As the United States hurtles toward catastrophe and collapse, the gulf between its problems and the content of its drama, to say nothing of what passes for its journalism, yawns ever wider. As rapidly as energy crisis, economic royalism, military lawlessness, and ecological holocaust unfold, so grows the vacuity of stage and screen.
Case in point: Spiderman, yes, Spiderman, the musical. Surely planned as the ultimate money-making operation ever on Broadway, this shitheap is apparently instead proving that, at some point, exploitation and commercialism and willful adolescence must meet the laws of physics and societies.
Per The New York Times:
Once envisioned as a $25 million musical, “Spider-Man” is now the most expensive ever. Four cast members have been injured, one seriously. Three lead actors left. Flying scenes have regularly malfunctioned. Money nearly ran out at one point. Reviews have been terrible, and some actors are trying to get out of their contracts early.
All in the name of dramatizing a comic book for pre-teens!
One can only hope that the always modest* yet somehow tax-dodging, butt-kissing creep Paul David Hewson, a.k.a. Bono, not only had a major hand in the musical scoring of this nightmare, but is also one of its primary investors. Tell us, kind Sir, how much could many places in Africa use the $65 million dollars that have been dumped into this cynical ploy?
*Bono on His (and I do mean capital-H “His”) Spiderman work: “Creating art that has never been done before is the reason I get out of bed in the morning.”