Day: February 1, 2024

Flipping the Romeo and Juliet tragedy into a joyful self-discovery trans cuitural grooming thing.

I’m furious at Megyn Kelly for her friendly coverage of Donald Trump, but I feel complete relaxation with Adam Carolla and I don’t care how the HE commentariat responds to this.

Key quote #1: “All roads lead to narcissism.” Key analogy: Passion fruit iced tea vs. regular iced tea.

Max Martin‘s “& Juliet” delivers an upfront queer trans makeover and sell-job and not a mere gay subplot along these lines.

A pro-level B’way entertainment, of course, but at the same time a kind of spirited cultural indoctrination session for the tourist rube audience by way of a “join us in celebrating who and what we are” Tin Pan Alley progressive (LGBTQ) agenda, which goes hand in hand, incidentally, with the current “Some Like It Hot” musical.

https://en.wikipedia.org/wiki/Sugar_(musical)?wprov=sfti1#

Billy Wilder’s 1959 screen comedy, ahead of its time in terms of acknowledging cross-dressing and gender behaviors while being strictly hetero, was hetero Broadway musicalized as “Sugar” back in ‘72 — now the same story has been converted into an ecstatic celebration of gender fluidity and queer identity and yaddah yaddah.

https://somelikeithotmusical.com/

Harvey Fierstein’s “Kinky Boots,” which I caught 11 years ago, sold a roughly similar bill of goods.

https://en.wikipedia.org/wiki/Kinky_Boots_(musical)?wprov=sfti1

Snapped in Paris, posted on 5.28.23:

Sasha Stone and I have concluded that Tim Burton has only two casting options for his Attack of the 50 Foot Woman remake. One, a foxy POC chick with big boobies (Black, Asian, Asian) or — this is much better — persuade Taylor Swift to play the part. Better yet, cast Swift as a gay N.Y. Times columnist — Attack of the 50 Foot Lesbian.

Obviously younger auds are cool with Anyone But You, at least to some extent. After opening on 12.22 it’s still hanging in there five and a half weeks later, currently residing in third place domestically ($72,377,883) with a decent (if less than crazy humungous) worldwide gross.

Given the fact that Will Gluck‘s Australia-set romcom is absoutely awful to sit through, you’d figure it would be dead by now. Is this because Millennials and Zoomers have no taste? Or is it because Glenn Powell and Sydney Sweeney are seen as attractive world-class leads now and box-office watchers are just slow to catch on?

After catching Paul Thomas Anderson‘s hippie-dippie Inherent Vice (’14) I decided firmly and finally that PTA should never adapt another Thomas Pynchon novel. Because I absolutely hated the way Inherent Vice made me feel, plus I couldn’t understand at least 60% or 70% of the dialogue.

Alas, Jordan Ruimy is reporting that Anderson is now shooting another Pynchon adaptation, Vineland. It’s lensing in Northern California (Eureka, Acata, Humboldt County) with Leonardo DiCaprio as Zoyd Wheeler.

Instead of using the book’s 1984 setting, PTA’s film has apparently been re-set in the present.

Last night I caught episodes #1 and #2 of Feud: Capote vs. The Swans (Hulu/FX). and I was competely delighted by Tom Hallander‘s Truman Capote. It’s like Capote‘s Philip Seymour Hoffman is back among us, and it’s wonderful. The voice, body language, hat and scarves….perfect. Hollander will be Emmy-nominated and probably win…no question.

You might guess from the credit block that Hollander is playing a supporting role, but he’s absolutely the star. When Hollander’s on-screen, you’re riveted or at least sitting up in your seat. When the swans are front and center you’re paying polite attention and never bored, but at the same you’re waiting for Hollander to return.

The narrative is non-sequential, hopscotching around from year to year, era to era…1984, 1968, 1975, 1966, etc. Hollander is especially glorious in “Pilot,” the initial episode. Episode #2 (“Ice Water In Their Veins”) is about his immediate post-“La Cote Basque” downfall period…obviously sad, boozy and pathetic.

All the swan performances are first-rate with Naomi Watts‘ Babe Paley being the main stand-out. The other performances are completely satisfactory and professional — Diane Lane as Slim Keith (who was no longer slim in the late ’60s and ’70s), Chloë Sevigny as C. Z. Guest (Sevigny and Barry Keohgan are the queen and king of the bee-stung nose realm), Calista Flockhart as Lee Radziwill, Demi Moore as Ann Woodward and Molly Ringwald as Joanne (wife of Johnny) Carson. All completely convincing, no speed bumps or issues of any kind.

Jon Robin Baitz‘s screenplay is witty, amusing, blistering, spot-on. Gus Van Sant‘s direction is also top-=of-the-lone, and the animated credit sequence [see below] is luscious and haunting.

What can Team Trump possibly do to harm or compromise Taylor Swift? This is ludicrous.