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—at sixty-five million dollars, the most expensive Broadway musical ever staged—those elements have been compounded by death-defying aerial stunts, which, despite safety tuneups by the director, Julie Taymor, have resulted in a stream of ghastly headlines. At a flying demonstration in October, a cast member broke both wrists when he was catapulted across the stage during a slingshot maneuver. (Another actor broke a toe the same way.) Then, in previews, a lead actress sustained a concussion when she was hit in the head by a rope while standing offstage. (She later quit.) And, shortly before Christmas, a performer fell off a thirty-foot-high platform and suffered a hairline skull fracture, internal bleeding, and four broken ribs, among other injuries. He got out of rehab last weekIn the article he quoted several people who said that they were going to the technical dress rehearsals in the hopes of seeing someone get hurt. Talk about your bread and circuses.
As of January 2011, DC Comics titles will no longer carry the Comics Code Authority Seal of Approval. In 2011, DC Comics will employ a rating system consistent with that of the rest of the industry, as well as with our digital releases, which already utilize a rating system. As for our Vertigo comic books, they will not utilize the rating system, because they will continue to be labeled as “For Mature Readers”.This leaves only Archie Comics that submits their books to the Authority for approval.
8. When the flag is displayed in a manner other than by being flown from a staff, it should be displayed flat, whether indoors or out. When displayed either horizontally or vertically against a wall, the union should be uppermost and to the flag's own right, that is, to the observer's left. When displayed in a window it should be displayed in the same way, that is with the union or blue field to the left of the observer in the street. When festoons, rosettes or drapings are desired, bunting of blue, white and red should be used, but never the flag.This stuff just makes me crazy!
From weak performances to laughable music numbers, nearly every single problem facing "Spider-Man: Turn off the Dark" stems from its convoluted story. Director Julie Taymor and Glen Berger wrote the book, providing audiences with a story that's as difficult to follow as it is disrespectful towards Spider-Man's established character. Deviations from Marvel lore are to be expected; this production is meant for the mainstream masses, not the Wednesday Warriors, after all, and nearly every single comic book adaptation goes through its fair share of changes. But the musical's creative departures are both arbitrary and insulting towards Peter Parker's core beliefs.Which leads me to wonder, why, with a proven storyline that that has held up for nearly 50 years, why would you change everything so drastically? Anyway, for the full text of this review, go here.
Jones, who was the subject of a bunch of articles and news reports about a month ago, is a weird dude who walks around Seattle in a costume and sneakers, apparently trying to stop crime. He did not do so well with this particular crime, however:
Through it all, ticket sales have soared, which raises an uncomfortable question: are people paying to see calamity? At a preview last Tuesday, members of the audience seemed conflicted. Outside the theatre, Alaina Schwartz, aged twelve, who had come from Long Island with her family, was asked if she hoped to see someone fall. “Yes! Yes!” she said. “I’m weird about that stuff. Like, there was a roller coaster and it kind of fell backwards, and I was kind of wishing that I was on that roller coaster at the time that it fell.” Her father, Steven, looked concerned.
“I hope somebody falls but they’re O.K.,” her sister Alexa, fourteen, said.
A third sister, Stephanie, nine, objected: “If something goes wrong, that’s bad luck for us!”
In the lobby, Allie Bauer, a Yale junior, said, “There’s a certain allure to this being a very dangerous performance.”
“You’re more evil than I am,” her classmate Will Moritz said, eating a Twizzler.
After thinking it over, he added, “If I could see someone fall from the rafters but not go to the hospital—just magically get up—then I’d be down.” (He’s majoring in psychology.)
Matt Clements, a cameraman from midtown, had come to the show with his girlfriend. “She wants to see blood,” he explained.The rest of that New Yorker can be found here
You can add Bill de Blasio, the New York City public advocate, to the list of nemeses that Spider-Man will have to battle en route to his much-delayed Broadway opening. In a letter sent to the city’s Department of Consumer Affairs, Mr. de Blasio warned that the Broadway musical “Spider-Man: Turn Off the Dark” may be violating consumer protection laws by not clearly distinguishing its preview period (when the show is still considered a work in progress) from its post-opening performances (when the show is a finished product), and could face fines.
Noting the premium cost of Broadway tickets, which can run $150 or more, Mr. de Blasio wrote: “At those prices, consumers deserve to know what they are purchasing, and there is a real difference between seeing an unfinished show in previews versus one that has officially opened. That many shows do not advertise that they are in previews, either in promotions or at the point of ticket sales, is unacceptable.”