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Ponovno naredimo časovno upogibanje!

Ponovno naredimo časovno upogibanje!

Družinska izpoved: Moj brat živi v (oh, sramota) ... Tako me je nerodno, da vsakič, ko ga obiščem, povem ljudem, da živi na Staten Islandu (kar je bolje kot v New Jerseyju). Kljub temu prihajamo od istih staršev (čeprav sem vedno sumil, da je posvojen) in oba imava v DNK ljubezen do pice. Ko je rekel, da je najboljša pizza na svetu v Elizabeth, le 10 minut od njegove pisarne v Newarku, sem seveda mislil, da je pitna voda v New Jerseyju končno prišla do njega. Po šestih mesecih trzanja sem se končno odpravil 20 minut vožnje skozi tunel.

Napis na mali hiši na južnem Broadwayu z italijansko zastavo kaže "Santillo's Italian 'Bread' Pizza" in me takoj spomnil na napis Sally's in Frank Pepeje v New Havenu, Conn., edinem mestu ali zvezni državi, ki lahko glede na dediščino pice konkurira New Yorku in New Yorku. Priznam celo, da so mi bile všeč edinstvene paradižnikove pite, ki sem jih jedel v Trentonu v NJ, v originalnih DeLorenzovih na Hudsonovi ulici, ki so mi na žalost nedavno zatrli. Toda Elizabeth? Lahko greš tudi v Old Forge, Penn., Samooklicano "svetovno prestolnico pizze", čeprav tamkajšnji domačini niti ne vedo, kaj je sir mozzarella.

Santillo se zdi enako bizarno, ko se sprehajate po sprednji strani hiše po uličici proti parkirišču, preden vas znak STOP in VHOD vpeljeta skozi zakrita stranska vrata. Izraz "omejeno število sedežev" ni pravičen. Santillo's je strogo za prehrano in, če ste pametni, pokličete, da ga prevzamete, saj je pred "drobnim pultom", za katerim je veliko steklo, le "omejen stoječi prostor" (morda za šest tankih ljudi). hladilnik z različnimi ustekleničenimi gaziranimi pijačami v dnevni sobi hiše.

Potem pa vidiš prvi znak, da si v živem, dihajočem muzeju pic. Na nizkih stropnih policah, ki visijo s nizkega stropa, počivajo najdaljši olupki za pico, ki sem jih kdaj videl, dolgih 20 čevljev, ki tekmujejo tudi tistim, ki sem jih videl pri Pepeju. Nato prvič vidite Al. Z izbiro ustrezne dolžine lupine, kot je Tiger Woods, z izbiro ustreznega kluba, tretje generacije, peščenolasih, sredi 50. let in prijetno polnega, je Al Santillo bolj podoben mojemu bratu kot mojemu bratu. Njegova žena Lorraine kriči naročila pice Alu, ki se zdi preobremenjen s tresenjem belih vrečk, napolnjenih z vročimi sveže narejenimi zepoli, da jih enakomerno pokrije s topljenim sladkorjem v prahu.

In potem, če imaš resnično srečo, te Al povabi, da prideš k pultu in pokukaš v njegovo pečico. Čeprav se je pečica pred nekaj leti pretvorila v plin iz svojega prvotnega vira premogovnega goriva, se zdi, da pečica nima konca, doseže globino 20 čevljev in ima širino 14 čevljev. Od tod potreba po različnih dolžinah velikanskih lupin. Nizek obokan opečni strop peči izgleda kot strop katedrale. Pečica, prvotno zgrajena za peko kruha, naj bi segala v leto 1904, dve leti starejši kot pri pekarski peči Lombardijeva pica na ulici Spring Street (ki velja za eno najstarejših picerij na tem območju). Alin dedek je v dvajsetih letih prejšnjega stoletja pekel foccacia, Alov oče, Alfred, pa je leta 1957 kupil sedanjo lokacijo s pečico, da se osredotoči na pico.

Al, ki že od petega leta peče kot vajenec pri vadbi, ni le kustos peči in dedič zgodovinskega zaklada, ampak je tudi vrhunski obrtnik. Poleg pice še vedno peče nebeško hlebčke italijanskega kruha, nekaj polnjenih s klobasami, šunko, feferoni, špinačo, sirom in/ali brokolijem. Nekateri kruhki, ki so prihajali iz pečice, medtem ko smo bili tam, so bili, tako kot Al sam, ustvarjalno proste oblike, ki so bili bolj podobni dediščinskim paradižnikom kot kruhu. Ko je odrasel dobesedno zgoraj s kuhinjo kot svojo igralno sobo, Al pozna vsak kvadratni centimeter 20-metrske pečice, vključno z vsemi posebnostmi in temperaturnimi nihanji. Spomnil me je na umetnike pihanja stekla, ki sem jih pred kratkim obiskal na otoku Murano, ki s svojimi pečicami ne ustvarjajo le čudovite steklene umetnosti, ampak bodo ob posebnih priložnostih v pečicah spekli lokalno beneško jeguljo iz lagune. z lovorjevimi listi.

Sem omenil pico? Ljudje nikoli ne pozabijo svojega prvega avtomobila (zame Ford Mustang iz leta 1978), kaj pa njihova prva pica? Meni v Santillo's je tako globok kot pečica, izbira sloga pice pa je razvrščena po letu njihovega nastanka. Al je kot H.G. Wells s pečico za časovni stroj, ki nenehno vrača mimo pic v prihodnost. Najstarejša sta pristna paradižnikova pita iz leta 1940 (brez sira) in paradižnikova pita iz leta 1948 (z naribanim parmezanom), ki sta oba kimala spoštovanje do svojih pizza bratov v južnem New Jerseyju v Trentonu.

Po vzorčenju nekaj vročih zepolov, ki so jih vljudno vložili Al, sva z bratom začela zgodovinsko pot z izjemno tanko 14-palčno okroglo pito v slogu 1957 s koščki lokalno proizvedene koromačeve klobase, ki me je spomnila na mojo najljubšo na Manhattnu, Janeza iz Bleeker Street. Kot da bi pokazal popolno obvladovanje pečice, me je Al vprašal po moji najljubši teksturi skorje - mehki, hrustljavi ali dobro pečeni. Odločil sem se za njegovo presojo in skorja, ki je nastala, je bila popolna hrustljava hrustljava z ravno pravo količino oglja. Klobasa se je popolnoma stopila s sirom in skorja, čeprav tanka, je imela ravno dovolj zraka. Omaka je vsekakor dala svojo prisotnost - imela je izrazito sladkost, a kljub temu ohranila kislost, kar me je spet spomnilo na paradižnikove pite, za katere New Jersey ponosno trdi, da so lastne.

Ko je v šestdesetih letih odraščala v Queensu, je naša babica vsak petek zvečer hodila z nama z bratom Albina picerija na vogalu Queens Boulevard in Main Street, medtem ko so moji imeli nekaj kakovostnega časa za jedilnico sami na Manhattnu blizu pisarne našega očeta. Okrogla pica moje mladosti je bila (in je še vedno) odlična, toda nekoč smo kot majhni otroci pri Albi poskusili pravo sicilijansko pito z debelimi skorjami, prevlečeno s sirom, ki smo jo vse življenje privezali. Tako smo se zlahka dogovorili o znamenitem kvadratu Santillo iz leta 1964, sicilijanskem oljčnem olju in pitu s parmezanom. Prisežem, da sem pustil solzo, če ne iz veselih spominov iz otroštva na noč pico z Gramom, pa zato, ker je bil sir, ki se ga nisem mogel zadržati, da bi ga raztrgal, še vedno v staljeni obliki iz pečice. Vedno se je razkazoval kot kakšen jazzovski glasbenik, Al riffed by, ki je dvema vogalnim rezinam dodal nekaj sveže ricotte, samo da bi si zamislili neskončne možnosti.

Zgrabil sem Santillovo majico (xx-velik) in štruco klobasnega kruha, ki jo bom imel danes za zajtrk, in prisegel sem, da se bom Al vrnil pred novim letom, da preizkusim trenutno "San Marzano Tomatoes Over the Cheese 2011" "pizza, da je Al ne umakne z jedilnika. Zdaj imam še boljši izgovor, da obiščem New Jersey. Hvala stari.


ZA KOLESOM/Chevrolet HHR iz leta 2006 Naj 's ponovno naredi časovno upogibanje

Z uvedbo vagona HHR leta 2006 je Chevrolet naredil še en korak bližje k ponovni vzpostavitvi celotne ponudbe modelov iz leta 1950.

Ta živahen mali kruh, ki naj bi priklical primestni tovornjak iz primestnih vozil leta 1949-54, se na prodajnih mestih pridruži počasi prodajnemu tovornjaku SSR, še enemu evakuacijskemu časovnemu stroju iz časov slave Chevyja iz leta 1950 in#x27. Tu 's upajo na oživitev kabrioleta Styleline.

Je stilistom General Motors ' zmanjkalo svežih idej ali pa se jim zdijo stare samo bolj zabavne? Osebno upam, da se bodo potrudili do predela Bel Air Air iz leta 1957, moje najljubše. Skušnjava je povedati, da je za Chevyja od takrat vse v slogu navzdol.

Vsaka razprava o HHR se začne in precej konča s stylingom. To je verjetno dobra stvar, saj odvrača pozornost od dejstva, da avtomobila ne razlikuje veliko drugega.

Primerjave s Chryslerjem PT Cruiserjem so neizogibne in obe vozili sta povezani z istim oblikovalcem. Ta oblikovalec, Bryan Nesbitt (ki je zdaj izvršni direktor oblikovanja za GM v Evropi), je bil še pri Chryslerju, ko so oblikovali sedanji Dodge Durango. Parkirajte HHR poleg velikega Dodgea in ugotovili boste, da Chevy izgleda kot predhodno razkrita različica Duranga, čeprav nosi obrazno masko 50 's-nekaj G.M. tovornjak. Branila, okna, strešne linije, razmerja in koti - vse do posameznih elementov, kot je obdelava zadnjih luči - so si neskončno podobni kot pri modelih Durango 's.

Za zapisnik, Robert A. Lutz, G.M. podpredsednik in car izdelkov, trdi, da navdih za Mini Me Durango ni bil niti PT Cruiser niti Durango, ampak Chevy SSR. Če naletite nanj, se ne hecajte, da je Chevy "Me Too Cruiser", ki ga je že slišal in ga ne zabava.

HHR - začetnice pomenijo & quotHeritage High Roof & quot - je bil dokaj enostaven način za uporabo arhitekture majhnih avtomobilov G.M. 's Delta, ki je bila uporabljena tudi kot osnova kompaktnih avtomobilov Saturn Ion in Chevrolet Cobalt. Kmalu po uvedbi HHR pozno poleti je Lori Queen, izvršna direktorica vozil za majhne avtomobile, v intervjuju dejala, da bi HHR & quot; lahko enostavno bil namesto vagona Cobalt. & Quot

Zdi se, da je bila njena posledica taka: Ne pritožujte se nad tem, kako je HHR izpadel, ker bi lahko bilo veliko slabše. Kobalt (ki je nadomestil neljubljenega Cavalierja) ni videti slabo kot kupe ali celo kot limuzina, vendar nihče ni mislil, da bi bil lep karavan.

& quot; Mislim, da ima dizajn HHR 's veliko prednosti, «je dejala gospa Queen. & quot Veliko osebnosti. & quot

Kljub visokemu karakterju se zdi HHR malce prazno platno, ki čaka na dotik umetnikove roke, da ga oživi. G.M. upa, da bodo prilagoditelji sprejeli vagon tako, kot so se odpeljali do PT Cruiserja in škatlastega Scion xB. Združenje za trg posebne opreme je na svojem nedavnem sejmu v Las Vegasu priznalo, da je HHR "najbolj primeren pripomoček S.U.V.".

Kljub temu se zdi, da založniku HHR primanjkuje elementarnega pridiha PT 's. Ali pa morda, glede na to, da PT obstaja že šest let, gre le za dejstvo, da se retro stara.

Morda je eden od razlogov G.M. Voditelji so v primerjavi s PT Cruiserjem zmedeni, da se nekoliko večji mehiško zgrajen HHR pri večini prikaže na napačnem koncu. Chrysler, ki je jeseni dobil & quotmajor-minor face lift & quot, stane stotine dolarjev manj, saj ima več konjskih moči (tako iz osnovnega kot izbirnih motorjev), ima širšo paleto možnosti in opreme ter je bistveno nadgradil svojo utilitaristično notranjost .

Tudi notranjost HHR 's naj bi bila glavna atrakcija. Ponuja udobno sedežno garnituro za štiri odrasle osebe (če ne pet oglaševanih), z dobrim prostorom za glavo, noge in ramena. Zahvaljujoč velikim oknom je vidljivost povsod dobra, še ena močna točka. Stikala in merilniki so subtilno retro.

Trikraki volan se zdi velik glede na velikost avtomobila in pretirava precejšnjo živčnost pri krmiljenju. Tudi zavore in ročni menjalnik trpijo zaradi nejasnosti.

Prostor za tovor in skladiščenje je privlačen in vključuje številne & quotsecret & quot kabine in poddelke pod tlemi. Z odstranjenimi zadnjimi sedeži ima HHR večjo količino tovora kot Hummer H3 (63 kubičnih čevljev v primerjavi s 56). Sovoznikov sedež skupaj s sedeži v drugi vrsti se zlahka zloži, da se sprejmejo dolgi, zajetni tovori.

Kljub svojemu izvoru kot avtomobil Cobalt je HHR, tako kot mnogi majhni, visoki vagoni, ki so prišli na trg, uvrščen med tovornjake.

Osnovni model LS se začne pri 15.990 USD in vključuje klimatsko napravo s stereo predvajalnikom CD-jev in električnimi ključavnicami, okni in ogledali. 1,90 USD vreden 16.990 USD ima voznikov sedež in#x27s sedež ter MP3 predvajalnik. Vrhunski 2LT za 18.790 USD ima večji motor, protiblokirne zavore, meglenke in glasnejši zvočni sistem. Če potrebujete navigacijski sistem ali video varuško na zadnjem sedežu, poiščite drugje.

Pogon na vsa kolesa ni na voljo, tako kot ni na PT ali xB. (Honda Element ponuja alternativo s pogonom na vsa kolesa.) Na voljo sta dve izbiri vzmetenja: gobasto osnovno nastavitev in trdnejši športni tip 2LT. Na cesti je bil električni servo volan preobremenjen in za moj okus preveč občutljiv. Šestnajst-palčne pnevmatike in platišča z nagibanjem so standardna oprema, 17-palčni so neobvezni. I ɽ iščem poprodajne kromirane platišča ali magice, da dodam pizazz, ki ga tukaj primanjkuje.

Izbira motorja ni zvezdniška. Osnovni 2,2-litrski vrstni 4-valjni motor proizvaja impresivnih 143 konjskih moči. Izboljšani 2,4-litrski Ecotec 4 ustvarja 172 konjskih moči, vendar se še vedno počuti počasi-vsaj v primerjavi z občutkom istega motorja v Roadsterju Pontiac Solstice. Dodatnih 320 kilogramov HHR -ja imajo morda kaj opraviti s tem.

S petstopenjskim ročnim menjalnikom se upravlja prek nerodno nameščenega menjalnika-precej je nazaj in precej nizko glede na sedeže. Štiristopenjski samodejni menjalnik ni obvezen.

Za prihodnost naj bi Chevy gledal različico kombija, ki nima stranskih stekel, in HHR z večjo močjo. Namestitev 205-konjskega motorja iz Cobalt SS Supercharged bi lahko HHR spremenila v pravega kandidata.

HHR je najnovejši v rastočem segmentu nizkotolk - pomislite na PT, xB, Element, Mini Cooper, Volkswagnov novi hrošč. Vsa ta vozila slavijo svojo razkošje v večji meri kot precej primitivna in pravilna HHR. Če želi Chevy biti življenje nogavice, potrebuje več kot kobalt v zoot obleki.


Naj ’s spet naredi časovno upogibanje

23 -letna Becca Mohr, nedavno diplomirana študentka Tuftsa, se je prejšnji mesec v Washingtonu pripravila na zabavo ob deseti obletnici njene bat mitzve. (JAY PREMACK ZA BOSTON GLOBE)

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Nekaj ​​tednov pred svojim 26. rojstnim dnevom je imel Jordan Newman čudno idejo. Kaj pa, če bi priredil zabavo in jo imenoval svojo “dvojno bar mitzvah ’ ’?

Preskočil bi verski del, judovsko slovesnost ob polnoletnosti za dečke, stare 13 let, ki jo je imel leta 1998. To bi bila ponovitev zabave, ki ji je sledila — skupaj z DJ-jem, lepljivimi nagradnimi igrami in seznamom predvajanja na vrhu z “Mambo št. 5 ’ ’ in “Električni drsnik. ’ ’

Zabava je potekala 15. januarja v irskem pubu v Bostonu z vsemi klasičnimi elementi in žarečimi ogrlicami, emceom, igrami na plesišču. Plesali so celo horo in imeli torto s čestitko “Mazel tov, Jordan! ’ ’

“To je bila ena najbolj zabavnih noči, ki se jih spomnim, ’ ’ je dejal Newman, ki dela v marketingu v Bostonu. “Bar mitzvah zabave se zgodijo v času, ko ste tako nerodni, tako neprijetni v interakciji s puncami. Menda ste moški, vendar še niste prerasli v zabavo v baru mitzvah. ’ ’

Statističnih podatkov o tem pojavu ni, vendar se zdi, da veliko ljudi prerašča v zabave bar mitzvah, čeprav so dovolj stari, da se lahko poročijo —, tudi če niso Judje. Iz nostalgije ali ironije črpajo praznične, sodobne prvine pomembnega judovskega dogodka v življenjskem ciklu — igre na plesišču, “mazel tov ’ ’ tablo za prijavo in vse.

Kar ne podoživljajo, je verski del. Na slovesnostih bar mitzvah (bat mitzvah za dekleta) mladi berejo iz Tore in v molitvi vodijo občino v sinagogi. Ta obred označuje čas, ko so judovski fantje in dekleta odgovorni za spoštovanje judovskih zakonov in tradicij. Pogodbenice nikoli niso bile del paketa.

“ Včasih ste hodili v sinagogo, se pomolili, [in] pojedli kos biskvita, ’ ’ je rekel rabin Moshe Waldoks iz templja Beth Sion v Brooklineu.

Ne več. V desetletjih je zabava bar mitzvah postala nosilec številnih Judov. Tako kot pri drugih dogodkih, ki v latinskoameriških kulturah označujejo prehod v odraslo dobo kvinceje ñera, so se na primer — sprejemi povečali in si vzeli svoje življenje.

“ Obstaja določen pritisk ’s, "je dejal Waldoks. “ Vsaka zabava mora biti večja od naslednje. ’ ’

Te zabave so imele tak vpliv na nekatere 13-letnike, da se slavljenci znova trudijo kot odrasli.

23-letna Becca Mohr, ki je nedavno diplomirala na univerzi Tufts, se je prejšnji mesec pripravila na zabavo v slogu bat mitzvah, da bi proslavila 10. obletnico svojega prvotnega, skupaj z 10-letnim seznamom predvajanja glasbe, plesom hora in čarom. -cha diapozitiv.

Rich Parr, ki je bil vzgojen kot rimokatolik, a ima židovsko ženo, je imel za svoj 26. rojstni dan “Parr mitzvah ’ ’ v Allstonu.

Nedavni Tufts diplomant James Kennedy, 22, prav tako ni Žid, je imel “James na zabavi v baru mitzvahed ’ ’ s priljubljeno glasbo bar mitzvah, kot je piščančji ples, in njegovi prijatelji, ki so ga dvignili na stol, medtem ko so plesali horo .

“I ’ že dolgo me zanima kultura judovstva, "je dejal 22 -letni Kennedy, ki živi v Washingtonu, DC

Ta trend je prizadel tudi zahodno obalo. Judovski študentje prava na univerzi Stanford sponzorirajo tako imenovano zabavo “Open Bar ’ ’ Mitzvah naslednji teden z DJ-jem, plesi, kot je macarena, in svečkami ter pihalnimi kitarami. Letak prikazuje fotografijo dekana pravne fakultete Larryja Kramerja v svojem bar mitzvah. “ Bil je zelo dober šport, ’ ’ je dejala Lexi Schechtel, študentka, ki je pomagala pri organizaciji dogodka. Te zabave ne smemo zamenjati z “faux mitzvah, ’ ’ izdelano bar ali bat mitzvah- stilske zabave za nejudovske 13-letnike.

Mei Patterson iz Lynnfield je lani pripravila tak dogodek za svojo hčerko Tio z DJ -jem in “a lepo temo zimske čudežne dežele ’ ’ je dejala. Rekla je, da je v njenem mestu pihanje 13. rojstnodnevnih zabav nova norost, "je dejala.

Zabave, kot je Jordan Newman ’, manj praznujejo starost kot starost so bili, “ skozi postmoderne ironične ’ ’ oči, je povedal Larry Cohen, Brooklyn, NY, režiser in prijatelj Newmanovih, ki mu je pomagal pri načrtovanju zabave. So med prvo generacijo ameriških Judov srednjega razreda, ki so večino svojega mladostnega obdobja obiskovali modne zabave v baru in bat mitzvah in imeli bogato izkušnjo v svoji skupni banki spominov. Ponos je nastal po zaključku večmesečnega študija, branju Tore in spoštovanju skupnosti.

Sledila je zadrega glede tega, kar je sledilo kasneje. Pozirajo za slike z naramnicami na zobeh. Starši jih gledajo, kako počasi plešejo. Eden od spominov Newman's##2121s, ki so bili vredni hrustanja, je bil velik vstop v sobo za zabave ob napetosti športovske glasbe#8220 󈨞s, z roko v roki z nekaj plesalci. ’ ’

“To je mini poroka, ’ ’ je dejal Jonathan Heller, direktor kampa Hadar, judovskega dnevnega taborišča v Salemu, NH, ki časti zaposlene, ki so tam delali 13 let, s praznovanjem, ki vključuje tematska zabava v bar mitzvah.

“Veliko tega prihajajo od staršev. Želijo organizirati ta velik in razkošen dogodek, mi pa smo bili zraven, «je dejal Cohen. “Toliko stvari se dogaja proti vam. Dejstvo, da ste moški in se komaj pogovarjate z dekleti. Izčrpani ste. Na vas je veliko pozornosti. Vsi, ki so obiskovali mojo bar mitzvah, so se imeli super, razen mene. Saj ne, da bi se imel slabo. Samo nisem se imel lepo. Hotel sem samo opazovati dogajanje od zunaj. Kar se je dogajalo, sem bil jaz in to je bilo več, kot sem si želel. ’ ’

Zdaj Cohen, ki je septembra dopolnil 26 let, razmišlja o svoji dvojni bar mitzvah. “ Iz dveh razlogov, ’ ’ je rekel. “Smešno je. In poskušate biti boljša različica sebe pri 13 letih, ko imate res 26 let. ’ ’

Newman je dejal, da je bil presenečen, kako hitro so njegovi prijatelji sprejeli koncept dvojne bar mitzvah.

“Začeli so se z idejami: imeti morate žareče ogrlice. Prašiče moraš imeti v odejah. Morate igrati ‘Mambo št. 5. ’ Morali bi nositi kravate, ki segajo do polovice majic. Igrati moramo Coca-Colo in Pepsi, "je rekel, misleč na igro na plesišču, za katero se zdi, da ima malo vleke zunaj vezja bar-and-bat-mitzvah.

Newman si je v svojem proračunu za 700 dolarjev lahko privoščil emcee, darila, kot so napihljivi saksofoni, in majice z napisom "Double Bar Mitzvah: Tokrat z dekleti!"#Sodeč po enem komentarju na njegov komentar prijava, zabava je uspela: “Jordan, vem, da sva se spoznala pred približno 5 minutami, vendar se ti zdi super že samo dejstvo, da ’rečeš dvojno mitzvo! Mazel tov! ’ ’

"Mi smo precej nostalgična generacija," je dejal Newman.

In kaj ne bi smelo biti nostalgično?

“ Zabavo načrtujejo eden od staršev, ki jo plačujeta eden od staršev, ki je skoraj kot stvar Petra Pana, je dejala Sylvia Barack Fishman, predsednica oddelka za univerzo Brandeis. Bližnjevzhodne in judovske študije. “To hrepenenje po varnejšem času. ’ ’

Toda iz verskih razlogov je precej bled, judovsko, "je rekel rabin Waldoks. “Dejstvo, da si 26-letnik želi dvojno bar mitzvah, je čudovito. Ampak rad bi, da bi prišel k shulu in spet opravil haftaro, je rekel, sklicevanje na branje iz hebrejske biblije. “I ’ Prepričan sem, da se je zelo trudil, da je to naredil prvič. ’ ’


Ne ponovimo časovnega zamika

Zdi se, da daljinski upravljalnik za trenutek visi v zraku, njegov infrardeči senzor se meša s svetlobo, ki prihaja skozi okno, da ustvari pikčasto mavrico, preden naprava trči v zaslon mojega televizorja. Nagnem se nazaj, zadovoljen, da je moj bes našel terapevtsko izhodišče, nato pa se obrnem in iščem druge stvari, ki bi jih lahko prekinil.

Verjetno se sprašujete, kako sem prišel sem. Zato se vrnimo nekaj tednov prej, da razložimo. Ali pa bi bilo bolje, če bi svojo zgodbo o gorju televizijskega kritika povedal v pravilnem vrstnem redu, namesto da bi začel s pol vznemirljivim incidentom, preden se vrnem k temu, kako stvari potekajo res začelo? Ker se je na deželo televizije Peak spustila kuga, v kateri zlomljeni časovni roki sesajo življenje iz preveč zgodb.

Več od Rolling Stonea

Zamisel o nekronološkem pripovedovanju zgodb za televizijo še zdaleč ni nova. Seinfeld naredil epizodo, v kateri je zgodba tekla nazaj, imenovano "Izdaja", tri leta pred Christopherjem Nolanom Spomin v kinodvorane. Drama iz devetdesetih let ER na koncu se je zaljubil v idejo, da bi epizode začel sredi zgodbe (a.k.a. in medias res) in nato nekaj ur nazaj, da ponazorimo, kako je eden od junaških dokumentov prišel v to lepljivo situacijo.

V zadnjem času pa je chyron "24 ur prej" prešel iz občasnega trika v nekaj, kar se zdi kot pripovedna privzetost. Samo naslednji teden bodo premierno na voljo tri scenaristične serije, ki uporabljajo nekaj različic naprave: HBO Max Narejeno za ljubezen (1. aprila), Netflix Kača (2. aprila) in AMC -jev Londonske tolpe (4. aprila). Pravzaprav bi težko ugotovili katero koli nedavno premierno predstavljeno serijo, ki s časom ni malo opirala, v primerjavi s poimenovanjem tistih, ki so. Tudi oddaje za predšolske otroke, kot je Netflix Mesto duhov, se temu ne morem upreti!

Vprašate se torej, zakaj je to problem? Ali sem pravkar postal starec, ki kriči na oblake? Ali pa se motijo ​​otroci?

Če se pametno uporabljajo, imajo umešani pripovedi, prebliski, posnetki naprej, vzporedne časovnice itd. Neverjeten vpliv. Trije najboljši dramski piloti doslej - Vzdevek, Izgubljeno, in Breaking Bad - uporabite eno ali več teh naprav in so zanj veliko bolj razburljive. Vzdevek začne se s cimetovolasko Sydney Bristow, ki je na robu mučenja kitajskih vladnih uradnikov, nato pa odskoči med to situacijo in zgodbo o tem, kako je privila lisice na stol, zobe pa ji grozi ekstrakcija. Izgubljeno (tudi od J.J. Abramsa, čeprav se je soustvarjalec Damon Lindelof s svojimi kasnejšimi projekti veliko igral s časom) se začne nekaj trenutkov po strmoglavljenju Oceanic 815, šele pozneje ponudi vpogled potnikom na sredini leta. In Breaking Bad slavno se začne z Walterjem Whiteom v spodnjem perilu, ki posname poslovilno video sporočilo svoji družini, saj pričakuje, da bo umrl v spopadu s policijo, nato pa se zgodba potopi v njegovo življenje pred metami. Tudi te predstave so se med svojimi vožnjami še naprej premikale naprej in nazaj, kot je bilo potrebno Izgubljeno celo sezono posvetiti potovanju skozi čas in Breaking Bad dražil finale svoje serije na začetku prejšnje sezone.

Torej nelinearne pripovedi same niso problem. Preveč ljudi - tako ustvarjalcev kot vodstvenih delavcev - si je ogledalo oddaje, ki so naredile prav, in reklo: »Oh, to je enostavno! Tudi mi to zmoremo. " Torej, kar je bilo včasih občasno, obrtniško dobroto, je zdaj nezdrava hrana, tako slaba in množična, da iz nje niti ne dobite začetnega hitenja sladkorja.

Več predstavnikov mi je povedalo, da so to zdaj pogoste opombe, ki jih dobijo od šefov mreže in studia, zlasti pri pilotskih epizodah. (Eden je celo trdil, da je strinjanje z noto cena, da njihova oddaja postane zelena.) Ker je na izbiro toliko oddaj, se vsi bojijo, da bi za trenutek izgubili pozornost gledalcev. Tako so se odločili za najpreprostejši in najzanesljivejši način, da to preprečijo, tako da skočijo mimo dolgočasne razstave, predstavijo nekoga, ki skoči skozi okno iz steklene plošče ali oropa banko, medtem ko je oblečen kot Angela Merkel, in šele nato ustrezno predstavijo vse (*) . Toda zelo malo ustvarjalcev je tako nadarjenih kot Vince Gilligan (ki uporablja tudi nelinearno kadriranje za vsako sezono Breaking Bad spinoff Raje pokliči Saula). Torej med padcem v osnovni umetnosti in čisto vseprisotnostjo naprave se namesto tega omili ("Ooh, komaj čakam, da ugotovim, za kaj gre!") Namesto tega se poslabša ("Oh, to spet?").

(*) Še posebej razburljivo je, ko dražljaji z bliskovnim posnetkom na začetku sploh niso tako razburljivi. NatGeovih Prave stvari Serija se odpre z dvema astronavtoma, ki tekmovalno tečeta, se brijeta in zajtrkujeta preden se zgodba umakne dve leti v preteklost, da se začne zgodba o tem, kako sta si tako všeč. Odpiranje v medias res na splošno izkazuje pomanjkanje zaupanja v material, toda ko začnete s fanti, ki nagajivo jedo zrezek in jajca, lahko tudi obupate.

Razmetljivost in pretirana uporaba začetka na sredini imata lahko tudi nenamerni posledici, da gledalca izvlečemo iz zgodbe. Vemo, da uživamo v fikciji, a pripovedovalci zgodb morajo biti zelo previdni, kako in kako pogosto nas na to spomnijo, na enak način, kot je piscem Supermana na splošno bolje, da ne poskušajo razložiti, zakaj so očala dovolj, da prikrije identiteto Clarka Kenta. Ko spremljate časovnice in iščete namige o tem, kako se bosta preteklost in sedanjost povezali, niste tako osredotočeni na to, kaj junaki čutijo in doživljajo v trenutku, ko jih dejansko gledate.

To je še večji problem za predstave, ki raztrgajo svoje časovnice od svojih uvodnih prizorov. Prva sezona Pravi detektiv je to naredil čudovito, z utrinki srednjih let, uničenega Rusta Cohleja in Martyja Harta, ki sta zagotovila čustveno sidro in nekaj pripovedne jasnosti za prizore o spominu na primer, ko sta sodelovala. Pogosteje pa začrtanje, na kateri časovnici ste in kako je povezano z drugimi, postane delo, ki gledalca izključi iz zgodbe, ki jo gleda. Tudi če obstaja tematska točka nelinearnosti, na primer prvih nekaj let Westworld govorili o tem, da se ljudje in stroji ujamejo v svoje vedenjske zanke, zahtevani duševni napor skoraj vedno odtehta duhovno nagrado.

Akcijska britanska kriminalna drama Londonske tolpe igra s časom manj agresivno kot druge pomembne premiere prihodnjega tedna, ki se v veliki meri kronološko premikajo naprej po pisanem mediju res prizor umora, da se vzpostavi razpoloženje. Narejeno za ljubezen, znanstvenofantastična komedija, v kateri Cristin Milioti igra žensko, katere mož iz tehnološkega mogotca ji v glavo vstavi čip za sledenje njenim dejanjem in mislim, ki cikcaka skozi vso zgodovino grde poroke in še prej. Kača, o resničnem serijskem morilcu Charlesu Sobhraju (Tahar Rahim), ki pleni zahodne turiste, ki so v sedemdesetih letih potovali po azijski »hipi poti«, dramatizira številne Sobhrajeve zločine, ki so divji iz reda, in vzporedno s kronološko časovno premico, kjer nizozemski diplomat Herman Knippenberg (Billy Howle) in njegova žena Angela (Ellie Bamber) postaneta amaterska slepa, ko lokalne oblasti ne bodo dovolj raziskale umora para nizozemskih turistov.

Narejeno za ljubezen vsaj dobi komično kilometrino s skoraj naključnim predstavljanjem dogodkov in se sklada z idejo, da Miliotijev lik nenehno pregleduje svojo preteklost, da ne bi razmišljal o svoji depresivni sedanjosti. Kača, vendar se na vsakem koraku podre, saj se ne premika v eno smer. Pogosto so chyroni, ki gledalca opomnijo, kje točno so v Sobhrajevi zgodbi, vendar bo morda potrebna tabla, da se spomni, kdaj se določeni dogodki zgodijo glede na druge. Prizori so pogosto predstavljeni večkrat z različnih vidikov v različnih epizodah, da bi teoretično zagotovili nov kontekst za tisto, kar smo prej videli. V povezavi s Sobhrajevimi ritualiziranimi metodami - zastrupil je svoje žrtve, zaradi česar so bile dovolj bolne, da so od vsega odvisne od njega - naredi zgodbo bolj monotono, kot je bilo predvideno. (Nikomur ni treba videti toliko prizorov ljudi, ki se krčijo v črevesnem nelagodju.) In čeprav nelinearni pristop včasih dvigne raven napetosti, ga večinoma ovira. Jenna Coleman ima močan nastop kot Sobhrajeva punca, Marie-Andrée Leclerc, toda kako se Leclerc razvija od nič hudega slutečega ljubezenskega interesa do pol voljnega sostorilca, se izgubi v vseh premetavanjih. Sčasoma se obe časovni premici združita, pri čemer sta Herman in Angela dosegla dovolj napredka Kača postaja nujna, primerna za grozodejstva, ki jih je storil Sobhraj. Ta poznejša poglavja so tako napeta, vznemirljiva in na trenutke ganljiva, da jih občasno previjanje ne ovira preveč. Vprašanje je, koliko gledalcev se bo držalo tega izplačila.

Struktura se bo zdela znana iz številnih zadnjih dokumentarcev, kot je npr Zaobljuba ali Zadnji ples. 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 Spomin. 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, “vse 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 Spomin ali Breaking Bad ali 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

Sorodne zgodbe

'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 phenomenon. (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.

Sorodne zgodbe

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

Sorodne zgodbe

'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 phenomenon. (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.

Sorodne zgodbe

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.

Oddaja slik Rocky Horror 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 Hokus pokus in Srednješolski muzikal trilogy as well as being the choreographer for Umazan ples in Prosti dan Ferrisa Buellerja 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 uspeh.

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 Oddaja slik Rocky Horror 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 Oddaja slik Rocky Horror 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.


Vsebina

"Time Warp" je bila peta pesem v prvotni odrski oddaji (po "Science Fiction/Double Feature", "Dammit Janet", "Over at the Frankenstein Place" in "Sweet Transvestite"), a četrta v filmu (po " Over at Frankenstein Place "in pred" Sweet Transvestite "). Odrske produkcije so še naprej uporabljale izvirno postavitev, dokler Richard O'Brien ni popravil scenarija za oživitev West Enda leta 1990, v katerem je pesem prestavil na mesto filma. Zaradi povečanja hitrosti se večina produkcij zdaj drži tega vrstnega reda. [4]

Pesem se začne ob 19:35 v DVD -ju filma. Sestavljen je iz verzov, ki jih prepevajo izmenični liki, ki služijo kot uvod v dva, in zborov, ki jih prepevajo "Transilvanijci" (film) ali "Fantomi" (igra), in kriminologa/pripovedovalca (v filmu ga igra Charles Grey ). Liki, ki pojejo verze, so po vrsti Riff-Raff, Magenta in Columbia (v filmu igrajo Richard O'Brien, Patricia Quinn in Little Nell Campbell). Po drugem polnem zboru se Columbia pogosto zažene v ples. [ potreben citat ]

Vrstni red solov se pri določenih posnetkih razlikuje. V filmu in zasedbi Roxy je Columbijin solo tik za Magenta, drugi plesni zbor pa sledi Columbijev ples. Nedavne odrske predstave imajo solaje v tem vrstnem redu, vendar s Columbijinim tapanjem takoj po njenem solo, tako da ostaneta le dva zbora. Občasno Columbia solo in tap dance sledi zboru po Magenta solo. [ potreben citat ]

Glas Meat Loafa je viden v refrenu filmske različice pesmi. [ potreben citat ] 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]

Lestvica (1976) Vrh
položaj
South Africa [ potreben citat ] 12
Originalni avstralski posnetek
Lestvica (1977) Vrh
položaj
Australia (Kent Music Report) [5] 85
Rocky Horror Picture Show
Lestvica (1980) Vrh
položaj
Australia (Kent Music Report) [5] 3

Razstava Hillywood uporabil pesem v a Doktor Kdo parodija, ki jo je David Tennant imenoval "izredna". [6] [7] [8]

Italijanska komična rock skupina Elio e le Storie Tese je leta 1996 posnela parodijsko priredbo pesmi z naslovom "Balla coi barlafüs" (tj. "Ples z idioti" v milanskem narečju) s popolnoma novimi italijanskimi besedili, ki se posmehujejo Umbertu Bossiju in njegovemu poskusu , v začetku tega leta, da bi združili človeško verigo, da bi povezali Polesine in Monviso, ki simbolično blokira tok reke Po. Poleg besedila, naslovnica skupine sledi izvirni pesmi v vseh podrobnostih. Glasbeni video za naslovnico, ki je nastal kot uvodno zaporedje za izdajo priljubljene športne satire Gialappa's Band leta 1996 Mai dire Gol, je tudi zelo zvesta reprodukcija izvirnega prizora iz filma (liki, scenografije, rekviziti, kostumi in plesi), vse do kriminologa, ki ga je odigral Giacomo Poretti iz Alda, Giovanni e Giacomo in vprašal, za kakšen ples gre. Daniele Luttazzi in Sabrina Ferilli sta igrala kot Brad in Janet, vodja skupine Elio se je pojavil kot Riff Raff, Marina Massironi je igrala kot Magenta, preostali del skupine (skupaj z igralsko zasedbo oddaje) pa kot Transilvani. [9]

V epizodi iz Razstava Drew Carey, 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 in drugi želi videti Priscilla, kraljica puščave. [10]

V epizodi za sezono 27 of The Simpsons, meščani pojejo parodijo na pesem in pojejo o vseh porednih stvareh, ki jih odrasli počnejo na noč čarovnic.

Tenacious D je izdal glasbeni video, v katerem je pesem uporabil za spodbujanje glasovanja na predsedniških volitvah leta 2020 v ZDA, z nekoliko spremenjenim besedilom "gre le za skok v levo in ne korak v desno!" [11]


Time Warp Letra

(refren)
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

(refren)
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
(refren)
let's do the time warp again
let's do the time warp again
(criminologist)
it's just a jump to the left

(refren)
and then a step to the right

(criminologist)
put your hands on your hips

(refren)
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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