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...first season. Reiss was philosophical about this loss. “It’s not a hit in France,” he said. “Because the French suck.” While entertaining the packed Beren Hall at Hillel, Reiss revealed that half of the show??s writers are Harvard graduates. “People in Hollywood call us the Harvard mafia,” Reiss said. “At least the mafia has a code of honor.”In keeping with the rest of his speech, Reiss didn?...
...Academy of Motion Picture Arts and Sciences. Had the strike continued, Ganis would have been charged with the awkward task of orchestrating an Academy Awards ceremony devoid of writers and of actors. Anyone who watched Jon Stewart struggle without his writers on “The Daily Show?? knows the man does not have a knack for the extemporaneous. But thanks to the reached settlement the Oscars we all know and love were carried off Sunday night; Stewart was spared from addressing an empty Kodak Theater off-the-cuff. Instead, the same crowds of stars descended upon...
...next day—“proving, of course, that Paris Hilton is a moron.” But Reiss said he has become jaded by the heavy presence of celebrities at the Simpsons office. In fact, he joked that he has walked into the Emmy-winning show??s second-floor office to find wheelchair-bound theoretical physicist Stephen Hawking just sitting there—even though the building has no elevators. After the speech, Reiss was given a Hillel shirt, hat, and necktie. “[The event] was sort of structured, like...
...sparkler, which fizzed cheerfully, sending off little flickers of white light. The sparkler, of course, was sticking out of Krylon Superstar’s ass. Now in its eleventh year, the Sex Workers’ Art Show bills itself as a blend of consciousness-raising, entertainment, and titillation. The show??s national tour gives workers in the sex industry—strippers, porn actors, burlesque dancers, dominatrixes—a chance to present a more nuanced view of their profession. They critique and celebrate. They get naked. But when I first heard about the show, I focused...
...humor and Goldenberg’s voice. Additional praise should go to both composer Sam L. Linden ’10 and assistant choreographer Jessica M. Leonard ’08 for their contributions to the production. As with any musical, the often-overlooked orchestra supplies the show??s underlying excitement and the capable instrumentalists of the Pudding’s pit definitely keep up with the play’s nonstop score. Furthermore, the several choreographed dances are all entertaining and add that bit of pizzazz that makes this production so unique. While the plot?...