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  1. In my head, Peter is so set on the school trip in part BECAUSE he's not ready to deal with people's expectations of him being "the next Iron Man." Sure, part of it is that he's a lovesick teenager who doesn't always make smart decisions, but I also think part of it is that he's a kid who's grieving the loss of an important mentor to him, after he fought an army of aliens, after he was dusted out of existence on another planet, and he doesn't want to feel like he has the weight of the world on his shoulders. And while he tries to rebuff "Fury's" attempts to rope him into the mission, he always springs him action the moment people are in trouble.
  2. I liked that too. Showing the understandable reasons why people are upset on the one hand, but then on the other, "This is basically our 9/11," oof. I also enjoyed Trevor's suggestion to just behead the statue and stick someone else's head on it. It reminded me of a suggestion he had earlier in the summer that we ought to make statues out of a material that will break down after a decade or so, so we have to actively CHOOSE to build it again/keep honoring that person instead of just passively letting it stand. 100%. I appreciated Jordan just busting out laughing when he heard that - I'm sure he need the release. Back when he, as the only white-guy correspondent, became the show's go-to Trump rally correspondent, I'm sure he couldn't imagine the depths that assignment would take him to over the years. I also loved him talking to the one guy about being pro-life. "You think it's important for Americans to do everything they can to protect human life?" "Of course!" "So why aren't you wearing a mask?" The other night, with the "Facebook censors onion photo" story, it was an easy joke, but I laughed so hard at Trevor's sudden sexual awakening over sexy onions, especially when it popped up again in other bits.
  3. Seriously - does Linklater really want to commit to a 20-YEAR film project with this guy in Merrily We Roll Along? Dump him now. What an unspeakable creep.
  4. I didn't have a chance to watch this until last night. FWIW, I saw the Broadway revival but have never seen the 1970 film with the original off-Broadway cast. I thought the revival was really well done and was excited that the cast and Joe Mantello were brought back together to do this movie. On the whole, I think the movie succeeds. It does a nice job of making it feel a little more expansive, what with the opening and closing sequences, plus the flashback snippets to break up the action. And even within the party itself, it includes just enough movement between different locations in the apartment to give a sense of flow. Onstage, it's really effective to have everything continuous, almost claustrophobic as you're caught within the action, but onscreen, that same approach would run the risk of looking staid. Even with some lengthy monologues, this generally feels like a movie instead of a play. That said, I thought a couple of the "expansions" lessened tension at key points, namely Alan and Harold's entrances. In both cases, I think the moments would've landed better without telegraphing their approaches. Mostly loved the cast when I saw them onstage, and that holds true here. I actually think Jim Parsons comes across a little better here as Michael - in the show, while I thought he was good, there were moments where I could feel the acting a little more, whereas here, I feel like he inhabits the character better. He still feels a little too actory in the really big moments, like his final confrontation with Alan and his breakdown after the party, but for the most part, I buy it. For me, though, Zachary Quinto's role sticks out as feeling too "performed." I get that part of Harold's whole deal is the artifice of his carefully-crafted presentation of himself to the world, but it feels less to me like something the character is doing and more like Quinto, to borrow from Emory borrowing from Norma Desmond, going "Mr. DeMille, I'm ready for my close-up." Whereas, with Robin de Jesus as Emory, I can buy the mix of him being naturally feminine and also leaning into it deliberately as a persona, whether to scandalize "the straight" or preempt those giving him shit about his mannerisms. And obviously, we see Emory drop some of that during his telephone scene. I don't have as much to say about Brian Hutchinson as Alan, Matt Bomer as Donald, or Charlie Carver as the Cowboy. I like some of the little bits of onscreen business adding to the Cowboy's gooberish-ness, like how he's eating cake with his hands and has frosting ALL OVER his fingers when Harold instructs him to dance. Also, how he's just standing out on the balcony when the rain starts and and the others have to bring him inside with the rest of the "presents," hee! I think with Bomer, the film medium helps Donald feel a little more present throughout - onstage, I thought he got kind of lost in the shuffle during the second half, but having reaction shots and things keeps everyone feeling involved in the proceedings. Michael Benjamin Washington is so good as Bernard - I love the code-switching in his accent and demeanor during his telephone scene, and throughout you can feel the tension of his position in the group, the way he and Emory band together and yet simultaneously shit on each other as the two lowest on the totem pole. And Hank and Larry remain my favorites. I'll confess that I stan Andrew Rannells to a ridiculous level, and The Boys in the Band was the first time I got to see him live onstage, so more than anything, he's the reason I was thrilled that these performances were preserved for the film. He and Tuc Watkins play off of each other so well, and both Hank and Larry's telephone scenes are just splendid, although I think the shouted "IT'S FOR YOU, HANK!" worked better onstage than it does in the movie. Also, I do call shenanigans on how darkly-lit their sex scene is at the end. Overall, I think putting these stage performance in the context of a movie adds an interesting energy. Mantello maintains the ensemble presence through the reaction shots and whatnot, but even when someone isn't in focus (or onscreen, for that matter,) it's like I can still feel them acting, contributing to the energy of the room. It comes through for me in a lot of little moments. TL;DR - Really glad to have this film. It's a different experience than seeing it onstage, and it was fun to compare the two.
  5. Count me in as another one who loved Jane Goodall. Totally unexpected guest, but she was great. I loved how, in talking about the importance of making Earth-conscious choices, she emphasized that people living in poverty aren't able to make those choices, so it's up to everyone else to step up. John Cena was a great guest too. I've never thought much about him as a celebrity, but I think I get it. He just radiated wholesomeness - I liked that he named himself a member of the BTS army, and I liked his clarification on "earning the day" and how sometimes that means resting and taking care of himself. Trevor promising to hug the shit out of him when they were able to meet IRL again was adorable. I feel bad for anyone who has to give commentary on that debate, but Trevor pulled it off. The whole bit about Chris Wallace trying the "do you want to switch seats?" tactic with Trump was good (especially Trevor's relief that Trump didn't go through it, because "I don't know if Wallace has it in him to kill 200,000 people"), and I loved his impression of Fox News hosts pondering the "mystery" of why Trump didn't denounce white supremacists. Side note, I'm liking the slightly-longer hair on Ronny - it looks good on him. ETA - for anyone who hasn't seen it, Trevor also posted videos of his post-debate thoughts on Tuesday night and his reaction to Trump's COVID-19 diagnosis on the show's YouTube channel. He really captured the brain-breaking experience of trying to watch that debate, and I like the approach he took with the COVID video.
  6. I'm sad in that, as goofy as the writing can be at times, I still love the show, the characters in it, and the way all the actors play off each other, and I'll miss having it around. But at the same time, I'm not sad, because 6 seasons is a respectable run, and it's so much better to plan an intentional final season than to be canceled unsuspectingly. OR to tank in quality and limp across the finish line. Most shows are either canceled way too soon or drag on way too long, but this feels right. I also think it helps to read the messages from the cast and see how at peace they all appear to be about it. I agree that it was a decision that was probably a long time coming and pretty much everyone was on board with it by the time it was announced. The pictures they're posting are giving me all kinds of feels - the show did a great job of fostering a family between the characters, and the beautiful interactions between the cast had a lot to do with it. Once it's over, when I think of Supergirl, I'll think of Kara being powerful (I especially love that thunder clap move she does, always badass) and giving speeches about hope, but I'll also think of game nights, karaoke outings, and Danvers sisters movie-and-takeout nights. Truly, el mayarah.
  7. Thanks so much for posting that, @RealHousewife! I loved that speech.
  8. In the case of the snake bite, it was probably the case that it was specifically a magical injury (since Nagini is a magical beast, her bites are different than that of an ordinary snake,) and it seems like Muggle remedies don't work there, whereas with run-of-the-mill injuries/illnesses, it's just faster to heal things the magical way. I wonder about witches/wizards who marry Muggles (like Seamus's mom - Seamus was half-blood, right?) Muggle-borns like Hermione or wizards raised by Muggles like Harry are used to the Muggle world and have to get used to wizarding ways when they come to school, and purebloods like Ron seem to largely be from wizard villages and/or live out in the middle of nowhere, rarely interacting with Muggles. But did Seamus's mom meet some Muggle guy and fall in love without knowing what telephones or dentists are? Maybe mixed marriages are more common for wizards/witches who are Muggle-born, since they'd already have a foot in that world and understand more of how it works.
  9. Boseman talked about what I’m assuming is the All My Children role in the commencement address he gave at Howard University. He said that the role was written as a pretty negative stereotype, and he spoke with the producers about making changes to give the character more nuance. They thanked him for his insight, offered to let him talk to the writers, and fired him the next day. He also mentioned that when the show aired with the new actor, he saw that they actually HAD incorporated some of the suggestions he’d made, even though they’d fired him after he made them. It’s so effed up. A lot of actors take “survival roles” when they’re starting out, crappy roles to pay the bills until something better comes along, but for a lot of POC actors, who have a smaller pool of roles they’ll be considered for to start out with, I’m sure a good number of those survival roles are racist stereotypes. Do you do the song and dance the production expects of you (and maybe get roasted by your community for perpetuating stereotypes,) do you try to improve the role to where it’s something you can stomach doing (and maybe get fired for your trouble,) or do you turn down the role (and maybe not get any more?) I feel for any actor who gets put in that position.
  10. Trailer up for the Netflix adaptation of The Boys in the Band - color me excited!
  11. I'm not sure about other late-night shows, but it feels like both this show and Last Week Tonight have been taking more time off during the pandemic, and I don't begrudge them for it one bit. In addition to the added complexity and stress of putting these shows together remotely, I can't imagine how tough it must be to continually be insightful and funny in the face of horrible news night after night when you're coming up on six months of limited social interaction. I miss them when they're not on, but Trevor, John Oliver, and anyone else can take as much time to recharge as they need, whenever they need it.
  12. Agreed on both counts, @possibilities. I love Ramy too, so it was great to see Trevor showing the series so much love. I don't have cable, so I'm a watch-the-next-day viewer. When I got online this morning and saw "Trevor Noah" was trending, I thought, "I bet he talked about Jacob Blake." Incredible commentary as always. Pissed off, but also just disgusted, especially when he was talking about the white shooter ("Don't worry, the business is all right.") I really felt for Trevor when he said he could probably pre-record five police shooting stories and no one would know the difference (personally, I think one of Trevor's strengths in these stories is the specificity and empathy with which he approaches the story of each victim, but I totally understand the feeling behind that statement.) Another part that really got to me was, "Black people are tired of hearing, 'I'm sorry,' and then nothing happening. Because essentially, what Black people are hearing is, 'I'm sorry this happened, and I'm sorry it's going to happen again.'" Including the longer clip from Blake's sister was really powerful too, and I loved what Trevor said about "militias."
  13. Oh man, I LOVED Trevor spiraling out over all the contradictory fearmongering at the RNC about a hypothetical Biden presidency. (paraphrased) They're gonna throw us in jail, but they got rid of all the jails so all the criminals are out in the street shooting at us, but they took all the guns away so we have to fight on Twitter, but we can't because WORDS ARE CANCELED!" Amazing bit. And he was right on about a real Trump presidency outweighing the damage of a hypothetical Biden one. "Dude, I'm Clorox-wiping my grapes, how much worse could shit get?"
  14. Nice! That was one of the shows I saw the last time I was able to get out to New York, and I've been looking forward to seeing some of those performances again.
  15. Oh no, ITA, Martha/Tom Milligan makes perfect sense. I just mean, there's a world in which a Martha/Mickey romance COULD'VE worked and been interesting to me, but the show didn't choose to put anything into it AT ALL. They threw out something that had been built up and established in exchange for a cheap "twist"/killing two birds with one stone in Ten's farewell tour. Sorry, I didn't mean to say the show was right to ditch Tom and slot Mickey in there instead, or that a Martha/Mickey marriage is better than a Martha/Tom one would've been. Just that, if they were going to go through the trouble of doing that, they should've at least taken advantage of the ways in which a Martha/Mickey connection could've made sense. As is, though? 1) You're right, it's a waste of a perfectly well-established Tom Milligan. And 2) it feels icky to have the only two Black companions have to share their farewell scene with the Doctor AND pair them off when I'm pretty sure we never saw them utter an actual line of dialogue to each other before that moment.
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