are you going to watch the new bridgerton queen charlotte series? i’m kind of intrigued but also the fact that they’re playing fictionalised versions of real people whom i know too much (negative things) about slightly gets me. i’d love to know your thoughts!
i’m going to eventually, i just have not had time - i really like too many of the characters already not to. i personally engage with bridgerton as total historical fantasy. it is a bit irksome that they use the names of real monarchs to me too but i guess they thought it would be weird to set a story in 19th century england and ignore the actual history of the fact. queen charlotte’s existence in the show is warranted, i think, because of the “explanation” that her marriage to george incited social change (that in itself is criticizable but the point is that she has a reason to exist as she is). because the tone of the show is clearly meant to be less serious and more or less just use the historical aspect of it as a backdrop to the romance - which is the focus - and that aspect is actually often neglected in favor of Artistic Choices i personally see it as pretty harmless, but i also totally understand why people would not want to engage w it
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Today was the first Christmas without my dad
I asked my mom to rip off the tags on his presents to me, but I could still tell which was his
The curiosity on my mom's face as I opened it and the unrecognized wrapping paper gave it away
And of course, the gifts.
I could tell it was from him because it didn't feel like it was for me. They didn't feel thoughtful, they weren't anything I could have been interested in.
Even if they were, they've been soiled by my father's inability to care.
Every gift from my mother felt like her noticing something I wanted or needed and getting for me.
Every gift from my father felt like him desperately trying to rekindle our "bond" by grasping onto and shopping for a vague memory of me.
But, thanks for the pepperoni sticks, Dada.
I guess you forgot I didn't like them.
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meanwhile, some quotes about the material:
The "musical within a musical" is about a ramshackle theater troupe haphazardly putting on a show destined for Broadway in exchange for doing chores around the farm. People fall in and out of love throughout the process, all while the city folk comically struggle with the country life. Emmy-winning writer Cheri Steinkellner was given one mandate, however: "No tractor," she laughed on the phone just weeks before the show was set to begin previews. "They were adamant about that. And there's a tractor in the movie. There's a tractor in almost every scene. It's in many ways about a tractor. But I was told absolutely no tractor."
[...]
"We're all working on this like we're on an actual summer stock schedule. Art imitates life imitates art. It's just go, go, go. And I couldn't be prouder of our cast, and our Jane and Joe," Steinkellner, who is also a Golden Globe winner, said. Her writing partner also happens to be her husband Bill. "Our 'Summer Stock' is more 'inspired by' than adaptation. There are four songs included from the original film that you can't not do. But the new songs are the best of the old songs. The secret sauce was the great American Songbook." She said "It Had To Be You" is one of the classics audiences can expect.
[source: ‘High School Musical’s’ Corbin Bleu makes his Goodspeed debut in ‘Summer Stock’]
So, how different is the musical Summer Stock from the movie?
It feels like a whole new animal, even though we’ve borrowed some elements from the movie. It is still, first and foremost, a love letter to the theater; it’s about this group of players who come to a farm to put on a show. So many numbers are how they get into farming through performance! We also still focus on how Joe and his partner Phil [played by Gilbert L. Bailey II] fight to get the show on its feet, and how Joe helps his eventual love interest Jane [played by Danielle Wade] find her inner performer.
But a lot has changed from the film, including some of the relationships. We have a brilliant new writer, Cheri Steinkellner, who has dropped in a lot of nods to why we love musical theater. We have Veanne Cox as Orville’s mother, who is the new “villain” of the piece. And we’ve added a lot of music, such as “It Had to Be You” and “It’s Only a Paper Moon,” and we’ve switched around who’s singing some of the film’s songs, such as “Dig, Dig, Dig” and “Happy Harvest.”
But the most important thing is that while we’re still in the late 1940s, there are two Black actors playing the male leads – me and Gilbert Bailey as Phil – and it is definitely not color-blind casting; it’s color-conscious. That means we’re dealing with an interracial love affair, for instance. The racial element is an additional driving force, which I think is necessary, but the main story isn’t about the struggle for racial equality. In the end, it’s still a feel-good MGM-like affair.
You’ve previously stepped into the figurative shoes of Gene Kelly, who originated the role of Joe in the movie, as well as Fred Astaire. How does that feel?
I am always aware these golden age icons from MGM have such a specific style and that they make what they do look easy. Of course, I want to bring that to Joe. But in the tap dance sequence, for instance, we also have a bit of Gregory Hines, even though I’m no Gregory Hines. And at the end of the day, it’s me on stage, and I work hardest on finding my own characterization of these roles.
This is your first time working with Donna Feore, who is one of Canada’s leading directors and choreographers. Tell me about your experience with her?
Donna is wonderful to work with, both as director and choreographer. I think the best thing about her handling both roles is we don’t have to get everyone on the same page, because she is the same page. She’s also really hands-on with the music; she fought to have a drummer in the room during rehearsals so we could find those beats while we created the choreography, not just insert them later. As she directs, she considers the movement of every scene, but also the story that we’re telling through that movement! It’s not movement for movement’s sake, and I appreciate that!
Goodspeed isn’t the easiest place to do a dance-oriented show, is it?
Yes, we’re dealing with the confines of a very small stage, it’s like dancing on a Chiclet. I am so impressed how vibrantly our cast can move on this stage. We’re on top of each other! I think we’d look great on a bigger stage, which is just one reason why everyone is focused on moving this show to New York.
[source: Interview: Corbin Bleu Talks About the New Musical Summer Stock and the Fourth Season of HSMTMTS]
“Summer Stock” is right in Corbin Bleu’s wheelhouse.
“I feel at home on the stage,” he said.
An actor, singer and dancer his whole life, Bleu is appearing in the upcoming stage adaptation of the Hollywood musical beginning July 7 at the Goodspeed Opera House.
“I established myself in this particular genre, doing shows associated with Gene Kelly or Fred Astaire,” he said. “I am a bit of an old soul. This is what my voice naturally goes to.”
The “High School Musical” star is playing Joe Ross, one of a troupe of actors that descends on a small farming town to turn an old barn into a theater. It appears he was born to play the role originated by Kelly on the big screen.
“I grew up as a theater kid,” Bleu said. “I grew up watching old MGM movies. I was a theater nerd and a musical theater fan. My dad kept a storage unit of stuff from our childhood, and he found an old school paper from when I was in elementary school where I’m dreaming of performing in musicals.”
[...]
Of the four shows, “Holiday Inn” is most similar to “Summer Stock,” which was also adapted from a movie . “Holiday Inn” was a fairly close reworking of the film, but “Summer Stock” takes a few more liberties.
“It’s not the exact same story,” Bleu said. “When I watch the movie, I think it could definitely use some updates.”
Those updates include a multi-racial cast.
“Let’s not skirt the obvious,” Bleu said. “I’m a Black guy doing characters traditionally played by white men, doing things Black men weren’t traditionally able to do easily at the time these shows take place.”
[...]
“Some parts of the book are still in process,” Bleu said. “Cheri is in the room with us at rehearsals. We want this to feel modern, but we don’t want to shoehorn anything in.
“I was also part of the workshop we did in New York a month and a half ago,” he added. “I’m loving seeing it and I’m loving being a part of it. We know this genre. It’s a feel-good musical comedy, a big song and dance show.”
Though there is a lot that has been rethought when reshaping “Summer Stock” for the 21st-century stage, those who know it as a Gene Kelly movie will have plenty to latch onto.
“We are completely paying our homage to Gene,” Bleu said. “I am not Gene, but I do have a natural tendency to lean into that style. Gregory Hines is also a big inspiration. There’s tap dancing in this. There’s a whole Lindy Hop number. There are a lot of very large dance numbers.”
[source: ‘High School Musical’ star Corbin Bleu is rethinking ‘Summer Stock’ at the Goodspeed Opera House]
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the fact that spinner doesn’t care more about his fellow mutants like why tf would you even introduce this plot
Yeah, I really don't get why Hori wrote this sub plot like this.
Like I see people mad at Shoji, saying that he's not listening to Spinner and his grievances, but he literally hasn't said shit about the mutant discrimination stuff. Spinner can barely talk as it is, or think and only screams about getting Kurogiri back. Shoji isn't shutting down his or really any of the mutants issues, he's just pointing out that they're being stupid and violent for zero reason.
Getting Kurogiri back has nothing to do with their cause and will not help them what-so-ever. The only one it helps is AfO--a guy who has never shown any care for mutant discrimination and has not promised these people anything. Spinner hasn't promised to help them either--they just latched onto him because...idk, they like his face, I guess.
It's honestly a little insulting to write this sub-plot this way because it presents the oppressed people as stupid and looking for excuses to be overly violent. Their arguments for standing with Spinner are weak or even non-existent and they literally have no reason to storm the hospital the way they are.
I get what Hori was going for, but it's so clear he's out of his depth and didn't put in the work to research how to write this storyline. He put it in because X-Men did it and because it added to his worldbuilding, yet he didn't put in the time to actually have it be more then surface deep.
And I think that's why some of the takes on this chapter bug me because it's just people gushing about how good it is and how it makes the villains so deep and the kids/Heroes horrible people, yet it's written so poorly. Hell, Hori putting Rock Lock of all his Heroes in this part of the story is by itself questionable. Having you're stand in racial allegory tell an actual black character that he doesn't get their pain is ridiculous and if Hori had spent any time researching for this story he would have realized that was a bad idea.
I get that people want a story that takes the system to task and has this sweeping narrative about oppression, but BNHA, if that is it's end goal, is still terribly written. Yet, I don't see anyone who thinks this chapter is good admitting Hori has made mistakes with this plot point. They're just to focused on how it could make their favs look better and owning the Heroes, rather then if the story makes sense.
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