Search Results for: comedy

The True Story of Pretty Woman’s Original Dark Ending

Longreads Pick

Pretty Woman‘s original script was far darker than the romantic comedy millions of us have seen. Vanity Fair talks to the filmmakers about how the movie got its happy ending.

Source: Vanity Fair
Published: Mar 23, 2015
Length: 7 minutes (1,780 words)

‘Something Great is Ending’: On ‘Parks & Recreation’

Photo: Aviva West

“Parks & Recreation” may have begun as a The Office spinoff, but it ended its seventh season on its own delightful, lauded terms. At Uproxx, Ashley Burns and Chloe Schildhause compiled a spoiler-free oral history of “Parks & Recreation,” the biggest little show that could. This one’s for you, Pawnee.

On positive comedy: A lot of comedy seems negative and built on conflict and that stuff can be really funny, but if you look at some shows, sometimes the characters are just mean to each other. So, one of the challenges of Parks and Rec, that I hope we met, was that the characters were friends who had conflicts that were based on personality types and not based on zingers.

On Amy Poehler’s character, Leslie Knope: After the first season we thought that Leslie was going to be more conniving and savvy about politics. But then we realized that just wasn’t a good color on Amy. It seemed better to have someone who was more into doing good with politics and wanting to be a good person in the government and that seemed more fun.

On writer’s room antics: TV writing is such a communal process, and I have much more experience being in a comedy room, and I know that comedy writing is such a communal experience that the writer of that episode definitely has a shape in that first draft, and first jokes and language of that script. But together the final version is a group effort. Always spearheaded by the showrunner, our showrunner being the amazing Mike Schur, who is the funniest, smartest, nicest man, or person, I’ve ever met in the industry. So he is the voice of Parks and Rec and together we all work with him to make that final voice.

On the last day of shooting: We arranged our schedule so that the last scenes were with the entire cast and they were on our set and not a location. We were able to all be together for the last moments of the show. It was very nice and felt very appropriate. The cast was very sad and the producers were very sad, everybody’s really sad. But sad in the best possible way. And we kept reminding ourselves that the fact that we got to be this sad means that we had a really great run. The worst thing in the world would be to shoot the final day of your show and then be like, “Get me the hell out of here.” That would have been a much sadder scenario. So it was all the good kind of sad. That’s an emotion you can deal with, when you realize that the reason you’re sad is because something great is ending.

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Brother from Another Mother

Longreads Pick

“It’s not all pathos, pathos, pathos. One sketch ponders the eternal question ‘What if names were farts?'” Zadie Smith spends time with Comedy Central stars Key & Peele.

Source: The New Yorker
Published: Feb 19, 2015
Length: 34 minutes (8,596 words)

A Resourceful Woman

Jeff Sharlet | Longreads | February 2015 | 24 minutes (5,994 words)

 

  1. Mary Mazur, 61, set off near midnight to buy her Thanksgiving turkey. She took her plant with her. “He doesn’t like to be left alone,” she later explained. The plant rode in a white cart, Mary in her wheelchair. With only one hand to wheel herself, the other on the cart, she’d push the left wheel forward, switch hands, push the right. Left, right, cursing, until a sweet girl found her, and wheeled her into Crown Fried Chicken. “Do not forget my plant!” she shouted at the girl. I held the door. // “I have a problem with my foot,” she said—the left one, a scabbed stump, purple in the cold. Her slipper wouldn’t stay on. // Mary wore purple. Purple sweats, purple fleece. 30 degrees. “I bet you have a coat,” she said. Not asking, just observing. Measuring the distance. Between us. Between her and her turkey. Miles away. “You’ll freeze,” I said. “I’ll starve,” she said. I offered her chicken. “I have to have my turkey!” Also, a microwave. Her motel didn’t have one. // “Nobody will help you,” she said. “Not even if you’re bleeding from your two eyes.” // Two paramedics from the fire department. Two cops. An ambulance, two EMTs. “I didn’t call you!” she shouted. “I don’t care who called me,” said one of the cops. One of the paramedics put on blue latex gloves. “She won’t go without this—this friggin’ plant,” he said. “You’ll go,” said the cop. “You’re not my husband!” said Mary. The cop laughed. “Thank god,” he said. The whole gang laughed. One of them said maybe her plant was her husband. That made them laugh, too. “I’m not going!” said Mary. “Your plant is going,” said the cop. Mary caved. Stood on one foot. “Don’t touch me!” They lowered her onto the stretcher. “Let me hold it,” she said. “What?” said the EMT. “The plant,” said the cop. He lifted it out of the cart. “Be careful!” she shouted. He smirked but he was. “Thank you,” she rasped, her shouting all gone. Mary Mazur, 61, shrank into the blankets, muttering into the leaves, whispering to her only friend.

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How ‘George Washington Slept Here’ Became a Real Estate Cliché

There are no shortage of places where the nation’s first president “slept.” According to popular real estate site Zillow, of all the homes and real estate listings that boast celebrity provenance, Washington holds the record for most mentions.  Flickr has an entire photo pool entitled “George Washington Slept Here,” devoted to pictures of properties and historic sites that Washington visited. The pool contains 333 photos, though the group does leave room for a little more leeway, specifying that although sites Washington actually “spent the night at are preferred,” “any site he has a historic tie to is permissible.” And according to Barlow Burke’s Law of Real Estate Brokers, the claim of a Washington sleepover can even have a “significant” effect on home prices. In an article about George Washington from the December 1999 issue of Smithsonian Magazine, Timothy Foote expanded on the phenomenon. An excerpt is below:

Eventually the father of his country would sleep in a very great number of beds, so that one of them seems suitable enough as an object at hand. All through the 1750s he traveled the Western wilderness, first as a surveyor, then as a colonial officer. He had two horses shot from under him in battle, helping England fight France for possession of the continent. After some years building up Mount Vernon as a farm, in May 1775 he was off to Philadelphia as a delegate to the Continental Congress. He would be back soon, he wrote Martha after he left Mount Vernon, but it was eight and a half years before he got home for good.

***

He was unanimously elected President in 1789 and headed for New York City, chosen as the first seat of the new government. His job? To set sound political precedents and show how the first President of the world’s most promising but precarious political experiment ought to behave.

Driven by duty to present himself to the citizens of the shaky new union, he spent the night in so many inns and private houses that “George Washington Slept Here” became a real estate cliché, as well as the title of a clunky 1940 stage (and screen) comedy by Kaufman and Hart. Our object at hand was not one of the many beds Washington slept on while upon his travels. It is rather his first ‘best bed,’ as a particularly fine bed was then described, inherited, like Mount Vernon itself, from his half-brother Lawrence.

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The Rise of Joan of Arc: How a Visionary Peasant Girl Defied a Dress Code and Challenged the Patriarchy

Albert Lynch, "Jeanne d'Arc"

Kathryn Harrison | Joan of Arc: A Life Transfigured | Doubleday | October 2014 | 29 minutes (7,119 words)

 

Below is an excerpt from the book Joan of Arc: A Life Transfigured, by Kathryn Harrison, as recommended by Longreads contributor Dana Snitzky. Read more…

The Comfortable, Comic Genius of ‘Broad City’

Broad City returns tonight, much to the glee of critics and fans alike. At Grantland, Rachel Syme spent time with the comic geniuses behind the show, Abbi Jacobson and Ilana Glazer:

Some people just naturally fall into shtick, and these two can ping-pong forever. It’s chemical, sui generis, and extremely lucky; if you believe in magical forces, then you might call it fated.

“Look, sometimes it is still hard,” sighed Glazer. “Some people are scared of us, and some think we are dumb little girls. But the way we combat that is just being ourselves in meetings. And having a partner makes that so easy, because when all else fails, I’ll just talk across the table at Abbi like we are chilling by ourselves.”

“Honestly, we regularly forget that other people are in these meetings with us,” Jacobson said.” We are so used to just talking to each other. We do it all day long, all night long. I’m on Skype with Ilana when I go to bed and then again when I wake up. It’s not like we never have disagreements, but we also just really like talking to each other the most.”

“And it freaks people out!” said Glazer. “There is so much power in being able to look comfortable in a conference room, and I’m not sure dudes in suits are used to seeing women do that.”

You can see how Glazer and Jacobson would intimidate anyone in a room with them: They talk so quickly that they seem to share a stream of consciousness. They talk like all BFFs in the era of instant messaging, sending verbal links back and forth about things they saw or read, saving little bits and pieces for later. They traffic in pop-culture references and Internet slang; they are each other’s favorite IRL Twitter feed. Ultimately, snippets of these conversations will end up in the show. They are doing work even when they are not working, building on their banter, winding in and out of silly voices and secret handshakes. Their chemistry is electric, but also familiar. Anyone with a best friend would recognize it.

“I don’t think that the representation of women has caught up with the real,” said Glazer. “Every girl I know shits and talks about it, and fucks and talks about it. And people are like, these women are filthy! And I’m like, not compared to my friends. The show may be a cartoon version of us, but the cartoon sometimes gets closer to reality than anything.”

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Budd & Leni

Photos via Wikimedia Commons

Bruce Handy | Tin House | March 2013 | 26 minutes (6,452 words)

 

They were fleeting and unlikely collaborators, for lack of a better word. He was a son of Jewish Hollywood royalty, she a Nazi fellow traveler and propagandist, though they had a few things in common, too: both were talented filmmakers, both produced enduring work, and both would spend the second halves of their lives explaining or denying past moral compromises. Which isn’t to say the debits on their ledgers were equal—far from it. Read more…

The Gothic Life and Times of Horace Walpole

Carrie Frye | Longreads | December 2014 | 16 minutes (4,064 words)

Download .mobi (Kindle) Download .epub (iBooks)

 

As a child, Horace Walpole frequently heard it said of himself that surely he would die soon. Born in England in 1717, the last of his mother’s six children, he was fragile and prone to illness from birth. Two siblings before him had died in infancy, and so in the family order it went: three older children, loud, healthy and opinionated; two grave markers; and then young Horace toddling up behind—half child, half potential grave marker.

Naturally, his mother, Catherine, spoiled him. His father, Sir Robert Walpole, was the King’s prime minister. This often kept him away from home, as did a long-time mistress who acted, more than his wife did, as his hostess and companion. For her part Catherine had her own dalliances. It was that sort of marriage. The Walpoles of old had been middling country gentry—ancient name, quiet prosperity—before Robert had come along and, through a blend of shrewdness and charisma, wolf-halled his family into riches and the nobility. When Robert was young, the hope for him was that he might one day make a fine sheep-farmer; he died the first Earl of Orford, after a 20-year run as prime minister, a colossus of English history.

His son Horace worked himself into history another way. In his early 30s, he bought a box-shaped house—just an ordinary sort of house, sitting on a bit of hill in a fashionable country suburb—and decided to transform it into a Gothic castle. Room by room he went. Stained-glass window of a saint here, ancient suit of armor stowed in a wall recess there.

Then one summer, sitting in his castle’s library, he wrote a novel called The Castle of Otranto. Its setting was a medieval castle, not unlike his own mock-castle in many of its details, but grown, in the way of novels and dreams, into something grand and imposing. There the villainous Manfred schemes to block the return of the castle’s rightful heir, a young man named Theodore. Commonly pegged as the first Gothic novel, The Castle of Otranto turns 250 this year. It’s a strange, great, terrible, campy novel, slim but with some paragraphs so long and dense that you have to slash your way through. If Gothic literature had a family tree, its twisted gnarled branches chock-full of imperiled, swooning heroines and mysterious monks, with ghosts who sit light on the branches, and Frankenstein’s monster who sits heavy, with troops of dwarves, and winking nuns, and stunted, mostly nonflammable babies, at its base would sit Horace Walpole’s Castle. (Presumably with some lightning flickering dangerously nearby.) Read more…

Interview: Former ‘Matilda’ Star Mara Wilson on Leaving Hollywood and Becoming a Writer

Adele Oliveira | Longreads | Nov. 2014 | 15 minutes (3,798 words)

In 1994, when she was seven years old, Mara Wilson appeared on The Today Show with Katie Couric to promote a remake of Miracle on 34th Street, in which she starred.

Right away, it’s easy to see why Wilson, who’s also known for her work in Mrs. Doubtfire and Matilda, is a successful and endearing child actor. She wears a red-checked gingham shirt underneath a wooly red cardigan, and her feet stick straight off the armchair on which she sits, too short to reach the ground. Wilson is missing teeth, and despite lisping, her diction is perfect and she’s polite and sincere with Couric, who mispronounces Wilson’s first name. Couric asks Wilson if she’d like to be like Natalie Wood someday—Wood played Wilson’s role in the original 1947 version of Miracle on 34th Street. Wood started acting as a child, and in Couric’s words, grew up to be “a very famous, well-known, talented actress.”

Wilson hesitates, and you can see her thinking as she wrinkles her nose. “I don’t know,” she shrugs. “I might not want to be an actress all of my life.” Wilson says she wants to be a “script writer” and that while she hasn’t yet written down any of her stories, “I have a lot of them in my head.”

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