parody from the comic mastermind behind the long-running hit Forbidden Broadway. After tearing it up in New York, Chicago and Los Angeles, Spamilton: An American Parody will stage a singing, dancing, comedy revolution in Tampa for a limited time only. The Huffington Post raves “you don’t have to see Hamilton to have side-splitting fun at Spamilton.” Tickets start at only $30. To find out more see the feature in this issue.

More than two decades ago Jonathan Larson’s RENT opened on Broadway and forever changed American theatre. It continues to speak loudly and defiantly to audiences across generations and the world. And now, this Pulitzer Prize and Tony Award-winning masterpiece returns to the Van Wezel Performing Arts Hall with its vibrant 20th anniversary tour. A re-imagining of Puccini’s La Bohème, RENT follows the lives of seven artists struggling to follow their dreams without selling out. With its inspiring message of joy and hope in the face of fear, this timeless celebration of friendship and creativity reminds us to measure our lives with the only thing that truly matters—love.

Thursday, April 11

Derek Hough: Live! The Tour comes to the Dr. Phillips Center for the Performing Arts at 7:30pm. This new production comes from the EMMY award winning mind of Derek Hough! The show features brand-new stage production, astounding versatility and, as always, Derek’s magnetic stage presence. Fans will journey through a true fusion of dance and music, as Derek explores styles ranging from ballroom and tap to salsa and hop-hop and everything in between. Creative team and two-time EMMY winners, Napoleon and Tabitha Dumo, also known as NappyTabs (Jennifer Lopez: All I Have Residency; Michael Jackson: The Immortal World Tour; GRAMMYs® creative direction), will co-create, direct and supervise choreography for the tour.

Amalie Arena presents KISS in their End of the Road World Tour at 7:30pm. After an epic and storied 45-year career that launched an era of rock n roll legends, KISS announced that they will launch their final tour Known for their trademark larger-than-life blistering performances, KISS has proven for decades why they are hands down the most iconic live show in rock n roll. The Rock & Roll Hall of Famers who have sold more than 100 million albums worldwide have said this tour is devoted to the millions of KISS Army fans. Tickets start at only $25.75.

Join EPIC (Empath Partners in Care) and people from across Tampa Bay as we Dine Out to End HIV. Dining Out for Life is an international event, with more than 3,000 restaurants donating a portion of their proceeds in benefit of local AIDS service associations. For 14 years Tampa Bay restaurants have joined together in support of EPIC and those they serve who are effected or affected by HIV. Visit their website at DineTB.org to view a list of participating restaurants. Be sure to check back – new restaurants will be added daily up to the day of the event. For more information or to become a sponsor, please contact: Brooke Boccacino at (727) 523-3352, or at [email protected].

Friday, April 12

Cristoph’s Tampa presents a Blackout Party starring Stephanie Stuart with music by Mike Sklarz and a clothing check available.

Saturday, April 13

The Parliament House presents 8time Grammy nominated Dawn Robinson (formerly of En Vogue) live in concert singing her hit songs “Free Your Mind,” “Don’t Let Go,” and Giving Him Something He Can Fee.”

Stonewall Orlando presents Neema’s Legendary Birthday Party as part of his Amor, upscale Latin Party. Dorrs open at 9pm with $10 cover till 11pm and $15 thereafter. An expanded show time is at 12 midnight featuring Yeisa Jovovich, Angelica Michelle Jones, Kimberly Vasquez Arciliares, Nouba Soleil, Natalie Nayles, Kandy Ho’ and Naomi Aguilera. I would personally like to wish Neema a very happy birthday and wishing him many more years of success!

Thursday, April 18

Southern Nights Orlando presents “Avengers EndGame Party” with the Freshman Lineup at 10:30 Hosted by MrMs Adrien, and the main show at 12:30 Hosted By Axel Andrews with Kaija Adonis , Roxxxy Andrews , Kitana Gemini and special guest. Music by DJ DLUX and there will also be a costume contest. Free admission before midnight if you are 21+.

Saturday, April 20

Cristoph’s Tampa presents their monthly Bear Soup with the one and only Alexis De La Mer and music by DJ Mike Sklarz.

Tony Award -winner (Cabaret) Scottish-born Alan Cumming returns to the Van Wezel Performing Arts Hall with his new show Legal Immigrant, celebrating his ten years as a US citizen, growing older and what it feels like to be an immigrant in today’s America. The show is a true old-fashioned cabaret, a smorgasbord of songs and tales; laughter, tears and, of course, provocation! Alan is also known for his role as Eli Gold on The Good Wife and as co-host of the Tony Awards in 2015.

Saturday, April 27

Cristoph’s Tampa presents a “Super Hero Party” starring Lady Janet and music by DJ Jayson.

Join Balance Tampa Bay for their 9th Annual Kickball 4 Kids from 10am to 1pm (at press time the location is TBD)! As always they will have teams in a tournament type of game with a $20 suggested donation per person; $175 suggested donation for a team of 10. Their beneficiary this year will be their friends at Academy Prep Center of Tampa! Academy Prep has a mission to inspire and empower students qualifying for need-based scholarships to become future community leaders through a rigorous middle school program coupled with ongoing graduate support.

Van Wezel Performing Arts Hall presents Whoopi Goldberg who is one of a very elite group of artists who have won a Grammy (“Whoopi Goldberg,” 1985), an Academy Award (Ghost, 1991), a Golden Globe (The Color Purple, 1985 and Ghost, 1991), an Emmy (host of AMC’s “Beyond Tara: The Extraordinary Life of Hattie McDaniel,” 2002), a Daytime Emmy for “The View,” 2009) and a Tony (Producer of Thoroughly Modern Millie, 2002). She is equally well-known for her humanitarian efforts on behalf of children, the homeless, human rights, education, substance abuse and the battle against AIDS.

Saturday, April 30

Dr. Phillips Center for the Performing Arts presents The Temptations & The Four Tops at 7:30pm. For more than fifty years, The Temptations have prospered, propelling popular music with a series of smash hits, and sold-out performances throughout the world. Their hits include: ”My Girl,” “It’s Growing,” “Since I Lost My Baby;,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is only Skin Deep,” “I Wish It Would Rain,” And many more. .the hits kept coming. The Four Tops made their first single for Chess in 1956, and when Motown’s Berry Gordy Jr. found out they had hustled a national “Tonight Show” appearance, he signed them without an audition to be the marquee act for the company’s Workshop Jazz label. Their first Motown hit, “Baby I Need Your Loving” in 1964, made them stars and their sixties track record and their other hits include: “I Can’t Help Myself (Sugar Pie, Honey Bunch),” “It’s The Same Old Song,” “Reach Out I’ll Be There,” “Standing In The Shadows Of Love,” “Bernadette,” “Ask The Lonely,” “Shake Me, Wake Me (When It’s Over),” “Something About You,” “You Keep Running Away,” “7-Rooms Of Gloom” and their covers of “Walk Away Renee” and “If I Were A Carpenter.”

source https://hotspotsmagazine.com/2019/03/27/whats-hot-central-florida-april-2019/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2019/03/whats-hot-central-florida-april-2019.html

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demitgibbs · 6 years

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What’s Hot Central Florida: April 2019

Thursday, April 4

Friday, April 5

Saturday, April 6

Tuesday, April 9

Thursday, April 11

Friday, April 12

Cristoph’s Tampa presents a Blackout Party starring Stephanie Stuart with music by Mike Sklarz and a clothing check available.

Saturday, April 13

Thursday, April 18

Saturday, April 20

Cristoph’s Tampa presents their monthly Bear Soup with the one and only Alexis De La Mer and music by DJ Mike Sklarz.

Saturday, April 27

Cristoph’s Tampa presents a “Super Hero Party” starring Lady Janet and music by DJ Jayson.

Saturday, April 30

from Hotspots! Magazine https://hotspotsmagazine.com/2019/03/27/whats-hot-central-florida-april-2019/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/183748610055

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hotspotsmagazine · 6 years

Text

What’s Hot Central Florida: April 2019

Thursday, April 4

Friday, April 5

Saturday, April 6

Tuesday, April 9

Thursday, April 11

Friday, April 12

Cristoph’s Tampa presents a Blackout Party starring Stephanie Stuart with music by Mike Sklarz and a clothing check available.

Saturday, April 13

Thursday, April 18

Saturday, April 20

Cristoph’s Tampa presents their monthly Bear Soup with the one and only Alexis De La Mer and music by DJ Mike Sklarz.

Saturday, April 27

Cristoph’s Tampa presents a “Super Hero Party” starring Lady Janet and music by DJ Jayson.

Saturday, April 30

from Hotspots! Magazine https://hotspotsmagazine.com/2019/03/27/whats-hot-central-florida-april-2019/

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thegreatunfinished · 6 years

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It’s slippery in here: Twin Peaks, Trainspotting, and the dangerous complexities of nostalgia

The following contains spoilers for Twin Peaks and T2: Trainspotting. Weird combo I know, but hear me out.

2017 was the year of toxic nostalgia. We were desperate to escape into the past, to reject the heartbreaking complexities of the modern world, to make things great again and to take things back; so on and so forth. But it hardly ever worked out the way we wanted it to, and our world has got stuck in some weird sort of twilight zone, full of men holding plastic tiki torches and madmen building walls where once we had torn them down. Going back, trying to unnaturally force the toothpaste of time back into the tube of history, is always a little trickier than it first seems.

Two pieces of narrative art captured this wicked dichotomy: the seductive urge to go back and the realisation that even if you could, it mightn’t be a good idea. Ironically but entirely appropriately, both were resurrected remnants of the youth of Gen X & Y. And while the third season of Twin Peaksand T2: Trainspotting appear, on surface, to have not much to do with each other (weirdly, there are more drugs in the former than in the latter), the respective arcs and fates of Coop and Renton and friends might contain exactly the type of subtle, conflicted examination of nostalgia that our rose-coloured bespectacled world needs right now.

Director Danny Boyle indicates to us early on in T2 that nostalgia is going to be the central theme. The opening shots reach further back than even the original movie, giving us the first glimpse of our familiar protagonists as childhood friends. It’s a surprisingly saccharine opening gambit for a return to a world that we know of as anything but innocent, but it’s effective, and of course it’s just setting us up for a bitter rebuke later on. We cut to modern-day Renton: healthier than we once knew him but literally running at full throttle on a treadmill. Suddenly, his breathing gets tight and he falls, the implication being that his drug-ravaged body hinders him even in his new life. In these directly intercutting scenes, the past is both beautiful and dangerous, and it’s not done with him yet.

The first shot of Twin Peaks seasons 3 is also from the past: young Laura Palmer tells young Dale Cooper that she’ll see him again in 25 years. The next thing we know, Dale is old and he’s sitting across from the Giant-cum-Fireman, who’s really old. The shot’s in black and white, indicating to us that something weird is happening with time. As MIKE will soon ask Dale: is this future or is this past? We’re never quite told. Laura returns to say to Coop: you can go back now. Go back? Where? When?

The characters of T2 navigate their past like tourists, remembering odd moments from the first movie as they walk around their city like pasty Scottish ghosts. But this nostalgia is presented to us as quick, teasing and frustrated: we hear the opening beat of Iggy Pop, but we’re not allowed to hear any more. In Twin Peaks, our beloved characters are mostly held back from us for hours, and when they do appear it’s fleeting. Dale, a hero who’s existed in fans’ minds for decades, is taken from us as soon as he arrives and replaced with a clueless doppelganger. In both cases, we feel the storytellers struggling to engage with this exercise in nostalgia, and we’re told: this isn’t going to be as easy as you think. This isn’t Gilmore Girls.

In T2, the characters’ fondness for the past is expressed as an emotional stunting. Renton, Begbie, Sick Boy and Spud are all entranced, obsessed and traumatised by what happened before, and compelled to revisit it — like us, the viewers. In Twin Peaks, the storytellers use our desire for easy, clean nostalgia as a weapon against us. While Renton toys with totems of his youth (Iggy, heroin), tempted by their allure, Dougie Jones has moments of recognition of his own totems: coffee, pie, case files. Renton tries heroin and the results are anti-climactic. Dougie soon forgets his moments of clarity and returns to a stupor. Meanwhile, we watch on, grasping for totems from our past, and feeling increasingly conflicted about it.

The storytellers aren’t telling us that nostalgia is all bad, however — that’s far too simplistic. Spud’s nostalgia, and his ability to record it, saves him, while Bobby Briggs decodes clues from his dead father by investigating his own childhood. In both cases, nostalgia looks like it saves the day — though in actual fact, the revelations come from moving past the past, as it were, rather than staying stuck in it.

Both texts tease us for our desire to return. In T2, Diane appears briefly and wilfully non-consequentially — it’s not until later that a brief cutaway scene exposes Renton’s deeply-held regret at the loss of her in his life. In the most brutal case of pure nostalgia-baiting in Twin Peaks, Lynch and Frost make a middle-aged Audrey dance for us, explicitly calling the moment “Audrey’s Dance”, though of course that’s a title that exists in our world, not theirs. It’s as if they’re almost saying to us, with a sly grin: this is what you wanted isn’t it? Is this what you came for? The sequence, unsurprisingly, ends with a nasty punchline (setting us up for the exact same type of punchline that with which they’re soon to end the show).

Before the end of their running times, both texts will show us the very worst case extremes of unhealthy obsessions with the past. Renton and Sick Boy visit a bar full of nationalists who literally sing and stomp their feet about wanting to return a simpler, more racist time. In Twin Peaks, the worst side of nostalgia is represented maybe — just maybe — by Agent Cooper himself, who insists on literally travelling back in time to change the narrative of the past and save Laura Palmer. It’s an act for which he is punished, or at least is required to pay a great personal price for. Whatever you think of the ending of Twin Peaks, I find it hard not to read Lynch and Frost’s attitude the inability to let go of the past, as at the very least, deeply ambivalent, and possibly directly condemning. But whose nostalgia are they punishing? Coops? Theirs? Ours?

T2 ends in a similar fashion. Renton, having moved back into his dad’s house and staying in the same bedroom he was trapped in back in the first movie, finally succumbs to listening to Lust for Life, the audio lifeblood of the original movie. We’re left with the impression that Renton has reconnected with his past, and has found some peace, but at what ultimate cost?

Two heroes, delivered to the past, with massive question marks hanging over their choices, and their final fates. Two sets of storytellers, compelled to revisit their most famous creations, clearly conflicted over their own desire to do so, the commercial influences which got them there, and the nostalgic bloodlust of the audience that’s turning up to watch.

For my own part, here’s what I think Danny Boyle, David Lynch and Mark Frost are saying to us: enjoy nostalgia, dip into it, use it to anchor you like Bobby Briggs and centre you like Spud, but be careful not to go too deep, to become submerged entirely, like Coop. For though the past may seem golden and the present may seem broken in comparison, we will exist, succeed and fail, live and die, in the future, and the future only.

It’s slippery in here, says Bowie-turned-giant-tea-kettle before Coop literally steps into the past. With Brexit and MAGA and old Han Solo and older Deckard and redeployed Mulder and Scully and on and on and on, it’s getting pretty bloody slippery out here, too.

#movies #tv #art #twinpeaks #lynch #trainspotting

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