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Tag: Julianna Margulies

  • There’s a ton of Hollywood stars on and off Broadway these days. Here’s a game you can play

    There’s a ton of Hollywood stars on and off Broadway these days. Here’s a game you can play

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    NEW YORK (AP) — There are so many Hollywood stars on New York theater stages or on the way that you might want to level up your stargazing game. Why not play some bingo?

    Sure, Robert Downey Jr., Daniel Dae Kim, Jim Parsons, Mia Farrow, and Katie Holmes are currently in New York, and George Clooney, Denzel Washington, Nick Jonas and Jake Gyllenhaal are on deck for spring.

    But if you really want to impress, why not connect the stars, like playing bingo with the stars of “Frasier”? Catch Bebe Neuwirth (who played chilly Lilith) now in “Cabaret” on Broadway; Dan Butler (who played Bulldog on the TV show) in the off-Broadway play “Another Shot;” and then in a few months, see David Hyde Pierce (who played Niles) in “The Pirates of Penzance.”

    If a little TV stardust is enough to convince theatergoers to see Butler in the witty and deep recovery play “Another Shot” at The Romulus Linney Courtyard Theatre, the actor says he’s game.

    “I love that it would bring people there, and you would just hope that they get bitten by that thing theater can do that no other medium can do,” he says. “Hopefully, it brings you in the doors again.”

    Laura Stanczyk, a veteran casting director and producer who has cast dozens of Broadway, off-Broadway and international plays and musicals, knows many shows secure a bankable star to try to stand out.

    “When you have actors like Robert Downey Jr. who are finally showing up and participating in the New York theater scene, it becomes even more important to have someone who has some kind of notoriety,” she says.

    She is producing the play that Butler is starring in by Spike Manton and Harry Teinowitz, in which a deadpan Butler plays a radio DJ in recovery. “It’s sort of like Bulldog goes to rehab,” jokes the actor.

    A wave of stars

    Movie and TV celebrities have been part of Broadway’s DNA for decades — one recent big wave was in 2010 with the arrival of Robin Williams, Chris Rock, Kiefer Sutherland, Daniel Radcliffe, Pee-wee Herman, Vanessa Redgrave, Ben Stiller and Edie Falco — but their presence this season is particularly striking.

    Kit Connor and Rachel Zegler are starring in “Romeo & Juliet,” Nicole Scherzinger has “Sunset Boulevard,” Peter Gallagher and Julianna Margulies are in “Left on Tenth” and Sean Astin is playing Santa in “Elf the Musical.”

    Stanczyk says it’s not too surprising to see so much star wattage since many of the TV and movie stars have their roots in theater. Margulies studied stage, and that’s also where Connor and Zegler got their starts. Scherzinger studied musical theater at Wright State University.

    “People forget that these great actors got a lot of their start in theater,” she says. “I do think some directors gravitate towards that because they know those folks — it’s in their bones and there’s a common language.”

    The reason “Frasier” Bingo is possible is because so many associated with the show are theater veterans, starting with James Burrows, the director who helped craft the “Cheers” spinoff. Burrows started in the theater and is the son of the legendary playwright and director Abe Burrows, behind “Guys and Dolls” and “How to Succeed in Business Without Really Trying.”

    Butler — who was recently cheered on by Pierce during a visit to “Another Shot” — said “Frasier” often had a stage feel. “It sort of felt like doing a short play in front of a live audience every time we filmed,” he said.

    Other TV shows — like “Law & Order,” “The Good Wife,” “The Gilded Age,” ”Crazy Ex-Girlfriend” and “Only Murders in the Building” — share that stage vibe since they also have leaned into casting from the theater.

    So hot is New York that the stars are even coming off-Broadway, like Adam Driver in “Hold On to Me Darling,” Marisa Tomei in “Babe,” Kenneth Branagh in “King Lear,” T.R. Knight in “The Merchant of Venice” and Christian Slater and Calista Flockhart in “Curse of the Starving Class.”

    The influx of Hollywood types aren’t squeezing out Broadway stars: Audra McDonald, Sutton Foster, Jonathan Groff, Patti LuPone, Megan Hilty, Jennifer Simard, Adrienne Warren and Darren Criss have all booked parts.

    The lure of the stage

    Louis McCartney, a rising screen star who will be bringing the play “Stranger Things: The First Shadow” from London to Broadway in spring 2025, didn’t train as a stage animal, but he’s mesmerized.

    “It’s sort of this back and forth where you give yourself up,” he says. “You give your soul every single night. And I think that’s beautiful.”

    If “Frasier” Bingo isn’t your speed, there’s always “Succession” Bingo: Jeremy Strong was on Broadway in a revival of “An Enemy of the People,” Kieran Culkin will be in a revival of “Glengarry Glen Ross” and Sarah Snook gets the stage all to herself as she plays all 26 parts in an adaptation of “The Picture of Dorian Gray” this spring. Or play a long game: With Clooney and Margulies, you can start on “ER” Bingo.

    Stanczyk thinks Hollywood interest in the stage may be driven by the stars attempting to push themselves professionally and to capture that unique buzz that life theater can give.

    “Every night you’re in the theater that thing that happens hasn’t happened before. It’s a unique exchange of energy,” she says. “There’s nothing else like it in the world.”

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  • The Morning Show Season 3: Hollow Tears for a Hollow Billionaire

    The Morning Show Season 3: Hollow Tears for a Hollow Billionaire

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    “Jumping the shark” is bound to happen on any TV series if it goes on long enough. And maybe, after a mere three seasons, The Morning Show has exhibited itself to have done just that. Even if it took Jennifer Aniston’s “other” major show, Friends, slightly longer. Arguably not until season eight, when the writers decided to drag out Ross (David Schwimmer) and Rachel’s (Aniston) “will they or won’t they get together?” plotline by throwing Joey (Matt LeBlanc) as yet another wrench into the mix to delay the inevitable. The worst, most ill-conceived one yet. In season three of The Morning Show, Paul Marks a.k.a. Don Draper (Jon Hamm) is that wrench delaying the inevitable. In this instance, that UBA is doomed to shutter after its endless sputter.  

    Although, initially, it felt as though the addition of Hamm (whose last name couldn’t be more ideal for an actor) as an Elon Musk-esque billionaire (minus the autism) would be a welcome “shake-up” to The Morning Show, things took a quick nosedive after the episode wherein a chasm in the TV space-time continuum occurred by way of Rachel Green fucking Don Draper. With four episodes left to go after that happened in “The Stanford Student,” it didn’t take long for the season to devolve quite quickly, with Alex Levy (Aniston) turning into the tone deaf, blinded-by-peen, villainous white woman to complement Paul Marks as a villainous white man. In fact, the suspension of disbelief viewers must invoke in order to believe that someone as “smart” and “shrewd” as Alex would go for Paul just because of the supposed “Hepburn-Tracy” dynamic they have at first is all but impossible to maintain for much longer after the seventh episode, “Strict Scrutiny.” The latter immediately commences with some cringeworthy moments between the two, complete with Paul making her a frittata for breakfast (as if even the most romantic of billionaires would ever) and Alex already looking upon this gesture as a reason to fall in total love with the man who has a nefarious reputation. One that leads the latest TMS co-anchor, Chris Jackson (Nicole Beharie), to casually mention to Alex while they’re both in the makeup chair, “There are studies that show power…it actually changes the brain. It erases the ability to empathize. It makes me wonder: what does Paul Marks really care about?”

    Why, amassing more power of course. And how does one do that by any other method but quashing all opposition to his money-making potential? For money is power in this thing called “life,” alternately known as capitalism (hadn’t you heard? Capitalism is life). Alex, too moneyed for too long to remember that there are actually people—nay, men—like Paul who still care about racking up a higher and higher “worth,” has always been more concerned with prestige and respect rather than the money that comes with it. What’s more, Alex, in contrast to Paul, only seems to care about racking up her previously low orgasm count (at least as given by another human being). Hence, being irritated rather than taking it to heart when her former morning co-anchor, Bradley Jackson (Reese Witherspoon), tells her that Paul is not only bad news just because, duh, he’s a billionaire, but because she’s been doing some digging and everything she turns up points to something very shady going on at his company, Hyperion. The one that’s supposed to launch a SpaceX-inspired rocket. And does a test version of that in episode one, “The Kármán Line,” on live TV. Except that Paul’s big morning show moment is dampened by the transmission being cut, followed by a massive cyberattack on all of UBA’s servers. These major plot points ultimately being intertwined, as the big season three reveal in the final episode, “The Overview Effect,” is that Paul was the mastermind behind the hack all along, not to mention a master in the art of surveillance that rivals J. Edgar Hoover-level scope. All of which is to say that, yes, Jennifer Aniston was starring in her own version of Sleeping With the Enemy. Indeed, the ick factor noticeably increases when one stops to think about how the “attraction” between her and Paul was likely entirely manufactured on Paul’s side of things. The greatest sign of that being that billionaires rarely, if ever, date age-appropriate women. 

    After their “union” is exposed by The Vault, the same online rag that outed Bradley, the better part of the season is then spent showing Alex being branded as a hypocrite with an apparent flavor for shitty men (see also: Mitch Kessler [Steve Carrell]). As Alex deals with all of the fallout for the unwanted public consumption of their relationship, UBA continues to focus its news coverage on the Supreme Court’s overturning of Roe v. Wade. And, considering the double standard Alex faces for being in a relationship with Paul, it’s a timely parallel to the form of gross sexism she’s experiencing. Even from her “own kind.” Namely, the interview subject Chip (Mark Duplass) talks her into for Alex Unfiltered, Jess Bennett (Shannon Woodward), a co-founder of an online magazine called The Break.

    Rather than focusing on women’s rights, as was the plan for their interview, Jess keeps bringing up Alex’s strange bedfellow, finally asking, “If a reporter hooks up with a billionaire who is buying her media company, people are going to ask questions. Like, ‘Is she actually capable of speaking truth to power?’” Alex, in the end, tries to prove that she still can…by giving up her precious dick in favor of doing “the right thing.” Or, more accurately, yet another desperate thing: merging with fellow “legacy media” network NBN. But hey, that’s still better than selling it to a man who plans to dismantle the whole outfit for “parts” (in a move that echoes Lukas Matsson’s [Alexander Skarsgård] on Succession) so he can make a quick few billion to pump back into his fledgling wannabe SpaceX company. 

    Despite knowing all this—that Paul was responsible for the hack, spied on and egregiously violated Bradley’s privacy, silenced multiple Hyperion employees, was willing to endanger people’s lives to promote his own bottom line, etc., etc.—she still manages to shed a few tears in the final scene they share together. And, after he walks away, watching Alex for almost fifteen seconds as the camera offers a close-up of her paltry tears and scrunched-up (or as scrunched-up as the fillers will allow) face, the absurdity of it all is accented when the camera shifts to a wide shot of her standing on her massive balcony with its unheard of skyline view. In other words, poor little rich girl—she lost her poor little rich boy. 

    In the scene that follows, she appears to have mended quickly, escorting Bradley to the FBI building so she can confess to her obstruction of justice (another “okay, what the fuck?” plotline being her brother’s involvement with January 6th) while saying that she’s not so sure about how to continue in the new UBA (/UBANBN) era without Bradley. But Bradley is there to comfort her by insisting she really will have a voice in the new company this time. Alex ominously returns, “Be careful what you fight for.” This apparently setting things up for season four, aimed at exploring what it “really means” for a woman to have power. If Margaret Thatcher was an indication, it means they end up being no better than men (harkening back to what Chris said about power altering people’s brain chemistry).

    Whatever the “message” of season four might be, season three’s was, despite being occasionally all over the place, mostly on-brand with the current ongoing hate campaign against the rich. Yet that doesn’t necessarily make for the most “stellar” of television just because the themes presented are “correct.” And, although the name of The Morning Show’s game from the beginning has been to “incorporate timely things” into its narrative framework, doing so in season three has caused a more jumping the shark effect than a “pause for reflection” one. Something that doesn’t necessarily bode well for the future of the series…however many subsequent seasons there might be.

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