In celebration of the upcoming series premiere on Friday, IFC released the entire second episode of Maron that's now available on IFC.com, iTunes, Amazon, Hulu, YouTube, Facebook, TVE and VOD. Check it out below!
All five webisodes of Maron In Space are available now on IFC.com at http://www.ifc.com/shows/maron/maron-in-space. The webseries is created and written by Adomian and comedian John Roy and directed by Chris VanArtsdalen and Jefferson Dutton
In this sneak peek clip from the series premiere of IFC's MARON, tormented by a heckler on Twitter, Marc sets out on a mission with podcast guest Dave Foley to track down and confront the internet troll. Get a sneak peek below!
Comedian and podcaster Marc Maron is coming to IFC this spring with a new scripted comedy series titled MARON, which premieres Friday, May 3 at 10:00pm ET/PT on IFC. Check out the just-released trailer below!
MAMMA MIA! Wham! Spice Up Your Life! What is it with guilty pleasures and exclamation points?! Well, last night's Glee definitely earned an emphatic exclamation point for the 'Guilty Pleasures' show - so bad it was good, just like it should be... against all odds, as it were. Zig-a-zig-ah!
Black Sheep Management & Productions and Firefly: Theater & Films will present the third annual iteration of Unscreened, a lively evening of four world-premiere short plays by some of Hollywood's fastest-rising writers and featuring a multi-star cast, opening Sunday, March 3 at the Lillian Theater.
On the next episode of ABC's NASHVILLE entitled 'There'll Be No Teardrops Tonight' - Rayna finds comfort in the arms of an old friend after revealing to Daphne and Maddie her plans to divorce. Get a sneak peek below!
Syfy will kick off the New Year with a robust winter programming slate of hit series and new programs led by the series premieres of unscripted shows Ghost Mine (January 16), Robot Combat League (February 26) and Stranded (February 27), and the time-traveling police drama Continuum (January 14).
Tom Berenger, Kevin Connolly, Thomas Jane, Sylvester Stallone, Kyra Sedgwick, Kelsey Grammar, Nelly, Danny Aiello, Terry Crews, David O'Hara, Omari Hardwick, Lauren Cohan, Elizabeth Henstridge, Cary Elwes and Ryan Kwanten have been cast in John Herzfeld's feature film REACH ME.
This week marked the third X FACTOR/GLEE combo Thursday on Fox and both shows continued to deliver the chill-inducing trills and riff-tastic runs we have come to expect from the entertainment extravaganzas showing off TV's top vocalists, performers, celebrities, hottest songs and guest stars. Evidently, Sarah Jessica Parker and Britney Spears sure can spice up and heat up a cooling late-September autumnal soup!
The new short film ALBUM, written and directed by David Rimmer, author of the Pulitzer Prize finalist long-running play, has been accepted into the NYC Independent Film Festival. The short will screen on Sunday, October 21st at 1pm at the Producer's Club, 358 West 44th Street in Manhattan.
Stella Adler Theatre (Los Angeles) presents Anthony Skordi in the premiere of "ONASSIS", written by Anthony Skordi and directed by Bruce Katzman, with opening set for tonight, Sept 14. The show runs through Oct. 28, 2012.
Stella Adler Theatre (Los Angeles) presents Anthony Skordi in the premiere of "ONASSIS", written by Anthony Skordi and directed by Bruce Katzman, with a preview on Sept 13 and an opening set for Sept 14. The show runs through Oct. 28, 2012.
On the heels of their 2011 Best Production Awards sweep for Small Engine Repair (Los Angeles Drama Critics Circle, LA Weekly, Ovation, and Garland Awards), Rogue Machine have announcesd the first production of their new season. Seen for the first time on the West Coast, Mark Roberts' Where The Great Ones Run, includes an award winning cast of actors led by Jeff Kober from tonight, May 26 at Rogue Machine, 5041 Pico Blvd., LA, CA 90019.
On the edge of glory, GLEE momentarily brought back the ecstatic excitement and indescribably infectious joy which made the musical dramedy series a huge hit in its first and second seasons, then commanding upwards of twelve million viewers a week. Now sixty-plus episodes into the series, in a two-hour episode helmed by co-creator Ian Brennan, last night's two-episode gorge-worthy and gorgeous feast - 'Props' and 'Nationals', by the hour - was a reminder of everything that cynics have cited as lacking from episodes in Season Three, as flagging ratings and a general media lull plagues the once seemingly indomitable mega-show despite its continued inventiveness and dramatic daringness. It was fresh and sassy and outrageous, but touching and heartfelt - attributes ascribed to the best episodes of the show. Yet, it was so much more, too - and then there's the music! Both hours were a totally over-the-top tribute to all things big and wow-worthy, coming at just the right moment to pump some energizing lifeblood into the audience base - passing references to Stephen Sondheim, Andrew Lloyd Webber, Marvin Hamlisch and Elton John as well as multiple winks at DANCE OF THE VAMPIRES songwriter and BAT OUT OF HELL mastermind Jim Steinman collectively pushing the theatre insider reference quotient into the stratosphere; and appreciably so. Yes, indeed, last night's double-dose of GLEE was an OD-worthy escapade worthy of returning to time and time again - Lea Michele's solo spots of Jason Mraz's 'I Won't Give Up' and Celine Dion's Grammy-winning 'It's All Coming Back To Me Now' alone were standouts of not only this or any season, but the series itself. With more than fifteen songs performed - everything from Lady Gaga, Nicki Minaj and The Who to STARLIGHT EXPRESS, TOMMY, FLASHDANCE and KISS ME, KATE - there was something for everyone in the two-hour GLEE extravaganza overflowing with the witty one-liners, out-of-this-world twists, outlandish characterizations, as well as the idiosyncratic theatrical reality that only GLEE can create. It was a true return to form to prove any and all naysayers wrong, and, this, coming after last week's Ryan Murphy-penned 'Prom-asaurus' season highlight, no less.
"Prom-asaurus" proved that GLEE can still pack a powerful pop culture punch when required to do so; and when it wants to - and spike it with some effervescence and make it pop, too. Even those among us who don't partake in drinking the GLEE Kool-Aid, all must agree that there was more than one episode's fair share of fun, frivolity, twists and tunes, with some very fitting dramatic and musicals moments that we have by now come to anticipate from the genre-hopping musical dramedy enterprise - all of it integrated effectively into the stream-lined storyline, as well. Prom. It's all about prom this time of year and GLEE always makes a point to pay tribute to the month of May in this way. It is in pop culture melding mega-moments like last night's One Direction cover by way of GLEE - "What You Makes You Beautiful" - that we are again reminded of the special place GLEE holds in the American pop pantheon of the 21st century - using real, of-the-moment pop songs and utilizing them to comment on current events while musicalizing and dramatizing the lives of high school students. The classic cuts that come along are a bonus, really, when one considers GLEE from this viewpoint, though the contemporary covers have become the bread and butter of song sales for the mega-music-selling series - "Teenage Dream" by Blaine & The Warblers, as well as the Troubletones's Adele "Someone Like You/Rumor Has It" mash-up sold nearly as many copies as their predecessors - the originals - as far as iTunes sales go. Though FOX channel-mate Simon Cowell of course discovered and shepherds the international pop smash super group One Direction, their musical appearance on GLEE this season marks the continued exposure of the of-the-moment boy band phenomena we have not seen the likes of in over a decade - not since the days of N*SYNC and the Backstreet Boys - after the New Directions success with The Wanted's "Glad You Came" a few episodes back and their upcoming continued presence, no doubt, in addition. What makes GLEE must-see-TV week after week is more often than not the try-anything approach of the creators and cast - some sequences shockingly come off brilliantly and hit all-too-squarely their intended targets, while others fall far short and flop completely, even embarrassingly so. To crib a phrase from One Direction's hit single, what makes GLEE beautiful is that GLEE does not always know what makes it beautiful - experiencing drama coming to us delivered from that rocky, risky-to-mount precipice is sometimes frustrating, sometimes rewarding, but almost always somehow more than merely satisfying.
