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He is gay, which his churchgoing parents shame him about. Usher is fat, which his doctor shames him about. Usher is a poor musical-theater writer, working as an usher at “The Lion King” (the choice to have “A Strange Loop” play on the same street as Pride Rock is a touch of producorial genius). But the best way to describe “A Strange Loop” is as a concept musical about self-loathing.
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“A Strange Loop” has a circuitous concept: It is about a Black gay man named Usher who is writing a musical called “A Strange Loop” about a Black gay man trying to write a musical (even the ingenious set from Arnulfo Maldonado is actually a successively smaller series of loops). In making the lead character a fat, Black gay man, within an industry (and larger society) that prioritizes and idolizes skinny, white bodies, Jackson is making a Black gay man an embodiment of the universal.Īnd he’s also written one of the best, and the most groundbreaking, new musicals of the Broadway season.
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He’s also successfully testing the conceit of how the universal is rooted in the specific. But as I am writing this, it occurs to me that what Jackson does with “A Strange Loop” isn’t just write a musical with catchy tunes and clever lyrics. Jackson’s Pulitzer-winning musical, I even asked my editor, “Am I the best person to review this?” What insight can a heterosexual cis Asian woman provide about a musical dealing with, “What it’s like to live up here/And travel the world in a fat, Black queer body”? And it’s not just identity Jackson’s musical also criticizes Tyler Perry, the racist and meat-market mentality within gay dating apps and mediocre commercial theater (okay, I admit that last one I completely understand).Īnyway, because the review schedule was set, and Broadway News didn’t want to overload its critics, and because “A Strange Loop” has lived rent-free in my mind since I saw it off Broadway in 2019, here I am now. Throw in Hugh Grant as a smarmy love-rat, Colin Firth as a bumbling gentleman and a script co-written by Richard Curtis, and you’ve got romcom royalty.What can I say about “A Strange Loop” that hasn’t already been said? When I got the assignment to review Michael R. Zellweger’s performance – British accent and all – is just highly believable her Bridget is one of us (although how an assistant at a publishing house can afford to live alone in a one-bedroom flat in London Bridge requires a little suspension of disbelief). That being said, it remains a charming and deeply relatable film, thanks mostly to double-Oscar-winner Renée Zellweger, who injects a lovable charm into her portrayal of the almost perennially unlucky-in-love Bridget. ‘Bridget Jones, wanton sex goddess, with a very bad man between her thighs…’īased on Helen Fielding’s newspaper-column-turned-bestselling-book about a loveable but perpetually single thirtysomething living in London, Bridget Jones’s Diary is very much a product of its time (hopefully today, we wouldn’t dare consider Bridget overweight or the fact that she’s single in her thirties a problem).
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? The 100 best romantic films of all-time Written by Dave Calhoun, Cath Clarke, Tom Huddleston, Kate Lloyd, Andy Kryza, Phil de Semlyen, Alim Kheraj & Matthew Singer Love contains multitudes, and so do romantic comedies, and we considered it all when putting together this list of the best romcoms of all time. Others are light and airy, or borderline fantastical.
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Others are dark and cynical, because, well, love often sucks. Some are sophisticated, drilling deep into the complexities of interpersonal relationships. Who hasn’t been in love, in one form or another? And honestly, what’s funnier than the things humans do while under love’s spell?īut the best romantic comedies don’t have to be straight-ahead farces to qualify – although, to be fair, many of them are. Frequently derided and dismissed as ‘chick flicks’, romcoms are, in truth, more broadly relatable than any other category of film.
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No movie genre is more misunderstood than romantic comedy.