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Kom ons doen weer die tydsbui!

Kom ons doen weer die tydsbui!



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Gesinsbelydenis: My broer woon in (o, die skande) ... ek is so skaam dat ek elke keer vir hom vertel dat hy op Staten Island (wat verkieslik bo New Jersey is) woon. Tog kom ons van dieselfde ouers (alhoewel ek nog altyd vermoed het dat hy aangeneem is) en ons het albei 'n liefde vir pizza in ons DNA. So toe hy sê dat die beste pizza ter wêreld in Elizabeth was, net 10 minute van sy kantoor in Newark af, het ek natuurlik gedink dat die drinkwater in New Jersey hom uiteindelik gekry het. Na ses maande se aanstoot neem ek uiteindelik die 20 minute lange rit deur die tonnel.

Die bordjie op die huisie op South Broadway met die Italiaanse vlag sê "Santillo's Italian 'Bread' Pizza" en herinner my dadelik aan die bordjies van Sally s'n en Frank Pepeis in New Haven, Conn., die enigste stad of staat wat met pizza en New York kan meeding met betrekking tot pizza -erfenis. Ek sal selfs erken dat ek gehou het van die unieke tamatiepastei wat ek in Trenton, N.J., by die oorspronklike DeLorenzo in Hudsonstraat gehad het, wat my ongelukkig onlangs vertel het. Maar Elizabeth? U kan net sowel na Old Forge, Penn., Die selfverklaarde "Pizza Capital of the World" gaan, al weet die inwoners daar nie eens wat mozzarella-kaas is nie.

Santillo's Dit lyk ewe bisar as jy aan die voorkant van die huis in 'n stegie in die rigting van 'n parkeerterrein loop voordat 'n STOP -bord en ingangsteken jou deur 'n afgesonderde sydeur lei. Die term 'beperkte sitkamer' gee nie reg nie. Santillo's is streng afhaalbaar, en as jy slim is, bel jy om te kom haal, want daar is slegs 'beperkte staanplek' (miskien vir ses dun mense) voor 'n klein toonbank waaragter 'n groot glas yskas met 'n verskeidenheid gebottelde koeldrank in die sitkamer van die huis.

Maar dan sien u die eerste aanduiding dat u in 'n lewendige pizza -museum is wat asemhaal. Op die lang rakke wat aan die lae plafon hang, rus die langste pizza -skille wat ek nog ooit gesien het, miskien 20 meter lank, wat dieselfde is as dié wat ek by Pepe gesien het. Dan kry u u eerste blik op Al. As hy die regte lengte van die skil kies, soos Tiger Woods wat die regte klub kies, derde generasie, sanderige hare, middel 50's en aangenaam mollig, lyk Al Santillo meer na my broer as na my broer. Sy vrou, Lorraine, roep die pizza -opdragte uit na Al, wat blykbaar besig is om wit sakke te skud, gevul met warm varsgemaakte zeppole om dit eweredig te bedek met gesmelte suiker.

En dan, as u werklik gelukkig is, nooi Al u uit om om die toonbank te kom en in sy oond te loer. Alhoewel die oond 'n paar jaar gelede omgeskakel is na gas uit die oorspronklike steenkoolbrandstofbron, lyk dit asof die oond geen einde het nie, 'n diepte van 20 voet bereik en 'n breedte van 14 voet het. Vandaar die behoefte aan die verskillende lengtes reuse -skille. Die lae geboë baksteenplafon van die oond lyk soos die plafon van 'n katedraal. Die oond, wat oorspronklik gebou is om brood te bak, is geskat op 1904, twee jaar ouer as die bakoond wat by gebruik word Lombardi's Pizza in Spring Street (wat algemeen beskou word as een van die oudste pizza -ondernemings in die omgewing). Al se oupa het foccacia in die 1920's gebak en Al se pa, Alfred, het die huidige plek met 'n oond in 1957 gekoop om op pizza te fokus.

Al, wat sedert 5 -jarige ouderdom die oond as leerling in opleiding beman het, is nie net die kurator van die oond en erfgenaam van die historiese skat nie, hy is die volmaakte vakman. Benewens pizza, bak hy nog steeds hemelse saadbrode Italiaanse brood, sommige gevul met wors, ham, pepperoni, spinasie, kaas en/of broccoli. Sommige van die brode wat uit die oond kom terwyl ons daar was, het, net soos Al self, kreatief vrye vorm, wat meer soos erfstuk -tamaties lyk as brood. Nadat hy letterlik groot geword het met die kombuis as sy speelkamer, ken Al elke vierkante duim van die 20 voet-oond, insluitend al die eienaardighede en temperatuurvariasies. Hy herinner my aan die glasblaasmeester-kunstenaars wat ek onlangs op die eiland Murano besoek het, wat nie net pragtige glaskuns met hul oonde skep nie, maar ook by spesiale geleenthede die plaaslike Venetiaanse lagoonpaling in die oonde sal bak, met lourierblare.

Het ek die pizza genoem? Mense vergeet nooit hul eerste motor nie (1978 Ford Mustang vir my), maar wat van hul eerste pizza? Die spyskaart by Santillo loop so diep soos die oond, met die keuses van pizzastyl wat volgens die jaar van hul skepping gekategoriseer word. Al is soos H.G. Wells met 'n oond vir 'n tydmasjien, wat voortdurend pizza's na die toekoms bring. Die oudste is die egte tamatiepastei uit 1940 (geen kaas) en die tamatietert uit 1948 (met gerasperde Parmesaan), albei 'n knik van respek vir hul pizza -broers in die suidelike New Jersey in Trenton.

Nadat ek 'n paar warm zeppole geneem het met vergunning van Al, het ek en my broer ons historiese reis begin met die 1956-styl, ekstra dun 14-duim ronde tert met stukke plaaslik vervaardigde venkelwors wat my aan my gunsteling in Manhattan herinner het, John's van Bleekerstraat. Asof hy sy volledige bemeestering oor die oond wou demonstreer, het Al my gevra oor die korstekstuur wat ek verkies - sag, bros of goed gedoen. Ek het sy oordeel uitgestel en die kors wat uitgekom het, was 'n perfekte knapperige knapperigheid met net die regte hoeveelheid char. Die wors het perfek gemeng met die kaas en die kors, alhoewel dit dun was, het net genoeg lug. Die sous het beslis sy teenwoordigheid laat voel - dit het 'n uitgesproke soetheid, maar het steeds sy suurheid behou, wat my weer herinner aan die tamatiepastei, wat New Jersey trots as sy eie beweer.

Ons grootmoeder het in die 60's in Queens grootgeword en het elke Vrydagaand na my broer en ek geloop Alba's Pizzeria op die hoek van Queens Boulevard en Main Street terwyl my mense alleen 'n goeie etetyd in Manhattan naby ons pa se kantoor gehad het. Die ronde pizza van my jeug was (en is nog steeds) wonderlik, maar op 'n stadium het ons as jong kinders die vierkantige, dik gebakte Siciliaanse tert by Alba's probeer, in kaas gedrapeer en lewenslank verslaaf. Ons het dus geredelik ooreengekom op die handtekeningvierkant van 1964, die tert met siciliaanse olyfolie en parmesaan-besmeerde tert. Ek sweer dat ek 'n traan gestort het, indien nie uit gelukkige kinderherinneringe aan die pizza -aand met Gram nie, omdat die kaas, wat ek nie kon weerhou om in te skeur nie, nog in gesmelte vorm uit die oond was. Altyd pronk hy soos een of ander jazzmusikant, Al riffed by, en voeg 'n paar vars ricotta by twee van die hoekskywe net om ons gedagtes te blaas oor die oneindige moontlikhede.

Ek het 'n Santillo-T-hemp (xx-groot) en 'n worsbroodjie gekry wat ek vandag vir ontbyt gaan eet, en ek het vir Al gesweer om voor Nuwejaar terug te kom om die huidige "San Marzano-tamaties van 2011 oor die kaas" te probeer "pizza, sodat Al dit nie van die spyskaart af haal nie. Ek het nou 'n nog beter verskoning om New Jersey te besoek. Dankie boet.


AGTER DIE WIEL/2006 Chevrolet HHR Laat ons weer 'n tydsverskuiwing doen

MET die bekendstelling van die 2006 HHR -wa, het Chevrolet nog 'n stap nader gekom om sy hele modelreeks vanaf 1950 terug te bring.

Hierdie pittige klein broodjie, bedoel om die voorstedelike vragmotor van 1949-54 op te roep, sluit aan by die stadig-verkoopte SSR-bakkie, 'n ander tydmasjien-ontruimde van Chevy se gloriedae van die 1950's, op handelaarspersele. Hier hoop ons op 'n herlewing van die Styleline -omskepbare.

Het General Motors ' -stiliste nie genoeg idees nie, of lyk die oues net lekkerder? Persoonlik hoop ek dat hulle sal werk tot by die 1957 Bel Air, my gunsteling. Die versoeking is om te sê dat dit stylvol sedertdien vir Chevy afdraand was.

Enige bespreking van die HHR begin en eindig amper met die styl. Dit is waarskynlik 'n goeie ding, aangesien dit die aandag afwyk van die feit dat daar nie veel anders is wat die motor onderskei nie.

Vergelykings met die Chrysler PT Cruiser is onvermydelik, en albei voertuie het bande met dieselfde ontwerper. Dié ontwerper, Bryan Nesbitt (wat nou uitvoerende direkteur van ontwerp vir GM in Europa is), was nog by Chrysler toe die huidige Dodge Durango ontwerp is. Parkeer 'n HHR langs die groot Dodge, en u sal sien dat die Chevy lyk soos 'n voorafgeknipte weergawe van die Durango, al is dit 'n gesigmasker van 'n 50-jarige G.M. vragmotor. Skerms, vensters, daklyne, verhoudings en hoeke - tot by individuele elemente soos die agterligbehandelings - stem baie ooreen met die Durango's.

Vir die rekord, Robert A. Lutz, die G.M. ondervoorsitter en produk tsaar, beweer dat die inspirasie vir die Mini Me Durango nie die PT Cruiser of die Durango was nie, maar die Chevy SSR. As jy hom raakloop, moenie grap dat die Chevy 'n te veel kruiser is nie en dat hy dit al voorheen gehoor het en nie geamuseerd is nie.

Die HHR - die voorletters staan ​​vir & quotHeritage High Roof & quot - was 'n redelik maklike manier om gebruik te maak van G.M. 's Delta -motorargitektuur, ook gebruik as die fondament van die kompakte motors Saturn Ion en Chevrolet Cobalt. Kort nadat die HHR laat in die somer bekendgestel is, het Lori Queen, die voertuigbestuurder vir klein motors, in 'n onderhoud gesê dat die HHR maklik die Cobalt -wa kon wees. "

Haar implikasie was blykbaar die volgende: Moenie kla oor hoe die HHR verloop het nie, want dit kon baie erger gewees het. Die Cobalt (wat die nie -geliefde Cavalier vervang het) lyk nie sleg soos 'n coupe of selfs as 'n sedan nie, maar niemand het gedink dat dit 'n mooi kombi sou wees nie.

"Ek dink die HHR -ontwerp het baie te doen," het mev. Queen gesê. "Baie persoonlikheid."

Ondanks die styl van 'n hoë karakter, lyk die HHR 'n bietjie leeg doek wat wag op die aanraking van 'n kunstenaar om dit lewendig te maak. G.M. hoop dat aanpasers die wa sal omhels net soos hulle na die PT Cruiser en die boksige Scion xB geneem het. Die Association of Specialty Equipment Market erken die HHR as die mees bykomstige vriendelike S.U.V. op sy onlangse beurs in Las Vegas.

Tog lyk dit asof die HHR van die voorraad nie die elementêre flair van PT het nie. Of miskien, aangesien die PT nou al ses jaar bestaan, is dit bloot die feit dat retro oud word.

Miskien is een van die redes waarom G.M. Bestuurders is ontevrede met vergelykings met die PT Cruiser dat die effens groter Mexikaanse HHR aan die verkeerde kant van die meeste van hulle uitkom. Die Chrysler, wat in die herfs 'n 'groot' gesigsmassa gekry het, kos honderde dollars minder, het meer perdekrag (van beide sy basis en opsionele enjins), 'n groter verskeidenheid opsies en versierings en het 'n aansienlike opgradering van die gebruiksinterieur gehad. .

Ook die interieur van die HHR is bedoel om 'n kernattraksie te wees. Dit beskik oor gemaklike sitplekke vir vier volwassenes (indien nie die geadverteerde vyf nie), met goeie kop-, been- en skouerkamer. Danksy groot vensters is die sigbaarheid oral goed, nog 'n sterk punt. Die skakelaars en meters is subtiel retro.

Die driespaak-stuurwiel voel groot in verhouding tot die grootte van die motor en oordryf die aansienlike senuweeagtigheid in die stuur. Die remme en handskakelaar ly ook aan vaagheid.

Die ruimte vir vrag en berging is aantreklik en bevat 'n aantal "vierkantige" kuipgate en kompartemente onder die vloer. Met sy agterste sitplekke verwyder, het die HHR meer vragvolume as die Hummer H3 (63 kubieke voet vs. 56). Die voorste passasiersitplek, plus die tweede ry sitplekke, vou plat om lang, lywige vragte te help.

Ondanks sy oorsprong as 'n kobaltmotor, word die HHR, soos baie van die klein, lang waens wat op die mark gekom het, as 'n vragmotor geklassifiseer.

Die basiese LS-model begin by $ 15,990 en bevat lugversorging, 'n stereo met CD-speler en kragslotte, vensters en spieëls. Die $ 16,990 1LT het 'n motorbestuurder se sitplek en 'n MP3 -speler. Die top-of-the-line 2LT, vir $ 18,790, kom met die groter enjin, blokkeerremme, misligte en 'n harder klankstelsel. Soek elders as u 'n navigasiestelsel of 'n video-babasitplek op die agterste sitplek benodig.

Vierwielaandrywing is nie beskikbaar nie, net soos dit nie op die PT of die xB is nie. (Die Honda Element bied 'n vierwielaangedrewe alternatief.) Twee veringkeuses word aangebied met die sponsagtige basis en die stewiger sporttipe van die 2LT. Onderweg was die elektriese stuurstuur te hoog en te sensitief vir my smaak. Sestien duim bande en spaakwiele is standaard, 17 duim is opsioneel. Ek is op soek na chroomvelde of -blaaie na die mark om 'n bietjie pizazz by te voeg, wat hier te kort is.

Die enjinkeuses is nie uitstekend nie. Die basiese 2,2 liter-in-lyn 4-silinder lewer 'n indrukwekkende 143 perdekrag. Die opgegradeerde 2,4-liter Ecotec 4 lewer 172 perdekrag, maar voel steeds traag-ten minste in vergelyking met die gevoel van dieselfde enjin in die Pontiac Solstice-roadster. Die ekstra 320 pond van die HHR het moontlik iets daarmee te doen.

Die vyfgang-handratkas word gemanipuleer deur 'n ongemaklik geplaasde skakelaar-dit is redelik ver agter en redelik laag in verhouding tot die sitplekke. 'N Viergang-outomaties is opsioneel.

Vir die toekoms kyk Chevy na 'n paneelwa -weergawe, sonder die agtervensters, en 'n HHR met meer krag. Deur die 205-perd-enjin van die Cobalt SS Supercharged te installeer, kan die HHR 'n ware aanspraakmaker word.

Die HHR is die nuutste in 'n groeiende segment van laebal -oddballs - dink aan die PT, die xB, die Element, die Mini Cooper, die Volkswagen New Beetle. Al hierdie voertuie vier hul flambojansie tot 'n groter effek as die eerder prima en behoorlike HHR. As Chevy die sokkie se lewe wil wees, benodig dit meer as 'n kobalt in 'n soet pak.


Laat ons weer die tydsbui doen

Becca Mohr (23), 'n onlangse Tufts -gegradueerde, het verlede maand vir haar 'n partytjie gehou in Washington, DC ter viering van die 10de herdenking van haar bat mitzvah. (JAY PREMACK VIR DIE BOSTON GLOBE)

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'N Paar weke voor sy 26ste verjaardag het Jordan Newman 'n vreemde idee gehad. Wat as hy 'n partytjie hou en dit sy “double bar mitzvah ’ ’ noem?

Hy sou die godsdienstige deel, die Joodse mondigwording-seremonie vir seuns van 13 jaar oorslaan. Hy sou een in 1998 gehad het. bedek met “Mambo No. 5 ’ ’ en “The Electric Slide. ’ ’

Die partytjie het op 15 Januarie in 'n Ierse kroeg in Boston plaasgevind, met al die klassieke elemente en 'n gloeiende halssnoer, 'n emcee, dansvloerspeletjies. Hulle het selfs die hora gedans en 'n koek gedrink met die gelukwensingsboodskap “Mazel tov, Jordanië! ’ ’

Dit was een van die lekkerste aande wat ek kan onthou, en Newman, wat in bemarking in Boston werk. Bar -mitzwa -partytjies vind plaas op 'n tydstip dat jy so ongemaklik, so ongemaklik is om met meisies te kommunikeer. Vermoedelik is jy 'n man, maar jy het nog nie uitgegroei tot die bar mitzvah -partytjie nie. ’ ’

Daar is geen statistieke oor die verskynsel nie, maar dit blyk dat baie mense in bar mitzvah -partytjies groei, selfs al is hulle oud genoeg om troues te hou, selfs al is hulle nie Joods nie. Of dit nou uit nostalgie of ironie is, hulle put uit die feestelike, moderne elemente van 'n belangrike Joodse lewensiklusgebeurtenis — dansvloerspeletjies, “mazel tov ’ ’ aanmeldbord, en al.

Wat hulle nie herleef nie, is die godsdienstige deel. By bar mitzvah -seremonies (bat mitzvah vir meisies) lees jongmense uit die Torah en lei die sinagoge -gemeente in gebed. Hierdie oorgangsritueel dui aan dat Joodse seuns en dogters verantwoordelik is vir die nakoming van Joodse wette en tradisies. Partye was nog nooit deel van die pakket nie.

Dit was vroeër dat u na die sinagoge gaan, 'n paar gebede sê, en 'n stukkie sponskoek eet, ’ ’ sê Rabbi Moshe Waldoks van Temple Beth Zion in Brookline.

Nie meer nie. Deur die dekades heen het die bar mitzvah -partytjie 'n steunpilaar vir baie Jode geword. En soos met ander gebeurtenisse wat die oorgang na volwassenheid en#8212 quincea ñera in Latyns -Amerikaanse kulture kenmerk, het die onthale byvoorbeeld groot geword en 'n eie lewe aangeneem.

Daar is 'n sekere druk wat Waldoks uitoefen, het Waldoks gesê. Elke party moet groter wees as die volgende. ’ ’

Hierdie partytjies het so 'n impak op sommige 13-jariges gehad dat die vierers weer as volwassenes probeer.

Becca Mohr (23), 'n onlangse gegradueerde aan die Tufts-universiteit, het verlede maand vir haar 'n bat mitzvah-partytjie gehou om die 10de herdenking van haar oorspronklike een te vier, kompleet met 'n 10-jarige musieksnitlys, 'n horasirkeldans en die cha -skyfie.

Rich Parr, wat as Rooms -Katoliek grootgemaak is, maar 'n Joodse vrou het, het 'n “Parr mitzvah ’ ’ in Allston gehad vir sy 26ste verjaardag.

Onlangse Tufts grad James Kennedy (22), ook nie Joods nie, het 'n “James kry 'n bar mitzvahed party ’ ’ met gewilde bar mitzvah musiek soos die hoenderdans, en sy vriende het hom op 'n stoel gelig terwyl hulle die hora gedans het .

Ek was lankal geïnteresseerd in die kultuur van Judaïsme, en Kennedy, 22, wat in Washington, DC woon

Die neiging het ook die Weskus getref. Joodse regstudente aan die Stanford-universiteit borg volgende week 'n sogenaamde “Open Bar ’ ’ Mitzvah-partytjie met 'n DJ, danse soos die macarena, en gloeistokkies en opblaasgitare. Die strooibiljet bevat 'n foto van die dekaan van die regskool, Larry Kramer, by sy eie bar mitzvah. "Hy was 'n baie goeie sport," het Lexi Schechtel, 'n student wat gehelp het om die geleentheid te organiseer, gesê Lexi Schechtel, hierdie partytjies moet nie verwar word met faux mitzvahs nie, en uitgebreide bar of bat mitzvah- stylpartytjies vir nie-Joodse 13-jariges.

Mei Patterson van Lynnfield het verlede jaar so 'n geleentheid vir haar dogter Tia gehou, met 'n DJ en 'n pragtige winter wonderland tema, ’ ’ het sy gesê. In haar stad, met die uitblaas van 13de verjaardagpartytjies en#8220is die nuwe gier, ’ ’ het sy gesê.

Partye soos Jordan Newman ’s is minder daaroor om die ouderdom te vier as die ouderdom wat hulle is was, Met postmoderne ironiese oë, sê Larry Cohen, 'n filmmaker en vriend van Newman in Brooklyn, NY, wat hom gehelp het om sy partytjie te beplan. Hulle is een van die eerste generasie Amerikaanse Jode in die middelklas wat 'n deel van hul tienerjare deurgebring het aan spoggerige bar- en bat mitzvah-partytjies en 'n aanskoulike ervaring in hul gemeenskaplike geheuebank beleef het. Die trots was die gevolg van die voltooiing van maande se studie, die lees van die Torah en die eer van die gemeenskap.

En daar was die verleentheid oor wat daarna gekom het. Poseer vir foto's met draadjies op hul tande. Deur hul ouers te laat kyk hoe hulle stadig dans. Een van die mooiste herinneringe van Newman was om 'n groot ingang in die partytjiekamer te maak vir die spannings van sportpomp-musiek, arm-in-arm met 'n paar dansers. ’ ’

Dit is 'n mini-troue, en Jonathan Heller, direkteur van Camp Hadar, 'n Joodse dagkamp in Salem, NH, wat personeellede wat 13 jaar daar gewerk het, vereer met 'n viering wat insluit 'n bar mitzvah tema partytjie.

Baie daarvan kom van die ouers. Hulle wil hierdie groot en uitspattige geleentheid bywoon, en ons was saam met die rit, het Cohen gesê. Daar is soveel dinge wat u teëkom. Die feit dat u 'n man is en dat u skaars met meisies kan praat. Jy is uitgeput. Daar is baie aandag aan u. Almal wat my bar mitzvah bygewoon het, het heerlik gebly behalwe ek. Nie dat ek 'n slegte tyd gehad het nie. Ek het net nie lekker gekuier nie. Ek wou net van buite af kyk wat aangaan. Wat aan die gang was, was ek, en dit was meer as wat ek wou hanteer. ’ ’

Nou dink Cohen, wat in September 26 word, om sy eie dubbele bar mitzvah te hê. “ Om twee redes, ’ ’ het hy gesê. “Dit is snaaks. En jy probeer om 'n beter weergawe van jouself te wees op 13 as jy regtig 26 is. ’ ’

Newman het gesê dat hy verbaas was oor hoe geredelik sy vriende die dubbel bar mitzvah -konsep aangeneem het.

Hulle begin met idees rol: jy moet 'n gloeiende halssnoer hê. Jy moet varke in komberse hê. Jy moet speel ‘ Mambo No. 5. ’ Ons moet dasse dra wat halfpad in ons hemde lê. Ons moet Coke en Pepsi speel, ’ ’ het hy gesê, met verwysing na 'n dansvloerspel wat blykbaar min trekkrag het buite die bar-en-bat-mitzvah-kring.

Op sy $ 700-begroting kon Newman 'n geskenk, geskenke soos opblaasbare saxofone en T-hemde bekostig wat sê: "Double Bar Mitzvah van Jordan ’s: This Time With Girls!" aanmeldbord, die partytjie was 'n sukses: Jordanië, ek weet ons het pas 5 minute gelede ontmoet, maar jy lyk wonderlik net omdat jy 'n dubbele kroegmitzwa gooi! Mazel tov! ’ ’

“Ons is 'n redelik nostalgiese generasie, ’ ’ het Newman gesê.

En waaroor moet u nie nostalgies wees nie?

'N Partytjie word beplan deur een ’s, betaal deur een ’s se ouers, dit is amper soos 'n Peter Pan -ding, ’ ’ het Sylvia Barack Fishman, voorsitter van die Brandeis Universiteit ’s Department of Nabye Oosterse en Judaïsme Studies. “Dit smag na 'n veiliger tyd. ’ ’

Maar op godsdienstige gronde is dit redelik bleek, Joods, ’ ’, het Rabbi Waldoks gesê. Die feit dat 'n 26-jarige 'n dubbele bar mitzvah wil hê, is wonderlik. Maar ek sou hom graag wou laat kom en weer sy haftarah doen, het hy gesê, 'n verwysing na 'n voorlesing uit die Hebreeuse bybel. Ek is seker hy het baie hard gewerk om dit die eerste keer te doen. ’ ’


Laat ons nie weer die tydsverskuiwing doen nie

Dit lyk asof die afstandsbediening 'n oomblik in die lug hang, en die infrarooi sensor meng met die lig wat deur die venster inkom om 'n reënboog te vorm voordat die toestel op die skerm van my televisie val. Ek leun agteroor, tevrede dat my woede 'n terapeutiese uitweg gevind het, draai dan om en soek na ander dinge om te breek.

U wonder waarskynlik hoe ek hier gekom het. Laat ons dus 'n paar weke vroeër terugblaai om dit te verduidelik. Of sou dit beter wees as ek my verhaal van TV-kritikus wee in die regte volgorde, eerder as om te begin met 'n semi-opwindende voorval, voordat ek terugkyk na hoe dinge gebeur? regtig begin het? Omdat 'n plaag op die land van Peak TV neergedaal het, waarin gebreekte tydlyne die lewe uit baie te veel verhale suig.

Meer van Rolling Stone

Die idee van nie -chronologiese storievertelling self is ver van nuut vir televisie. Seinfeld 'n episode waar die verhaal agteruit loop, genaamd "The Betrayal", drie jaar voor Christopher Nolan Memento teaters tref. Negentigerjare drama juggernaut ER uiteindelik verlief geraak op die idee om episodes in die middel van 'n verhaal te begin (ook bekend as in medias res) en dan 'n paar uur teruggaan om te illustreer hoe een van die heroïese dokumente in die taai situasie beland het.

Onlangs het die "24 uur vroeër" -chyron egter van tyd tot tyd 'n foefie geword van 'n narratiewe standaard. Alleenlik volgende week word drie reeks reekse in première gelê wat 'n paar variasies van die toestel gebruik: HBO Max's Gemaak vir liefde (1 April), Netflix's Die slang (2 April) en AMC's Bendes van Londen (4 April). Trouens, dit sal moeilik wees vir u om 'n reeks wat onlangs in die vooruitsig gestel is, te identifiseer wat nie mettertyd 'n bietjie aap gekry het nie, en die name wat wel die geval was, te identifiseer. Selfs programme gemaak vir kleuters, soos Netflix s’n City of Ghosts, kan dit nie weerstaan ​​nie!

Waarom kan u dan vra: is dit 'n probleem? Het ek nou net 'n ou geword wat op wolke skree? Of is dit die kinders wat verkeerd is?

As dit slim gebruik word, kan roerende vertellings, terugflitse, terugflits, parallelle tydlyne, ens. Ongelooflike impak hê. Drie van die beste dramavlieëniers wat ooit gemaak is - Alias, Verlore, en Breaking Bad - gebruik een of meer van hierdie toestelle, en dit is baie meer opwindend daarvoor. Alias begin met 'n kaneelhaar Sydney Bristow op die punt om deur Chinese regeringsamptenare gemartel te word, en dan weerkaats dit tussen die situasie en die verhaal van hoe sy op 'n stoel geboei is, terwyl haar tande die risiko loop om te onttrek. Verlore (ook van J.J. Abrams, alhoewel mede-skepper Damon Lindelof baie tyd gespeel het in sy latere projekte) begin oomblikke na die ongeluk van Oceanic 815, en gee later 'n blik op die passasiers in die middel van die lug. En Breaking Bad begin beroemd met Walter White in sy onderklere en neem 'n afskeidsvideoboodskap aan sy gesin op, terwyl hy verwag dat hy in 'n skietgeveg met die polisie sal sterf, en dan duik die verhaal in sy lewe voor die lewe. Daardie vertonings het ook voortgegaan om betyds agteruit en vorentoe te beweeg, soos benodig gedurende hul lopies, met Verlore wy 'n hele seisoen aan tydreise en Breaking Bad die einde van die reeks aan die begin van die vorige seisoen.

Dus is nie -lineêre vertellings self nie die probleem nie. Dit is dat te veel mense - skeppers en bestuurders - na die programme gekyk het wat dit reg gedoen het en gesê het: 'Ag, dit is maklik! Ons kan dit ook doen. ” Dus, wat vroeër 'n af en toe vakmanskap was, is nou gemorskos wat so skelm en in massa geproduseer word, dat u nie eers die aanvanklike suikeruitbarsting daaruit kry nie.

Verskeie vertoners het vir my gesê dat dit nou gereeld 'n opmerking is wat hulle van netwerk- en ateljee -base kry, veral oor loodsafdelings. (Een het selfs beweer dat die instemming van die nota die prys was om hul vertoning groen te kry.) Met soveel programme om van te kies, is almal bang om die kykers se aandag vir 'n sekonde te verloor. Daarom besluit hulle die eenvoudigste en sekerste manier om dit te vermy: om verby die vervelige uiteensetting te spring, iemand voor te stel wat deur 'n glasvenster spring of 'n bank beroof terwyl hy geklee is in Angela Merkel, en dan eers almal behoorlik voorstel (*) . Maar baie min skeppers is so talentvol soos Vince Gilligan (wat ook 'n nie -lineêre raamapparaat gebruik vir elke seisoen van die Breaking Bad spinoff Beter bel Saul). Dus, tussen die terugkeer in basiese kuns en die alomteenwoordigheid van die toestel, wat word bedoel om te titillate ("Ooh, ek kan nie wag om uit te vind waaroor dit gaan nie!") Vererger eerder ("Oh, this again?").

(*) Wat veral irriterend is, is wanneer die flash-forward-teasers eers nie eers so opwindend is nie. NatGeo's Die regte goed reeks begin met twee van sy ruimtevaarders wat mededingend draf, skeer en ontbyt eet voordat die verhaal twee jaar in die verlede terugtrek om die verhaal te begin vertel oor hoe hulle mekaar so afkeer. As u in medias begin, verraai dit in die algemeen 'n gebrek aan vertroue in die materiaal, maar as u begin met ouens wat steak en eiers eet, kan u maar tou opgooi.

Die opvallendheid en oormatige gebruik om in die middel te begin, kan ook die onbedoelde gevolg hê om die kyker uit die verhaal te trek. Ons weet dat ons 'n fiksie geniet, maar storievertellers moet baie versigtig wees hoe en hoe gereeld hulle ons daaraan herinner, op dieselfde manier as wat Superman -skrywers oor die algemeen beter nie probeer verduidelik waarom 'n bril is nie. genoeg om Clark Kent se identiteit te verberg. As u die tydlyne dophou en leidrade soek oor hoe die verlede en die hede sal skakel, is u nie so gefokus op wat die karakters voel en ervaar op die oomblik wat u eintlik kyk nie.

Dit is 'n nog groter probleem vir programme wat hul tydlyne uitmekaar breek buite hul openings tonele. Die eerste seisoen van Ware speurder dit pragtig gedoen, met 'n blik op die middeljarige, verwoeste Rust Cohle en Marty Hart, wat beide 'n emosionele anker en 'n mate van narratiewe duidelikheid bied vir die terugflits-tonele oor die saak waarmee hulle saamgewerk het. Maar meer gereeld word die kartering van die tydlyn waarin u is en hoe dit met die ander verband hou, 'n werk wat die kyker ontkoppel van die verhaal wat hulle kyk. Selfs as daar 'n tematiese punt is om nie -lineêr te gaan, soos hoe die eerste paar seisoene van Westworld oor mense sowel as masjiene wat vasgevang is in hul eie gedragsluste, weeg die geestelike inspanning byna altyd die geestelike beloning.

Die aksiebelaaide Britse misdaaddrama Bendes van Londen speel minder aggressief met die tyd as die ander opvallende premières van volgende week, en beweeg grotendeels chronologies vorentoe na 'n kleurryke medias res moordtoneel om die bui te skep. Gemaak vir liefde, 'n wetenskaplike komedie met Cristin Milioti in die hoofrol as 'n vrou wie se man met 'n tegnologiese mag 'n chip in haar kop inplant om haar optrede en gedagtes op te spoor, deur die hele geskiedenis van die lelike huwelik te kyk, en selfs voorheen. Die slang, oor die reeksmoordenaar Charles Sobhraj (Tahar Rahim) wat op Westerse toeriste in Asië se “hippie-roete” in die sewentigerjare besig was, dramatiseer die vele misdade van Sobhraj heeltemal buite werking, en parallel met die chronologiese tydlyn waar die Nederlandse diplomaat Herman Knippenberg (Billy Howle) en sy vrou Angela (Ellie Bamber) word amateur -sleutels as die plaaslike owerhede nie die moord op 'n paar Nederlandse toeriste voldoende ondersoek nie.

Gemaak vir liefde kry ten minste 'n paar komiese kilometers deur gebeurtenisse byna willekeurig aan te bied, en dit pas by die idee dat Milioti se karakter voortdurend na haar verlede kyk om te vermy om aan haar neerdrukkende hede te dink. Die slangdit onderbreek hom egter om elke draai deur nie in een rigting te beweeg nie. Daar is gereeld chyrons om die kyker te herinner aan presies waar hulle in die verhaal van Sobhraj is, maar 'n witbord kan nodig wees om te onthou wanneer sekere gebeurtenisse relatief tot ander gebeur. Tonele word dikwels verskeie kere vanuit verskillende perspektiewe in verskillende episodes aangebied, in teorie om 'n nuwe konteks te gee aan wat ons voorheen gesien het. Tesame met die geritualiseerde metodes van Sobhraj - sou hy sy slagoffers vergiftig, wat hulle siek genoeg maak om vir alles van hom afhanklik te wees - laat die verhaal meer eentonig voel as wat bedoel was. (Niemand hoef soveel tonele te sien van mense wat wankel in die derm nie.) En hoewel die nie -lineêre benadering soms die spanningsvlak verhoog, val dit meestal in die pad. Jenna Coleman lewer 'n sterk optrede as Sobhraj se vriendin, Marie-Andrée Leclerc, maar hoe Leclerc ontwikkel van niksvermoedende liefdesbelangstelling tot halfwillige medepligtiges, raak verlore tydens al die geskommel. Uiteindelik smelt die twee tydlyne saam, met Herman en Angela wat genoeg vordering maak Die slang neem dringend aan by die gruweldade wat Sobhraj gepleeg het. Die latere hoofstukke is so gespanne, opwindend en soms aangrypend dat die periodieke terugspoeling nie te veel in die pad val nie. Die vraag is hoeveel kykers sal bybly vir die uitbetaling.

The structure will feel familiar from a number of recent docuseries, such as The Vow of The Last Dance. In many cases, it feels like an attempt to hide the padding of a story that easily could have been told in half the time (if not less). This is a variation on the problem of so many series these days being feature-film ideas that were simply expanded when they couldn’t be sold to a movie studio. But a “10-hour movie” presented in this convoluted way ultimately isn’t any more satisfying than one that goes in order.

I asked a writer who’s worked both on shows that are chronological and shows that aren’t about the proliferation of nonlinear narrative. They said, “You have to answer, ‘Why are you doing this?'” The device is generally more effective at revealing character than in concealing plot, this writer argued, and is best when the audience winds up in the same headspace as the character — like with poor Leonard with his short-term memory problems in Memento. Too many recent shows just go out of sequence for an initial jolt of adrenaline, or to turn basic story points into mysteries, leaving the whole thing feeling at best like an empty exercise, at worst like an annoying rehash of tropes that half of television currently uses. “When you think about it,” the writer added, “almal stories start in medias res,” because even a story that begins with a character’s birth is still coming in after their parents met, etc. Once upon a time, though, stories generally continued on from wherever they chose to begin, and that’s happening much less often than it should.

As I’ve watched a lot of in medias res openings over the last few years, I’ve frequently vented that if you can’t tell your story chronologically in order, then you should find a different story to tell. That’s obviously reductive thinking I wouldn’t want to see wholly linear versions of Memento of Breaking Bad of Pulp Fiction. Still, far too many series are unsticking themselves in time now, and doing it poorly. The device has gone from a rare and thrilling surprise to a familiar and frustrating crutch — one that shows like The Serpent keep tripping over.

TV shows don’t have to stay linear, but at this moment in time, they need a really good reason not to. For the sake of my endangered TV screen, if nothing else.

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‘The Rocky Horror Picture Show: Let’s Do the Time Warp Again’: TV Review

Laverne Cox makes an acceptable Frank-n-Furter, but Kenny Ortega's new 'Rocky Horror Picture Show' for Fox lacks any cult appeal.

Daniel Fienberg

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When Fox’s Grease Live! premiered back in January, appreciative critics, myself included, weren’t so much impressed with the originality of the production &mdash many or most of its best moments were straight out of the beloved movie &mdash as they were with how much inspiration director Thomas Kail and his creative team were able to wring within the restrictions of a live TV broadcast.

That’s a grading curve that benefited Grease Live! and one that’s slightly unfair to Fox’s The Rocky Horror Picture Show: Let’s Do the Time Warp Again. But it’s hard not to be struck by how comparatively little inspiration helmer Kenny Ortega was able to get from this canned and slightly mummified remake of the cult musical and film. Not airing live and never intended to air live, Let’s Do the Time Warp Again suffers from suffocating staging and an utter lack of reflection on the source material &mdash but also from the source material itself, as what little energy it possesses is gone by a second half that turns into a real slog.

AIR DATE Oct 20, 2016

Verwante verhale

'Grease: Live': TV Review

Working off the original script by Richard O’Brien and Jim Sharman , Fox’s Rocky Horror take begins with an usherette (Ivy Levan ) singing “Science Fiction Double Feature” and introducing a framing device in which an audience is watching and very rarely reacting to the movie we’re seeing. It’s a conceit that adds nothing, but at least acknowledges the importance of audience participation to the Rocky Horror verskynsel. (More on this later.)

I must have seen Rocky Horror Picture Show at least five times with crowds before I even began to understand or care about the plot, and that narrative superfluousness is only reinforced in this context. Newly engaged squares Brad (Ryan McCartan ) and Janet (Victoria Justice) are seeking refuge from a storm when they duck into a castle to use the phone. Brad and Janet are lucky enough to show up for the Annual Transylvanian Convention, a gathering either attended or serviced by an assortment of outlandish personalities including Igor-esque Riff Raff (Reeve Carney), shrieky Magenta (Christina Milian ) and lollipop-loving Columbia ( Annaleigh Ashford) and briefly crashed by motorcycle-riding Eddie (Adam Lambert). The true belle of the ball, though, is Dr. Frank-N-Furter ( Laverne Cox), who has successfully made an idealized man, Rocky ( Staz Nair ). Murder, deflowering scientific investigation and gender and sexual fluidity ensue.

An opinion on Rocky Horror (the show, regardless of its specific adaptation) that should let you know if you want to believe anything I say anyway: The musical is front-loaded to an untenable degree. The first half of the show has “Science Fiction Double Feature,” “ Dammit Janet,” “The Time Warp,” “Sweet Transvestite,” “I Can Make You a Man” and “Touch-a, Touch-a, Touch-a, Touch Me.” The second half of the musical contains a lot of expositional songs that I’m always convinced I’m hearing for the first time. What that means is that either a production establishes sufficient momentum in its first hour to coast for the last hour, or it’s doomed.

Mostly, Ortega’s production is doomed, as one number after another fails to capture any of the spirit of abandon that’s demanded to move the story along. “ Dammit Janet” finds Janet and Brad rushing through a graveyard in the throes of love, but the camera barely moves with them, or it even impedes their progress. Is it dull staging or meant to reflect how lifeless their romance is? I suspect the former, but feel free to believe the latter. “The Time Warp” is also an unexpected drag, edited to capture neither the singing, nor the rhythms of the choreography. Too often in these scenes, which have to sell the anarchic nonsense of the entire endeavor, the camera seems glued in position and the editors seem to be working from a paucity of options that favor neither production scale nor performance intimacy.

And it’s the treatment of what’s happening within the frame that’s flat, not what’s actually there, because my sense is that the choreography itself is far more ambitious than what’s in the original movie. And I’m sure that the costumes, especially Frank-N-Furter’s attire, are a leap forward. Nothing is being showcased in a way that captures the joy.

Sadly, that applies to so many of the performances. Once the show was always going to be filmed and not live, I get why the singing wasn’t performed live, but the soundtrack album that the actors are lip-synching to has been overproduced to the point that almost all vocal distinctiveness is gone and then those vocals get pushed down in the mix. It’s one thing when Disney-ified singers like Justice and McCartan are produced to sound smoothed out and undistractingly bland, but Lambert and Carney both have recognizable voices and ample rock-musical chops, which you’d never know from “Time Warp” and “Hot Patootie .” Since Justice and McCartan are playing characters meant to be wooden, at least initially, their performances aren’t hurt, and Justice in particular leverages her tween-friendly image for some playful sexiness. But Lambert and Carney, and so many of the flashier characters in the show, are hampered by a production that has given absolutely no apparent consideration to how what was daring and countercultural and outré in 1975 might not read the same way in 2016. If you do a show like this without any interpretation or reimagining , you miss what attracted audiences to the show in the first place and you just end up further sanitizing material that was edgy 40 years ago but can be done by high school drama departments today without a blush.

Having a hero self-described as a “sweet transvestite from Transsexual, Transylvania” was once shocking, but now we only blink to emphasize that “transvestite” isn’t on anybody’s list of preferred terminology and we can have a trans actress playing Dr. Frank-n-Furter and that’s great and it’s progress. But might it be smart and creative to look at what it means when one of the most unorthodox characters in the history of musicals has become oddly conventional and accepted by the orthodoxy? You don’t have to change a word of the show to come to it with a vision for how to make what was once weird and wonderful feel renewed and what was once significant and boundary-pushing maintain some of that significance. That hasn’t been done here.

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Tim Curry Blesses Fox's 'Rocky Horror' Remake

Part of why I ended up coming around on Cox’s performance is that her voice isn’t that great, so when she sings it ceases to be a matter of the big notes she’s hitting, but rather the performance and intonation. Her limitations force her to act, and in acting, her versions of the songs and the character can’t be rendered forgettable. Cox’s arrival isn’t the force-of-nature jolt of adrenaline that Tim Curry (a welcome presence here as the Narrator) is in the original movie, and her failure to hijack the show weakens the second half even further, but it’s one of the few performances here that you can say really stands out as distinctive. The only actual adrenaline jolt comes from the appearance of Tony winner Ashford (You Can’t Take It With You), whose personality and talent pop onscreen so vividly that I spent much of the show wishing Columbia had more of a part.

Most of the rest of my attention, which wasn’t being held very well, was going to pondering how Fox and Ortega might have better integrated the audience component. I accept that you can’t pretend the midnight shows aren’t the reason we still talk about Rocky Horror today, but this acknowledgement of audience participation might be worse than ignoring. As anybody who has been to the midnight shows knows, they’re lewd, uncouth, sloppy and often hijack the scripted movie. The audience participation is simultaneously embracing and subverting. You can go to a midnight show in London or Boston or Los Angeles and expect some overlap, but you’ll also hear responses you’ve never heard before. It’s organized, but with room for anarchy, an uncontrolled response to a movie that attempts to control an uncontrolled stage show.

But here, the audience is reduced to fewer than a dozen G-rated reactions, all predictable and all delivered in unison. It’s a blunted assimilation of a populist reaction to a text, an absorption and commodification of something that was once pure and organic. It’s like when Hillary Clinton’s Twitter feed tries to adopt a popular meme and your reaction is, “ Awww … it’s cute that her social media interns tried, but that will never be cool again.” And just as I became disengaged in the last hour, the audience stopped playing any role, practically confirming its purpose as pandering and not contributing to the production at all.

Streaming lags make such things difficult, but a better handling of the audience problem might have been to film two different complete audiences doing their thing while watching the entirety of The Rocky Horror Picture Show: Let’s Do the Time Warp Again, one family-friendly and one NSFW . Then Fox could have streamed those full reaction tracks as a second screen experience.

I guess doing that would have been impractical, since you’d have had audiences checking out early and falling into silence. You can’t force a cult following and the limply conceived The Rocky Horror Picture Show: Let’s Do the Time Warp Again probably isn’t going to get that kind of following (or any kind of following) on its own.


‘The Rocky Horror Picture Show: Let’s Do the Time Warp Again’: TV Review

Laverne Cox makes an acceptable Frank-n-Furter, but Kenny Ortega's new 'Rocky Horror Picture Show' for Fox lacks any cult appeal.

Daniel Fienberg

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When Fox’s Grease Live! premiered back in January, appreciative critics, myself included, weren’t so much impressed with the originality of the production &mdash many or most of its best moments were straight out of the beloved movie &mdash as they were with how much inspiration director Thomas Kail and his creative team were able to wring within the restrictions of a live TV broadcast.

That’s a grading curve that benefited Grease Live! and one that’s slightly unfair to Fox’s The Rocky Horror Picture Show: Let’s Do the Time Warp Again. But it’s hard not to be struck by how comparatively little inspiration helmer Kenny Ortega was able to get from this canned and slightly mummified remake of the cult musical and film. Not airing live and never intended to air live, Let’s Do the Time Warp Again suffers from suffocating staging and an utter lack of reflection on the source material &mdash but also from the source material itself, as what little energy it possesses is gone by a second half that turns into a real slog.

AIR DATE Oct 20, 2016

Verwante verhale

'Grease: Live': TV Review

Working off the original script by Richard O’Brien and Jim Sharman , Fox’s Rocky Horror take begins with an usherette (Ivy Levan ) singing “Science Fiction Double Feature” and introducing a framing device in which an audience is watching and very rarely reacting to the movie we’re seeing. It’s a conceit that adds nothing, but at least acknowledges the importance of audience participation to the Rocky Horror verskynsel. (More on this later.)

I must have seen Rocky Horror Picture Show at least five times with crowds before I even began to understand or care about the plot, and that narrative superfluousness is only reinforced in this context. Newly engaged squares Brad (Ryan McCartan ) and Janet (Victoria Justice) are seeking refuge from a storm when they duck into a castle to use the phone. Brad and Janet are lucky enough to show up for the Annual Transylvanian Convention, a gathering either attended or serviced by an assortment of outlandish personalities including Igor-esque Riff Raff (Reeve Carney), shrieky Magenta (Christina Milian ) and lollipop-loving Columbia ( Annaleigh Ashford) and briefly crashed by motorcycle-riding Eddie (Adam Lambert). The true belle of the ball, though, is Dr. Frank-N-Furter ( Laverne Cox), who has successfully made an idealized man, Rocky ( Staz Nair ). Murder, deflowering scientific investigation and gender and sexual fluidity ensue.

An opinion on Rocky Horror (the show, regardless of its specific adaptation) that should let you know if you want to believe anything I say anyway: The musical is front-loaded to an untenable degree. The first half of the show has “Science Fiction Double Feature,” “ Dammit Janet,” “The Time Warp,” “Sweet Transvestite,” “I Can Make You a Man” and “Touch-a, Touch-a, Touch-a, Touch Me.” The second half of the musical contains a lot of expositional songs that I’m always convinced I’m hearing for the first time. What that means is that either a production establishes sufficient momentum in its first hour to coast for the last hour, or it’s doomed.

Mostly, Ortega’s production is doomed, as one number after another fails to capture any of the spirit of abandon that’s demanded to move the story along. “ Dammit Janet” finds Janet and Brad rushing through a graveyard in the throes of love, but the camera barely moves with them, or it even impedes their progress. Is it dull staging or meant to reflect how lifeless their romance is? I suspect the former, but feel free to believe the latter. “The Time Warp” is also an unexpected drag, edited to capture neither the singing, nor the rhythms of the choreography. Too often in these scenes, which have to sell the anarchic nonsense of the entire endeavor, the camera seems glued in position and the editors seem to be working from a paucity of options that favor neither production scale nor performance intimacy.

And it’s the treatment of what’s happening within the frame that’s flat, not what’s actually there, because my sense is that the choreography itself is far more ambitious than what’s in the original movie. And I’m sure that the costumes, especially Frank-N-Furter’s attire, are a leap forward. Nothing is being showcased in a way that captures the joy.

Sadly, that applies to so many of the performances. Once the show was always going to be filmed and not live, I get why the singing wasn’t performed live, but the soundtrack album that the actors are lip-synching to has been overproduced to the point that almost all vocal distinctiveness is gone and then those vocals get pushed down in the mix. It’s one thing when Disney-ified singers like Justice and McCartan are produced to sound smoothed out and undistractingly bland, but Lambert and Carney both have recognizable voices and ample rock-musical chops, which you’d never know from “Time Warp” and “Hot Patootie .” Since Justice and McCartan are playing characters meant to be wooden, at least initially, their performances aren’t hurt, and Justice in particular leverages her tween-friendly image for some playful sexiness. But Lambert and Carney, and so many of the flashier characters in the show, are hampered by a production that has given absolutely no apparent consideration to how what was daring and countercultural and outré in 1975 might not read the same way in 2016. If you do a show like this without any interpretation or reimagining , you miss what attracted audiences to the show in the first place and you just end up further sanitizing material that was edgy 40 years ago but can be done by high school drama departments today without a blush.

Having a hero self-described as a “sweet transvestite from Transsexual, Transylvania” was once shocking, but now we only blink to emphasize that “transvestite” isn’t on anybody’s list of preferred terminology and we can have a trans actress playing Dr. Frank-n-Furter and that’s great and it’s progress. But might it be smart and creative to look at what it means when one of the most unorthodox characters in the history of musicals has become oddly conventional and accepted by the orthodoxy? You don’t have to change a word of the show to come to it with a vision for how to make what was once weird and wonderful feel renewed and what was once significant and boundary-pushing maintain some of that significance. That hasn’t been done here.

Verwante verhale

Tim Curry Blesses Fox's 'Rocky Horror' Remake

Part of why I ended up coming around on Cox’s performance is that her voice isn’t that great, so when she sings it ceases to be a matter of the big notes she’s hitting, but rather the performance and intonation. Her limitations force her to act, and in acting, her versions of the songs and the character can’t be rendered forgettable. Cox’s arrival isn’t the force-of-nature jolt of adrenaline that Tim Curry (a welcome presence here as the Narrator) is in the original movie, and her failure to hijack the show weakens the second half even further, but it’s one of the few performances here that you can say really stands out as distinctive. The only actual adrenaline jolt comes from the appearance of Tony winner Ashford (You Can’t Take It With You), whose personality and talent pop onscreen so vividly that I spent much of the show wishing Columbia had more of a part.

Most of the rest of my attention, which wasn’t being held very well, was going to pondering how Fox and Ortega might have better integrated the audience component. I accept that you can’t pretend the midnight shows aren’t the reason we still talk about Rocky Horror today, but this acknowledgement of audience participation might be worse than ignoring. As anybody who has been to the midnight shows knows, they’re lewd, uncouth, sloppy and often hijack the scripted movie. The audience participation is simultaneously embracing and subverting. You can go to a midnight show in London or Boston or Los Angeles and expect some overlap, but you’ll also hear responses you’ve never heard before. It’s organized, but with room for anarchy, an uncontrolled response to a movie that attempts to control an uncontrolled stage show.

But here, the audience is reduced to fewer than a dozen G-rated reactions, all predictable and all delivered in unison. It’s a blunted assimilation of a populist reaction to a text, an absorption and commodification of something that was once pure and organic. It’s like when Hillary Clinton’s Twitter feed tries to adopt a popular meme and your reaction is, “ Awww … it’s cute that her social media interns tried, but that will never be cool again.” And just as I became disengaged in the last hour, the audience stopped playing any role, practically confirming its purpose as pandering and not contributing to the production at all.

Streaming lags make such things difficult, but a better handling of the audience problem might have been to film two different complete audiences doing their thing while watching the entirety of The Rocky Horror Picture Show: Let’s Do the Time Warp Again, one family-friendly and one NSFW . Then Fox could have streamed those full reaction tracks as a second screen experience.

I guess doing that would have been impractical, since you’d have had audiences checking out early and falling into silence. You can’t force a cult following and the limply conceived The Rocky Horror Picture Show: Let’s Do the Time Warp Again probably isn’t going to get that kind of following (or any kind of following) on its own.


The Rocky Horror Picture Show: Let’s Do The Time Warp Again review

Doing the Time Warp again is trickier than it looks, as this Fox Halloween tribute to the original Rocky Horror shows.

Die Rocky Horror Picture Show is a formula that continues to work astonishingly well, all things considered. It’s a borderline nonsensical celebration of the camp and the queer that still delights audiences four decades on. It’s also a formula that a lot of filmmakers and stage directors are fearful to change. Not least because the musical and film has such a devout and protective purist fan-base.

Redoing Rocky Horror is a Herculean task, then, but, in my eyes, nobody is better equipped to tackle it than Kenny Ortega. The man who directed Hocus Pocus en die Hoërskool musiekblyspel trilogy as well as being the choreographer for Vuil dans en Ferris Bueller se dag af is a more-than safe pair of hands, he’s almost a sure-fire way to guarantee The Rocky Horror Picture Show: Let’s Do The Time Warp Again sukses.

On the other hand, the casting of activist and actor Laverne Cox as the show’s hypersexual, unhinged scientist, was, initially, less inspiring. Putting aside the rather perplexing gender politics involved, Cox isn’t a singer and many felt, right up until broadcast, that she wasn’t right for the part. But, despite reservations, Cox knocked it out of the park.

Dr Frank-N-Furter anchors every production of Die Rocky Horror Picture Show and so is crucial to the success of any production. Laverne Cox’s take on the character is visually different to her predecessors (who traditionally hew closer to the look of Tim Curry’s original, iconic Frank-N-Furter) but she has the right kind of energy for the role. She fills the scientist with just the right amount of malice, mischievousness and bawdiness, but it feels like she’s being stopped from fully embracing the part’s edgier sides, and that’s not Cox’s fault.

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There’s a slickness to Die Rocky Horror Picture Show that really shouldn’t exist. It’s a musical that works best when executed crudely, with an appealingly makeshift set design that creates an overall feeling of spontaneity. Because spontaneous energy really is Rocky Horror’s bread and butter, Ortega’s new ‘tribute’ (the marketing insisted time and time again that it wasn’t a remake while it technically is, it’s clear that everyone involved has a great deal of respect for the original and simply wants to have a bit of fun) has far too expensive production values and fails to capture the right aesthetic.

It doesn’t help that the studio’s influence is clear. Aside from noticeable cosmetic differences (Columbia wears a tutu instead of hot pants Rocky’s pants are looser Dr Frank-N-Furter is significantly more clothed), the more sexed-up scenes are deprived of any raunch. This only hampers those involved in them – Cox, Ryan McCartan, Victoria Justice, and Staz Nair – with pretty lifeless material to work with. Justice, who plays the wide-eyed, virginal Janet Weiss, gets the best song in the form of Touch-a, Touch-a, Touch-a, Touch Me but it lacks any kind of meaning with decidedly unsexy choreography and a prudish direction.

On many occasions The Rocky Horror Picture Show: Let’s Do The Time Warp Again feels forced but the performances manage to shine through. Save for Laverne Cox, McCartan and Justice as Janet and Brad are far and away the best part of this production and both nail the roles of the strait-laced yet open-minded sweethearts. It’s also great to see Tim Curry pop up as the Criminologist, the show’s omniscient narrator.

As a musical, this Rocky Horror works (no small thanks to the fact the original script and songs are used) and like the set design the music has been tweaked. Not all the songs work, however. Sweet Transvestite is a bit creaky, particularly owing to Dr Frank-N-Furter’s glammed-up appearance and the fact the character is, bluntly, no longer a transvestite. Touch-a, Touch-a… is great and Adam Lambert both successfully channels Meat Loaf (no mean feat) and improves upon Hot Patootie – Bless My Soul. Additionally, the decision to replace the red lips at the beginning actually pays off, with an excellent physical performance of Science Fiction/Double Feature by Ivy Levan.

The problem with tackling Rocky Horror is that you either have to go hard or go home. Kenny Ortega’s take on the iconic show is more or less faithful narratively but it sanitises the original’s more risqué moments and if you don’t keep the rougher edges then you’re left with very little. The few original ideas feel out of place because this production tries desperately to emulate the film and also do its own thing at the same time (exemplified by having Laverne Cox in the main role).

Fortunately, the fine work of a game cast as well as some excellent songs manages to salvage The Rocky Horror Picture Show: Let’s Do The Time Warp Again and it’s a lively, entertaining way of spending an hour and a half. But it’s clear that it’s very difficult to do the Time Warp again, and maybe this just wasn’t worth the effort.


Inhoud

"Time Warp" was the fifth song in the original stage show (after "Science Fiction/Double Feature", "Dammit Janet", "Over at the Frankenstein Place" and "Sweet Transvestite"), but fourth in the film (following "Over at the Frankenstein Place" and preceding "Sweet Transvestite"). Stage productions continued to use the original placing until Richard O'Brien revised the script for the 1990 West End revival in which he moved the song to the film's placing. For reasons of pacing, most productions now follow this order. [4]

The song begins at 19:35 in the film's DVD release. It consists of verses sung by alternating characters, serving as the introduction to two of them, and choruses sung by the "Transylvanians" (film) or "Phantoms" (play), and the Criminologist/Narrator (played by Charles Gray in the film). The characters that sing the verses are, in order, Riff-Raff, Magenta, and Columbia (played in the film by Richard O'Brien, Patricia Quinn, and Little Nell Campbell). After the second full chorus, Columbia often launches into her tap dance. [ aanhaling nodig ]

The order of the solos varies in certain recordings. In the film and Roxy cast album, Columbia's solo is right after Magenta's, with Columbia's tap dance following the second chorus. Recent stage performances have the solos in this order but with Columbia's tap dance immediately after her solo, leaving only two choruses. Occasionally, Columbia's solo and tap dance follow the chorus after Magenta's solo. [ aanhaling nodig ]

Meat Loaf's voice is prominent in the chorus of the film version of the song. [ aanhaling nodig ] The song is reprised briefly at the end of the film, in flashback, and in the show as an encore led by Dr Frank N. Furter. [4]

Chart (1976) Peak
posisie
South Africa [ aanhaling nodig ] 12
Original Australian Cast Recording
Chart (1977) Peak
posisie
Australia (Kent Music Report) [5] 85
Rocky Horror Picture Show
Chart (1980) Peak
posisie
Australia (Kent Music Report) [5] 3

The Hillywood Show used the song in a Dokter wie parody, which David Tennant called "extraordinary". [6] [7] [8]

Italian comedy rock band Elio e le Storie Tese recorded a parody cover of the song in 1996, entitled "Balla coi barlafüs" (i.e. "Dance with the idiots" in Milanese dialect), with completely new Italian lyrics which mock Umberto Bossi and his attempt, earlier that year, to rally up a human chain in order to link Polesine and Monviso, symbolically blocking the course of the river Po. Apart from the lyrics, the band's cover follows the original song in every detail. The music video for the cover, made as the opening credits sequence for the 1996 edition of Gialappa's Band's popular sport satire show Mai dire Gol, is also a very faithful reproduction of the original scene from the film (characters, sets, props, costumes and dances), down to the Criminologist, played by Giacomo Poretti of Aldo, Giovanni e Giacomo, asking what sort of dance is it. Daniele Luttazzi and Sabrina Ferilli starred as Brad and Janet, band leader Elio appeared as Riff Raff, Marina Massironi starred as Magenta, while the rest of the band (together with the cast of the show) were featured as Transylvanians. [9]

In 'n episode van The Drew Carey Show, the song was played in alternating fashion with Peaches & Herb's 1978 disco hit "Shake Your Groove Thing", during a dance off in front of a movie theater, in which one group wishes to see Rocky Horror Picture Show and another wants to see Priscilla, Queen of the Desert. [10]

In an episode for Season 27 of Die Simpsons, the townsfolk sing a parody of the song, singing about all the naughty things adults do on Halloween.

Tenacious D released a music video using the song to promote voting in the 2020 US presidential election, with the slightly altered lyrics "it's just a jump to the LEFT, and not a step to the right!" [11]


Time Warp Letra

(chorus)
and bring your knees in tight
but it's the pelvic thrust
that really drives you insane
let's do the time warp again
let's do the time warp again
(magenta)
it's so dreamy
oh, fantasy free me
so you can't see me
no, not at all
in another dimension
with voyeuristic intention
well secluded, i see all
(riff raff)
with a bit of a mind flip

(magenta)
you're into the time slip

(riff raff)
and nothing can ever be the same

(magenta)
you're spaced out on sensation

(riff raff)
like you're under sedation

(chorus)
let's do the time warp again
let's do the time warp again
(columbia)
well i was walking down the street
just a having a think
when a snake of a guy gave me an evil wink
he shook-a me up, he took me by surprise
he had a pick up truck and the devil's eyes
he stared at me and i felt a change
time meant nothing, never would again
(chorus)
let's do the time warp again
let's do the time warp again
(criminologist)
it's just a jump to the left

(chorus)
and then a step to the right

(criminologist)
put your hands on your hips

(chorus)
and bring your knees in tight
but it's the pelvic thrust
that really drives you insane
let's do the time warp again
let's do the time warp again


Let&aposs do the Time Warp again! &aposRocky Horror Picture Show&apos remake comes to TV

Television • Tim Curry returns, gives his blessing to "Rocky Horror Picture Show" TV movie remake.

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