Most fan fiction by strict definition is copyright infringement, however most fan fiction will qualify under other protections like parody, or the simple fact that it isn’t trying to be sold and make a profit.
While parody is an exception to copyright infringement most fan fiction is not parody - arguably most fan fiction is the direct opposite of parody because fanfic authors often treat the work they're infringing super-seriously. ;-) So most fanfic couldn't rely on the "parody" defence.
And not selling or making a profit from a piece of fanfic does not afford any legal protection to copyright infringement either. Just because you're not making money off a piece of fanfic doesn't mean the copyright owner can't rightfully sue you.
No one, not even Disney, is going to go after you for drawing Mickey Mouse and posting your drawing online
I agree, but Disney still has the legal right to go after you if they wanted to - it's just that they don't bother. Most fanfic survives by the good graces of the copyright owner, and/or because it flies so far under the radar the copyright owner isn't aware of it, or doesn't worry about it. But that's not the same as having legal protection against infringement.
Was going to say that it's clearly a list of the (ostensible) 100 best American shows, but they did include I May Destroy You and Fleabag. But they're obviously not that familiar with UK TV, cause there's no Fawlty Towers, no Yes Minister/Prime Minister, no I Claudius, no Edge of Darkness, no The Singing Detective, no Doctor Who, etc. And that's just UK shows, let alone non-English language shows or shows from other English-speaking countries. And while mini series like Roots were included, Chernobyl is a notable omission. Still, it was nice to see many shows I've loved on the list.
I have to admit I really dislike that production - I thought it was by turns highly pretentious and highly camp, and an example of the sort of wannabe-van-Hove director-as-auteur production that's infested so much of theatre (at least where I live) and that I got tired of a decade or more ago. That said, I know I'm in the minority.
As encouraging as a healthy box office is for producers and investors, Broadway prices are absolutely ridiculous, with London and other cities also getting increasingly prohibitively expensive. It's a trend that surely can't be good for the long-term health of the industry because it makes it more and more difficult for people who don't have high disposable income to see a lot of shows and so develop a love of the artform.
Yes, there are initiatives like ticket lotteries, cheap day seats and discounts which offer more affordable seats, but often these are very limited in number and/or with poor views. And while a $100 ticket may represent a decent discount, it's still a $100 ticket.
Pro-shots are becoming more popular and while these have their place, I personally think that nothing beats the experience of seeing a show live.
The economics of theatre, especially musical theatre, depresses me, because I don't know if there's a solution for the problem. Theatre is inherently expensive for a bunch of reasons I won't bother getting into, and the vast majority of shows don't make back their money. This means that investors look for higher returns for those small number of shows where they do make a profit to make up for the flops. This in turn drives ticket prices even higher, so it's a vicious circle.
We tend to think of musical theatre as being dominated by the US, UK and other English speaking countries, so I thought it was cool that a country like Korea has such a thriving musical theatre scene to be able to run annual awards dedicated to the form. And while quite a lot of the nominees are for Korean productions of well-known Broadway/West End shows like Phantom, Moulin Rouge, Six, Les Miz, If/Then etc, others seem to be for local, Korean shows (or if they are western shows, then more obscure ones) like Red Book, Sun-sin, 22 Years and 2 Months, The Devil: Eden and SheStars!
I read Glen Berger's book a few years ago and can't see how this screenplay wouldn't be based on Berger's memoir, especially since (based on the Blacklist summary) the "playwright" is the central character of the screenplay. Berger's book certainly makes for fascinating reading.
There is in fact another show called Parade, a revue of Jerry Herman songs, which I think would be as light-hearted as the title suggests. :-)
I've seen a couple of productions of the JRB Parade (including this revival), with a third coming up next year, and, yeah, it's fairly heavy going. And while the anti-Semitic themes do resonate particularly strongly at the moment, I tend to view the show as being against prejudice of any kind. It's like the old adage says - it's through specificity that you attain universality.
Hard to say. It may be that they're carrying often heavy instruments and are predictable in their movements, leaving the show at a set time each night.
There were actually two spin-off shows: The Lone Gunmen and Millennium. Granted, I think Millennium was retconned into being an X-Files spinoff show after it was cancelled so that the storyline could be wrapped up in an X-Files episode.
A lot of stage and movie/TV musicals where the characters are actually singers have prominent diegetic elements - so Beautiful the Carol King musical, Jersey Boys, Elvis a Musical Revolution, The Commitments, Fame etc.
In the recent Star Trek: Strange New Worlds episode "Subspace Rhapsody" all the characters were aware that they were breaking into song, much like they were in "Once More With Feeling". Which isn't surprising as OMWF was a very clear influence on the Star Trek musical.
I saw a local production a few years ago. It was fine but not spectacular. One issue with Kiss of the Spider Woman, I think, is that while the show has that distinctive Kander & Ebb darkness that many of their shows (and both of their most popular ones) have, it lacks that sense of fun that make Chicago and even Cabaret more palatable to the general public.