Film Me Join Me Thrill Me (Taboo Club Universe)

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Man On The Moon. Man On The Moon is the focus film of the week and the boys are joined by guest Sue Bennett to discuss all things Andy Kaufman and beyond. The Room is regarded by many as the Citizen Kane of bad movies, but just how bad is it? The boys are joined by guest Michael Fowler to discuss just what has made this flick a spoon-throwing-cult-classic.

Happy New Year Readers! What will win in our various categories? Join the boys as they discuss the film,. The boys return for another discussion of a festive flick. Under the microscope this week is Gremlins They wanted to give all you Readers a wee Christmas treat by immediately sharing their thought.

Our Christmas countdown continues with an audio trip to Chicago with guest Marc Gartland. The Nightmare Before Christmas. The festive season is upon us and the boys are joined by the wonderful Michael Fowler and the glorious Hannah Dee in Dictionary Corner. The Nightmare Before Christmas is the topic of conversation,. Tinker Tailor Soldier Spy. The nights are drawing in and what better way to celebrate than with a modern Cold War classic.

The boys are joined by guest Rose Dymock to discuss the wonderfully star laden espionage hit Tinker Tailor Soldier Spy Have you ever made a film pilgrimage to a famous location? Where have you been? What did you do? Where would you like to go? The boys return with an Appendices podcast episode discussing the various locations they have visited along with where they wou. The boys are back serving up another weekly slice of pod delights.

Co-host Gary argues that this is the finest cinematic year since his birth Listen in and let them know! I shot him in the heart! Our progression through the Halloween franchise continues with our musings on Halloween II The Texas Chainsaw Massacre Join the boys as they discuss it in all its glory. ShOctober is here! Join the boys for their salute to horror throughout the 5x pod month of October. Kubo and the Two Strings. Your lovely hosts are back in the pod booth for another chapter of FBC goodness.

Much like infamous boxing film no spoilers here! The Lord of the Rings: The Fellowship of the Ring Extended Edition. It has been a long time coming, but the boys are reunited with guest Rob Bond to discuss the magical first entry into The Lord of the Rings franchise. The boys are joined by filmmaker Alan Donohoe to discuss movie spin-offs and a whole bunch of other fun yet non-related filmic topics. The boys are joined by guest of old Scott Turner as they share their thoughts and opinions on one of cinemas true master. Films of Your Childhood.

Many of the films mentioned are extremely unsuitable for youths but the team se. Tune in as they discuss the criminally underrated Breakdown featuring Kurt Russell in one of his finest performances. Raiders of the Lost Ark. They also end the long running debate of who.

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The lunchbox has landed. Join the boys as they take a look back at s wonderful Brit-flick The Full Monty. They also discuss the brilliance of Sheffield, the joys of Anne Dudley and tactical positioning of an onstage light at the climax of the film!

Is it time for a renaissance? Finally,only only one superhero flick looks like it will break new ground: With Deadpool and Logan emerged as two of the livelier comic book entries of the past few years, it seems that Fox is finally carving out a place for the X-Men at the more mature end of the superhero spectrum. If we have any hope that will mark the beginning of a new era in fantasy film-making, this could be a very welcome mutation indeed.

Topics Science fiction and fantasy films Week in geek. Order by newest oldest recommendations. Show 25 25 50 All. When I read it, it made me very angry. It is heavy with dramatic irony right now, every time you mention gay marriage. Eighteen days later he read for this play, left for New York, got an apartment, and started to prepare for his New York theatrical debut. This is a whole other animal. But both he and Warlock describe Kramer as an intimidating presence. His integrity is extraordinary. A Broadway cynic might say that somewhere beyond the revolving door of movie stars slumming on summer breaks, there is currently an opening for a Real Live Theater Star.

Not someone who's a gimmick to bring in the out-of-town business we're talking to you, P. Not someone who might be cute on the Tonys we're not talking to you, Hugh Jackman, you keep up the good work. Our cynic might yet be saved from a life of bitterness thanks to Raul Esparza. Jonathan Larson in the late playwright's "Tick He lived through "Taboo. Esparza is on his way towards becoming a Big Name.

It's so crazy, it just might work: I said I wanted to be an actor," Esparza says. Two decades later, it's a terrifying reminder of just how ugly the politics of prejudice can be. Asked who his dream audience for this show would be, he growls: Onstage, in front of a giant copy of the U.

Constitution, a guy is mopping a shiny black floor that will be covered in milk, lettuce, bread and paper by the end of the night. Weeks is the center of that whirlwind, both engrossing and infuriating as he struggles to make people notice that AIDS is a crisis, and it's killing his friends. Esparza flows from cuddly to enraged, often within the course of a single scene — choices necessitated by the mercurial nature of Kramer, who wrote Ned as his own doppelganger. Larry is far more frightening than I am in this play, and I can't figure it out. If I could, I would do it on stage," Esparza says with a laugh.

We feel, somehow, in good hands. Esparza is also important to this particular production of "Normal Heart," which is occasionally so bombastic that it seems moments away from ascending into a massive yell-fest. Inherently likeable despite Ned's lack of self-control, Esparza serves as ballast to keep the whole thing from spinning away, leaving the audience behind in a pile of depressing statistics.

And Larry can be as gentle and cute as anybody I've seen. There's a sort of goofy, fluttery quality about him that I found so charming, and I liked the ability to use that. But in the midst of the real-life drama that was and is "Normal Heart," Esparza never lets us forget that he's acting. I can watch the traffic go by. The theater should be condensed so you're seeing just the most heightened, exciting moments.

When Esparza employs one of his many character tics as Ned — fiddling with his watch, or nervously brushing back his hair — it's easy to be pulled out of the scene by the mannerisms. But at the same time, it's oddly exhilarating to see someone playing a part that is crafted and inhabited down to the last twitch. Oh, but, nobody behaves like that in life, you say? Esparza's resume shows that the trustworthiness and idiosyncrasies have been with him all along, as he often plays narrators and playwrights and artists who anchor the shows they're in. As George, he took Mandy Patinkin's signature role and dialed down the crazy without losing any of the intensity.

Find a videotape of the performance and notice his "Look, I made a hat! In "Cabaret," reviewers applauded the way he humanized the Emcee's snakelike charms, and in "Taboo," the doomed Boy George musical, they noticed that he was shining in the midst of the train wreck the Times called him "radioactive". I think that says something about New York theater.

Nobody is willing to be brave and go out there and write about their generation right now — probably because their generation can't afford to buy tickets. And while he goes on to discuss people like Kenneth Lonergan and Michael John LaChiusa as artists with the capacity to change that, he acknowledges, "The problem for all these guys is that it's such a struggle to go from project to project.

You're not allowed to make mistakes because it costs so much, so they have to get everything right the first time, or they won't be given another chance. They attacked the hell out of Rosie O'Donnell, for "Taboo" , but she put her own money in the play. Most producers do not pour millions of their own dollars into a show and run around the country crowing about Broadway. And as an actor alongside the P.

Diddys of the world, Esparza feels the pressure of commercialism, too. But the thing is, I don't know how long I'll be able to stay at this level, playing these kinds of roles, if I don't have some TV show I can also sell to the general audience. Broadway doesn't make stars anymore. When Raul Esparza was a teenage tourist from Miami wandering through the Kennedy Center, a stern usher refused to let him peek inside the dark Opera House. He begged, using charisma that must have been extensive even then, but the usher remained unmoved.

Now he is He is an emerging Broadway star. But because he still carries that kid from Miami inside him, he burst into tears as he walked through the Kennedy Center on his way to his first rehearsal this spring. He gives the story dramatic polish, but sees it from the other side of the stage door, too: His work at the Kennedy Center is exhilarating -- and exhausting -- and there's no place for stage-struck kids who want to bumble into rehearsals.

On leave of absence from Broadway's "Cabaret," Esparza is the only actor to star in two musicals during this summer's Stephen Sondheim extravaganza. For much of the past month, he has spent his days rehearsing for "Merrily We Roll Along," which opens Friday. His nights have been spent onstage in "Sunday in the Park With George" as the emotionally frozen painter Georges Seurat and also as the impressionist's great-grandson, a less tormented 20th-century artist.

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Arriving for an interview at the end of an eight-hour rehearsal, Esparza collapses onto a bench and curls his slight and pliable body into a fetal position. Then he springs up and smiles. This is repertory at the highest level, and he considers it "a blessing.

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In the past 18 months, the excellent parts and critical acclaim have been raining down. He is great about finding and searching for the detail. Hal Prince, who produced the original version of "Evita" in , saw Esparza in the national tour: He's smart and quick and funny. Esparza watches his burgeoning fame warily. Some reviews cited his Seurat as evidence of "a blazing new talent," while others faulted him as cold and robotic.

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Esparza tries to learn something from the complaints and remain aloof from the praise. That's really, really great. Born in Wilmington, Del. Both of his parents had fled Castro's Cuba.

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His father's father, a government official, defected to the CIA in His maternal grandparents put his mother on a plane when she was Go find your brother,' and she didn't see her parents again until she was 21," Esparza says. I feel so much that my parents' stories about leaving Cuba and finding a life here became my stories. We long for it. It's a weird thing. He became "obsessed" with acting after an elementary school play, then dedicated himself to theater during his years at Belen Jesuit Preparatory School in Miami.

Castro attended the school before it moved to Florida, but "he's not listed as alumni," says Esparza, "for some reason. When he graduated from New York University with a double major in theater and English and a minor in psychology, he thought he might become a lawyer or a politician, "something where I could use my Spanish and feel connected to the world.

But Michele and his parents encouraged him to try the theater. You fail, well, you can fail at anything. His optimism was sorely tested. While Miami was a hot spot for movie production, Esparza got little work in the industry because, with his blond eyebrows and green eyes, he "didn't look Latin enough," a casting convention that irritates him enormously. Then he turned down a part to get married and have a honeymoon, "and then I didn't work for a whole year," he says.

We moved a lot. And then I remember standing in front of my wife's office -- she was working as a paralegal in Chicago -- and I was thinking, maybe it is time to do something else. There was still this sense that being in the theater is a little absurd. My family was so very conservative Cuban, and they are all engineers -- father, uncle, grandfather, great-grandfather -- and I thought maybe I should do something more stable.

And then the next day, I got hired for one show, and each Wednesday for four weeks in a row, I got offered another part, at, literally, the lowest point in my life. When he was cast as Che Guevara in the 20th-anniversary national tour, his decidedly anti-communist mother said, "Over my dead body!

But the song-and-dance Che worked for Esparza. The role led to his audition for "Rocky Horror," which he followed by creating Jonathan in "Tick, Tick. From there, he was to move on to a revival of Sondheim's "Assassins," until the show, with its lyrics about flying a plane into the White House, was scrubbed after Sept. So he wound up in "Cabaret," to which he will return in the fall. His expanding professional success has come with personal cost, and he has struggled to balance his work with his needs to have a home and a family.

The road has wreaked havoc with his marriage. The theater has done quite a lot of damage to our relationship," Esparza says, "and I suppose that is all I should say. The priest who married me said, 'Your values are very different from the values of the community you work in. And often, you have to be by yourself. Life is nothing but the show, and you can become strangers to each other without realizing it. The face is beautiful, but it is not perfect, and so he can make it infinitely malleable.

Esparza has a high forehead and distinguished nose and huge green eyes that can bulge with manic intensity or reflect inner wounds or transmit a tenderness that makes someone watching want to be involved with him. He is eloquent and passionate, a relentless researcher of his roles and nearly naked emotionally.

He plays his characters by feeling them. I know the feelings of these characters," of the aching distance between Seurat and his mistress, Dot, "of having the conversation with the person you love more than life itself that you do not belong in this relationship. I know the feeling of being so sad and lonely that you end up working yourself into a stupor.

During "Sunday," Esparza was steeped in 19th-century France and let the impressionist paintings in the National Gallery of Art saturate his sensibilities. To prepare for "Merrily We Roll Along," set in the Broadway of the '60s, he has been reading about the Kennedy administration and prowling through the National Museum of American History, soaking up a sense of the nation then.

First produced in , the musical closed after only 16 performances and rotten reviews.

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