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https://madamenoire.com/1126726/monique-gets-her-own-comedy-special-with-showtime/
Source: Paul Archuleta / Getty
After going back and forth with Netflix, Mo’Nique has finally gotten her own comedy special with another network. Even though she is still in court with thestreaming giant, the Academy-award winning actress will be starring in her special, Mo’Nique & Friends: Live From Atlanta on Showtime. The hour-long special, which will premiere on Febraury 7th at 10 p.m, will feature other comedians as well as Donnell Rawlings, Prince T-Dub, Just Nesh, Tone-X and Correy Bell.
The Baltimore native gushed about the news on her Instagram page.
“HEY MY LOVES!!!INTRODUCING MO’NIQUE & FRIENDS ON SHOWTIME FEBRUARY 7TH AT 10PM. I LOVE US 4 REAL!!!”
This will be Mo’Nique’s first stand-up special in 10 years.
This news comes a few days after Netflix asked that the lawsuit she filed against them back in November be dismissed.
“Plaintiff fails, however, to allege any facts showing that the compensation offered her was the product of discrimination,” read the legal documents obtained by The Blast. “To the contrary, her Complaint contradicts its core premise by noting that other persons of color, other women, and another African- American woman (like Plaintiff) have been paid substantially more money to create comedy specials for Netflix’s streaming service than what was offered to Plaintiff. And Plaintiff fails to explain why she was entitled to be offered what the stars to whom she compares herself were offered for creating such comedy specials.”
Mo had accused them of lowballing her when they offered her $500,000 to film a comedy special knowing that they had offered white and male comedians millions for their specials in the past. Her lawsuit noted that Dave Chapelle was offered $60 million for his comedy special, Chris Rock was offered $40 million and Jerry Seinfeld was offered $100 million for two comedy specials. The Precious star filed the lawsuit alleging that they discriminated against her due to her race and gender when trying to negotiate the deal with her.
Source: Paul Archuleta / Getty
After going back and forth with Netflix, Mo’Nique has finally gotten her own comedy special with another network. Even though she is still in court with thestreaming giant, the Academy-award winning actress will be starring in her special, Mo’Nique & Friends: Live From Atlanta on Showtime. The hour-long special, which will premiere on Febraury 7th at 10 p.m, will feature other comedians as well as Donnell Rawlings, Prince T-Dub, Just Nesh, Tone-X and Correy Bell.
The Baltimore native gushed about the news on her Instagram page.
“HEY MY LOVES!!!INTRODUCING MO’NIQUE & FRIENDS ON SHOWTIME FEBRUARY 7TH AT 10PM. I LOVE US 4 REAL!!!”
This will be Mo’Nique’s first stand-up special in 10 years.
This news comes a few days after Netflix asked that the lawsuit she filed against them back in November be dismissed.
“Plaintiff fails, however, to allege any facts showing that the compensation offered her was the product of discrimination,” read the legal documents obtained by The Blast. “To the contrary, her Complaint contradicts its core premise by noting that other persons of color, other women, and another African- American woman (like Plaintiff) have been paid substantially more money to create comedy specials for Netflix’s streaming service than what was offered to Plaintiff. And Plaintiff fails to explain why she was entitled to be offered what the stars to whom she compares herself were offered for creating such comedy specials.”
Mo had accused them of lowballing her when they offered her $500,000 to film a comedy special knowing that they had offered white and male comedians millions for their specials in the past. Her lawsuit noted that Dave Chapelle was offered $60 million for his comedy special, Chris Rock was offered $40 million and Jerry Seinfeld was offered $100 million for two comedy specials. The Precious star filed the lawsuit alleging that they discriminated against her due to her race and gender when trying to negotiate the deal with her.
It appears that Apu has said his final “thank you, come again” on The Simpsons. After thirty years, actor Hank Azaria is saying goodbye to his long running character of Apu. The actor recently told Slashfilm (via TVLine) Azaria at the Television Critics Association winter press tour “All we know there is I won’t be doing the voice anymore, unless there’s some way to transition it or something. We all made the decision together… We all agreed on it.”
Twentieth Century Fox
“We all feel like it’s the right thing and good about it.” He added “What they’re going to do with the character is their call. It’s up to them, and they haven’t sorted it out yet. All we’ve agreed on is I won’t do the voice anymore”. Now, this doesn’t mean we won’t see Apu again. I suppose it could mean that an ethnically appropriate actor could replace him. But, in all probability, the longtime owner of the Springfield Kwik-E-Mart will ride off into the sunset in some form. And it seems like it’s probably long past time for that to happen.
The fact that the characterization of Apu is racially offensive isn’t something people are just arriving at now. But it all came to a head in recent years with the 2017 documentary The Problem With Apu. That doc from comedian Hari Kondabolu showed how the character of Apu resulted in years of insulting stereotypes of Indian-Americans like himself. And to add insult to injury, the voice behind Apu was a white actor.
Twentieth Century Fox
When the controversy started to get national attention, the producers of The Simpsons decided to give their response…in an an offhand way. And it seemed to most to come across as fairly glib and dismissive. And disappointing, given the supposed progressive values of everyone involved with the show behind-the-scenes. In the 2018 episode “No Good Read Goes Unpunished,” Marge reads to Lisa an overly-edited children’s book, one which was chock full of antiquated stereotypes.
After Marge reads it, the camera turns to Lisa, and she says “Something that started out decades ago and was applauded and inoffensive is now politically incorrect”. And then they had her turn to her framed picture of Apu on her nightstand and utter “What can you do?” Marge then says “some things will be dealt with at a later date,” to which Lisa adds “if at all”. This suggests the producers might just do nothing about the whole Apu situation. Luckily, whether Azaria himself, or the production team, made the decision, something has been done about it now it seems.
And although this marks the end of Azaria’s thirty years playing the character, it’s hardly the end of his employment on the show. Let’s not forget, he also plays Moe, Wiggum, Comic Book Guy, Carl Carlson, Cletus Spuckler, Professor Frink, Dr. Nick Riviera, Lou, the Sea Captain, Superintendent Chalmers, Disco Stu, Duffman, and the Wiseguy. And tons of other one-time characters. He’ll be fine, The Simpsons will be fine, and life will go on. And for those of you who really miss Apu, there’s always the endless reruns.
Featured Image: CBS
The post Hank Azaria Won’t Voice Apu on THE SIMPSONS Anymore appeared first on Nerdist.
Sometimes, there just aren’t enough hours in the day to work, be a person, and workout. So you often have to sacrifice one of those and, let’s me honest, more often than not the sacrificial lamb is working out. But don’t fret! According to scientists, going to the movies is considered a “light workout” so you can be a person and work out, killing two birds with one stone, as they say.
Research done by the University College London (and paid for by Vue Cinemas) concluded that sitting in a cinema got your heart race up because you’re involved in the movie, you’re looking to see what is happening, and the increase in your heart rate was enough to constitute as a light workout.
Honestly, glad that I got a workout in as I saw Dolittle and Like a Boss this week. The study results came in as follows:
“The study found that in the cinema people spent around 45 minutes in a ‘healthy heart zone’ with their heart beating at between 40 and 80 per cent of its maximum rate. The study found that in the cinema people spent around 45 minutes in a ‘healthy heart zone’ with their heart beating at between 40 and 80 per cent of its maximum rate.”
So, the next time you don’t have too much time to work out but want to go catch the latest movie, don’t worry! It counts.
(via Daily Mail, image: Pexels)
Here are some other things we saw today:
- Get your baby Yoda merch while you can (via Comic Book)
- Well, Chris Hemsworth, the doctor is in. (via Entertainment Weekly)
-
LOL. Perfect for hiding in that space jungle. https://t.co/RymiwNpCRW
— Taika Waititi (@TaikaWaititi) January 18, 2020
- Lara Trump made fun of Joe Biden’s speech, seemingly unaware that he used to stutter. (via People)
- The Rise of Skywalker receives Star Wars‘ lowest score on Rotten Tomatoes (via CBR)
Anything we missed out there, Mary Suevians? Let us know in the comments below!
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—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—
When synthesizer-driven composition first gained popularity in the 1970s, Tangerine Dream’s score for Sorcerer became a standard-bearer and artistic benchmark for the possibilities of a then-nascent musical movement. William Friedkin’s remake of Henri-Georges Clouzot’s Wages of Fear marked the German electronic band’s first foray into film music, and its success validated and galvanized an artistic endeavor previously associated shoestring productions and exploitation films. For the first time since 1977, Waxwork Records has re-released the soundtrack on vinyl in the United States for appreciation by a new generation.
On Friday, Waxwork released the LP for sale, featuring sound remastered from the original master audio press on 180 gram “Rainforest Green and Black” swirled vinyl, deluxe packaging, art by Tony Stella, and liner notes by Friedkin himself. The album features all 12 original tracks.
Sorcerer itself is a fascinating cinematic artifact. The film followed two of the biggest hits of the 1970s, The French Connection and The Exorcist. Friedkin maxed out his commercial goodwill on a project that ran wildly overbudget and suffered from enormous difficulties during production. The budget ballooned from $15 to $22 million; first because of filming costs in the Dominican Republic – all evident on screen given the complexity and logistics of staging the transport of unstable dynamite across unsteady terrain. Later, and perhaps equally unsurprisingly, because of clashes between Friedkin and his crew. Although Sorcerer flopped upon its original release, Friedkin still considers the film to be one of his best. Esteem has grown over the past three decades for its ambition, and of course Tangerine Dream’s score.
The German band subsequently embarked on a successful second career composing music for Michael Mann (Thief), Ridley Scott (Legend), Kathryn Bigelow (Near Dark) and dozens of other filmmakers. In the LP liner notes, Friedkin describes the process of enlisting Tangerine Dream frontman Edgar Froese to compose pieces for the film:
“I wanted to take only the premise of Clouzot’s film and invent entirely new sequences and characters for a wider audience. When we finished the script, I gave it to Edgar Froese and asked him to write and record the score before I even shot the film, based only on his impressions of the script and what I told him about it. I felt a synchronicity between his work and mine.
…The music was ex-actly what I felt would enhance the film, though the band hadn’t seen a frame of it, nor had I even finished production. Initially, the film was a commercial and critical failure, but its reputation has grown over the years. The music has always remained relevant and in-spirational.”
In the intervening decades, the work of John Carpenter and Giorgio Moroder has become synonymous with electronic scores of that era, inspiring new generations of musicians and composers alike, thanks in no small part to the iconic films they helped bring to life. Tangerine Dream’s discography always ran parallel to theirs, in a broad variety of films and genres. But their cinematic journey began on Sorcerer, and this re-release offers fans the opportunity to add a seminal entry in this expanding canon of electronic scores to their collection.
Check out a playlist of tracks from the score below, and visit Waxworks Records’ website for more details and purchasing information about Sorcerer and many other great film scores, released on vinyl.
Photos courtesy Waxwork Records/ Paramount Pictures.
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