Nothing is as it seems on new season of Netflix’s ‘You’
Netflix/Courtesy
“You” is one of the smartest programs streaming today that lends itself easily to interpretation and argumentation.
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Two Peas in a Podcast episode 7: A Very Harry Potter Christmas
Killer plot holes, and magical misunderstandings abound! Join Maisy, Areyon and special guest and former theater beat Kate Tinney as they embark on their last magical adventure of the semester.
From Tenderloin to Balboa Theatre, political art in and around the Bay Area
On Dec. 23, the Coalition on Homelessness is screening “The Last Black Man in San Francisco,” directed by Joe Talbot.
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BareStage’s ‘Next to Normal’ lacks finished depth, despite all-star cast
The characters in “Next to Normal” are, as per the title, entirely based in their normality. Insisting that all of the characters look Instagram-ready in every scene feels like an oversight of the costume department.
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‘ARTPOP’: The forgotten Lady Gaga album
ARTPOP was the apparent boiling point for Gaga, the supersaturated explosion of all that we wanted from her — a gluttonous display of sex, art and fame followed quickly by an entirely new side of the artist.
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Bay Area Musicals’ ‘Gypsy’ sparkles as noble rendition of musical theater’s greatest work
The fantastic performers onstage were accompanied by an equally phenomenal band upstage, conducted by Jon Gallo.
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‘Room at the Top’ matures British New Wave
“Room at the Top” operates within the generic conventions of melodrama, complete with a mangled young woman and an angst-riddled leading man.
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‘The Servant’ is queer subversion
The song “All Gone” sung by Cleo Laine is used at several points throughout the film, morphing from a cozy, sweet love song to something far more terrifying.
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The Daughters takes a loving look at evolving queer community
Through the characters of Shorty, Griff and Jefferson, the play also zeros in on the exclusionary transphobia that persists in some areas of the lesbian movement.
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BareStage’s ‘A Midsummer Night’s Dream’ thrives in magical excellence
Director Benjamin Arsenault treated the content with a close eye and sensitivity that allowed the production to be at once true to the original text and a slight, but effective, modernization.
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