#satirical-theater

#satirical-theater

Hey, Peppers on my beef, yo, Leo, here to defend my papacy bro. You got JD, I got JC though. You keep Rubio, I ride around with the holy trio.

I was just terrified. I was like, 'I don't want to mess this up. It's done so well. Everyone loves it. And now I'm coming in, and I can be the thing that makes the wheels come off.'

The point of cinematic realism is the inner life, and the miracle of movies is their power to portray subjectivity, though few filmmakers manage to attain that power—even despite their best efforts.

CoHo hasn't just survived, it has thrived and is ascending, and that is largely thanks to the foundation that Cuomo... laid with the young artists who have come up after him.

I felt a sense of injustice that there were so many talented comics that, through no fault of their own, could not take part in standup comedy and I was determined to address that.

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Under the ABS challenge system, a team begins each game with two challenges. If a player gets an umpire's call overturned, their team retains the challenge. In effect, this means a team has unlimited challenges until they get two wrong.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

Wallace Shawn's new play, What We Did Before Our Moth Days, opens with a provocative monologue about a 25-year-old's relationship with a 13-year-old girl, challenging societal norms.

ARMY Twitter was aflutter with accusations that the warm-up comic for The Tonight Show Starring Jimmy Fallon made a racist joke. He said, 'Anybody here from the North? No? Nobody?' Fans interpreted that as being directed at the band, implying that one of them was from North Korea.

It's his sort-of coming out story imbued with the trauma of losing his mother Amy to ovarian cancer, told via a 2000-slide PowerPoint presentation and finished off with a genuinely impressive magic trick (Sharp was a childhood magician). On the subject of finishing, it's an abundance of sordid sex tales that fill the gaps between Sharp's god-fearing childhood in America's south, and his mother's crushing death in 2010.

On a cool winter night in Los Angeles, dozens gathered to protest the Trump administration's attacks on the arts and the recent federal immigration raids in southern California. But these protestors didn't carry signs or chant in front of a government building they recited poems such as Antifa Tea Party and Love in Times of Fascism. They performed anti-fascist improv to a small but lively crowd at The Glendale Room, a library-themed theater, as part of the monthly show Unquiet: A Night of Creative Resistance.

Videos of these harrowing monologues, prerecorded by actors speaking in French, were projected onto a mysterious opaque box at the center of the performance space, as audience members listened through headphones and read English subtitles. Then venetian blinds shrouding the box slowly rose to reveal glass walls and, inside them, a sinister diorama-a replica of RTLM, or Radio Télévision Libre des Mille Collines, the radio station that fuelled the catastrophe.

Readers who saw my previous post will recall its focus on a recurring pattern of laughter and humor found during my deep dive into the humor of the Seinfeld series. I wondered why we tend to laugh at various things going into our bodies and tried to explain why we might be so inclined using the Mutual Vulnerability Theory of Laughter.

He would refer to his father as ce salaud bourgeois (that bourgeois arsehole) and he delighted in telling me the story of being thrown out of school aged eight because he punched the gymnastics teacher who was trying to instil discipline into young boys by turning them into military martinets. Of the professions and attitudes that merited his ire the military, the church, hypocrisy, sham, inauthenticity, politicians, academics and fascists collaborateurs had a special place in his heart.

Spalding Gray used to perform a show called Interviewing the Audience. The celebrated monologist would invite a stranger he had met in the lobby to join him on stage. Through a sequence of innocuous questions, he would get them to open up about their lives. At one performance, a guest broke the audience's hearts by talking about her daughter's murder. At benefit nights, people living with HIV shared their tales. Other times, the anecdotes would be eccentric or amusing.

You might not thrill to the thing itself, but once you know that the genre-defining mime, Marcel Marceau, used his skills to entertain orphaned Jewish children while helping them to escape occupied France - the noiselessness of his act essential, as Nazi soldiers stalked the corridors of the trains to the Swiss border listening for runaways - then you at least have to respect what Marceau called "the art of silence."