Pop-Culture Parody Musicals Are as Meta as We Get

Growing up in the ‘90s and early ‘00s, I had really weird taste in music. Sure, I liked whatever the Top 40 pop hits were, but I also belted out showtunes, and I had every word memorized of “Weird Al” Yankovic’s song parodies. Through his ode to food “Eat It,” I learned how badass young Michael Jackson was. Likewise, I would never have known what “MacArthur Park” without the cheeky "Jurassic Park.”

In a 2003 interview with NPR, Yankovic mused on how his fellow artists would respond as he prepped each album of song parodies. “At this point I’ve got a bit of a track record,” he said. “So people realize that when ‘Weird Al’ wants to go parody, it’s not meant to make them look bad… it’s meant to be a tribute.”

While it seems as if “Weird Al” has hung up the accordion for the time being, there are plenty of creative teams who have adopted that same motivation of writing silly lyrics to poke fun at pop culture and elevated it to the next logical incarnation—the musical. In the past few years, more and more pop culture parody musicals have popped up on the Internet, in universities, and even off-Broadway. They’ve launched the careers of stars like Darren Criss (who played the starring role in A Very Potter Musical), and even famous folks like Joss Whedon (with Doctor Horrible’s Sing-Along Blog) have joined in.

Pop culture has passed into an incredibly self-reflective and meta phase. We can’t watch a TV show or political debate without immediately reacting through GIF form and then scrutinizing our reaction. We’re compelled to interrogate the highbrow and especially the lowbrow works that capture our attention. But it gets boring and one-dimensional to use the same medium that we’re discussing in our analysis. We’re constantly turning our opinions over and over, seeking out the smart new angle that someone hasn’t thought of. Enter this new breed of musical.

We’re lucky that many of these productions have tested the waters in New York City, where you can stage an outrageous parody for even just a weekend. In the past year, I’ve taken in four shows that probe the boundaries of good taste and challenge the books, actors, and even religious institutions they mock. Last Christmas, I joined the throngs of theatergoers laughing so hard they were crying at Trey Parker and Matt Stone’s The Book of Mormon. Since the, I’ve also giggled my way through song-and-dance parodies of Stephenie Meyer’s Twilight series, its offspring Fifty Shades of Grey, and the ‘90s thriller The Silence of the Lambs.

Whether each show’s attack is sweet or snarky, there is indeed that sense of tribute that Yankovic mentioned—cheeky nods to the genre of musical theater itself, or a hat tip to the impact Clarice Starling or Anastasia Steele has had on pop culture. In fact, 50 Shades! The Musical pokes fun less at Ana’s whirlwind romance with Christian Grey, and more at the way Americans have gobbled up E.L. James’ erotic fanfiction.

“I think anything that is so popular that everyone knows about it, you can start to home in on certain details,” said Emily Dorezas, one of the 50 Shades co-writers. “That’s why, as soon as the presidential election starts, everybody can laugh at the same things about the different candidates. Fifty Shades of Grey is just this brand that doesn’t go away. Even if you know nothing about it, you know everything about it. Part of what we’re doing is making fun of the phenomenon of it. [Audiences] can laugh at that because they’ve seen it in their house, with their wives and girlfriends.”

Twilight: The Musical employs a similar shorthand: They’re betting on audiences’ familiarity with the movies so that they can skewer not only Bella Swan and Edward Cullen, but also Robert Pattinson’s insanely dramatic delivery and Kristen Stewart’s penchant for lip biting. The more layers you can work through, the better you’re rewarded, like when Edward and Bella’s literary contemporaries Harry Potter, Ron Weasley, and Hermione Granger pop in to declare a wizards-versus-vampires war.

When you’re addressing the young adult fiction booms of the past fifteen years, of course you have to poke fun at the consumers who waited in line at midnight for the new books and movies. But how do you mock a solid film classic from the ‘90s that’s entirely straight-faced and even rather terrifying? You make it self-aware.

What most struck me about Silence! The Musical (which has existed online and onstage since 2002) is that it follows the movie beat-for-beat. I was especially aware because I had watched the film for the first time just a few weeks prior. Aside from the addition of a lamb chorus—paralleling the ancient Greek chorus and performing the same duty of commenting on the action onstage—the musical starts and ends where the movie does. Watching it, you’re delightfully surprised to realize that it is kind of ridiculous to start a movie with Jodie Foster huffing and puffing through the woods near Quantico, and that most of Anthony Hopkins’ dialogue is snarky one-liners. The cast turns even the most innocuous phrasing into a punchline; currently, Pamela Bob amps up Clarice’s unfortunate lisp to an art form.

The decision to do a shot-for-shot spoof had less to do with the movie itself and more with how co-writers Jon and Al Kaplan write all of their parodies. “We’re very detail-oriented,” the brothers said of what began as a collection of songs and evolved into a screenplay. “We focus on details and blow them up. It’s meant to be a love letter to the movie; we want to tailor it to people who are big fans.” It helped that Hunter Bell, who wrote the book for the stage show, and original director Christopher Gattelli had the same M.O.: “They love the movie and wanted to focus on the details—sometimes different details [from us].”

To be fair, the brothers were wary of audience reaction to some of the songs. But when the original movie brings Lecter and Clarice together after another inmate comments on her vagina, how can you not give Lecter a love song called “If I Could Smell Her Cunt”? However, it wasn’t until Book of Mormon opened in 2010 that the Kaplans felt more secure about their bawdier musical numbers.

“I think we’re proudest of Lecter’s song,” the Kaplans said. “It’s not the typical song you would expect from him, the ‘liver and fava beans’ number. It’s the moment where the audience really has to buy into the concept or not buy into it. It has to be well performed; Lecter has to really sell it as a love song. We’re also proud of Buffalo Bill’s song ‘I’d Fuck Me’ because it came late in the game. We felt like we had already written our Buffalo Bill songs.”

”I’d Fuck Me” represents perhaps the closest adherence to the source material. Our audience was on the edge of their seats during this swirly burlesque number because we all knew the iconic sequence from the film and were waiting with bated breath to see if David Ayers would attempt the infamous dick tuck. When he did, that prompted the most cheers out of any point in the show. Honestly, we wouldn’t have respected the creative team if they hadn’t included that moment.

Each of these shows has unlocked a new take on the source material through the medium of the musical. The visual nature of a stage show has been most beneficial for 50 Shades! The Musical. One of the book’s most ludicrous elements was Anastasia’s “inner goddess,” the subconscious manifestation of her repressed horniness. Sadly, she was absent from the New York production, but Dorezas said that she showed up in Chicago in “a scene with Christian and Anastasia, [where] the inner goddess comes in and basks to have this whole moment to herself,” and that she’ll appear in future iterations.

Some of the most fun that the 50 Shades! The Musical cast and creative team had was subverting the audience’s expectations of the characters’ appearances. For the past year or more, fansites have cast achingly smoldering types like Ian Somerhalder and Alexis Bledel for Christian and Ana, but what makes Chris Grace and Amber Petty’s portrayals so refreshing is that neither are stereotypical beauties. They play up the comedic contrast between the prose and their onstage looks and behavior.

“It was totally a conscious decision,” Dorezas confirmed. “I don’t think anybody’s gonna be 100 percent satisfied with whatever Christian Grey they choose [for the movie]. We just wanted to go the complete opposite direction, but Chris plays it so sexy, and he owns it! There’s a certain point where it’s like, ‘This is our Christian Grey, and everyone in the audience is sold on it.’

”It’s always my favorite when he walks onstage for the first time, ‘cause you see the audience pointing at each other like, ‘Oh my God, this isn’t what you said!’ I know they think Ryan Gosling is gonna come out there. I think in Chris’ mind, he thinks he’s Ryan Gosling. And Amber as Anastasia—she’s so funny. We wanted it to be more of a wink at these characters, not the actual characters. I think if we went for super hot and sexy, we’d lose funny.”

Similarly, the writers grappled with the first draft because if they gave in to the temptation to absolutely skewer James’s admittedly ridiculous novel, they wouldn’t be able to keep an audience. “I think the first round, we felt like there was just too much punch and not enough heart to it,” Dorezas said, citing their shared experience in the comedy world. “We wanted the audience to want these two people to be together outside of a bondage/S&M situation.”

The parody can’t just be about the content; the creative teams must also consider conventions of musical theater itself. One of the first big laughs in The Book of Mormon is “Hasa Diga Eebowai,” a seemingly joyous African chant that brings to mind The Lion King’s “Hakuna Matata” but actually translates to “Fuck You, God.” Mocking religion was one thing, but dragging the esteemed medium of musical theater into the mix? That’s when audiences realized that no one was safe.

In the New York production of 50 Shades! The Musical, the inner goddess got sacrificed in favor of a big, Les Miserables-esque ensemble number. “We just had to find another place for the inner goddess, ‘cause we all were like, ‘Ah, we want this moment where everyone’s having doubt and not sure what to do,’” Dorezas said. “There’s a nod to Phantom of the Opera in the show, as well. We definitely put little things in there that even if you’re not a fan of Fifty Shades of Grey, if you’re a fan of musicals you’ll appreciate the moments as well. If some of the moments are too insidery—you don’t know who Jose is when he walks in, you don’t know Christian is against type—there’s still something for you.”

The Kaplan brothers’ nods to musical theater occur more in the fabric of the musical’s choreography: “It’s just integrating little homages here and there. There’s A Chorus Line in ‘In the Dark with a Maniac,’ [with] the dance move that Clarice does before she shoots Buffalo Bill. There’s also [elements from] The King and I.”

Now, a lot of the musical theater greats are dead and can’t defend themselves against this mockery. But how about the creators of the books and movies parodied? Despite the hard-R nature of Silence! The Musical, the Kaplans said that several of the people involved with the movie found it uproariously funny.

For one, director Jonathan Demme decided to celebrate his twenty-year crew reunion by going to the show. “We sat behind them, and they were laughing their heads off,” the Kaplans said. “It was a real kick… We thought he was gonna be a really serious guy, just sitting there scowling, but he’s got a real sense of humor.” They can’t vouch for Jodie Foster’s reaction, since she attended a different show. However, “Anthony Heald, who played Dr. Chilton, was very enthusiastic, said he would love to play his character in a future reincarnation of the show. Anthony Hopkins, as far as we know, hasn’t gone.”

”We did look toward Silence! The Musical a little bit in terms of what they were able to get away with,” Dorezas said. Because the original production of 50 Shades! The Musical debuted at the Edinburgh Fringe Festival, they’ve been caught up with UK copyright laws, combined with the reaction from James’ people. “For the UK opportunities that we are currently discussing, we could change some things around with the show that would make it fall under safe parameters,” Dorezas said. “If the parody laws change in our favor, then we would not have to do that. We have an idea of what we can do, but we’re kind of waiting to see how it changes.”

Musical parody reinvigorates seemingly played-out stories because it’s such an unexpected medium. It’s likely that the first time you saw Clarice Starling or read about Christian Grey, you never dreamed that either would break into song. These pop culture parody musicals crack these seemingly solemn characters and give them the added dimensions to ensure their endurance in the zeitgeist, whether they’re twenty or two years old. As the Kaplans confessed, “We never thought we’d be talking about this eleven years after the fact.”

Follow Natalie Zutter on Twitter.

Christmas Bonuses One Good Thing About ‘Fifty Shades’ Trilogy

E.L. James’s erotic vampire fan-fiction-turned-What Not To Do Guide to Relationships/BDSM/everything else has proved to be a rather lucrative venture, inspiring cosmetics, lingerie, sex toy parties and eventually, probably a film adaptation. And like any cultural phenomenon, the Fifty Shades comes with some strong backlash for a number of reasons—the writing isn’t exactly Shakespeare, the relationship between Anastasia Steele and Christian Grey abusive and creepy and not exactly worth idolizing, there’s some misinformation about BDSM practices. and the term used most frequently to describe the series, “mommy porn,” is super annoying and demeaning and probably comes with some really unfortunate implications about women and sexuality.

But, hey! Here’s something good that came out of this whole thing. Thanks to the wild success of the series, and other key titles like Gillian Flynn’s Gone Girl, everyone at Random House—literally everyone, “from top editors to mailroom clerks” says USA Today—is getting a big ol’ holiday bonus of $5,000. And for everyone who isn’t, like, Sir Richard Branson, $5,000 is a significant amount of money. And at a time when the book industry—and really any industry that favors words and stories over cat videos, really—is in a precarious state, any good news is comforting. So, to aspiring E.L. Jameses—maybe stop depicting abusive relationships, but also, keep writing! Because people are obviously reading what you’re writing, and it’s keeping the lights on for many a mailroom clerk at the publishing houses. 

Bret Easton Ellis Passed Over for ‘Fifty Shades’ Adaptation

If you happen to follow the infamously exorbitant novelist/screenwriter Bret Easton Ellis on Twitter, you know the influx of entertainment never stops. Not only has he been late-night post-Ambien binge-tweeting about everything from wanting to bang Breaking Bad’s Walter Jr. to thinking The Newsroom would be better if Eric Cartman replaced Jeff Daniels, Ellis’s recent main public outcry has been devoted to his desire to adapt E.L. James’s erotica-for-moms novel, Fifty Shades of Grey, for the big-screen.

Clearly from his posts, one can gather that the man is exceedingly passionate about the project and has done all but get down on hands and knees and beg for the chance to adapt it himself. Everyday he’s been yammering on about everything from the necessity of casting a straight actor, to how to cinematically structure certain scenes from the novel, to minute details of the characters, etc. Really, it looked like he had it all figured out. But as of yesterday, it was announced that Ellis would not be included on the short list of screenwriters up for the job. 

To be fair, the book—I’m assuming from the bit I tried to swallow—is awful, and the adaptation will be nothing more than a quick Hollywood cash-grab to bring in drooling women from all corners of the earth. However, for all of his incessant and obnoxious touting, it seems Ellis, if anyone, would be the perfect person to take this on. But let’s look at the four writers on the shortlist: Dan Fogelman (Crazy Stupid Love, Cars, Tangled), Veena Sud (The Killing, Cold Case), Karen Croner (One True Thing, Cold Sassy Tree), and Kelly Marcel (Terra Nova). Judging from their prior work, one could assume that whichever of these four takes on the adaptation would do it pretty literally as straight-forward film, aiming to stay true to the “seriousness” of the novel and provide you with a nice two-hour visual romp intented to get you a little hot and bothered.

But what Ellis does best—and what he would no doubt do with Fifty Shades—is making basic human characteristics, traits, and situations so absurd and over-the-top that they fall into the realm of satire. (Did no one see The Informers?!) Anyhow, the fact that he is no longer in contention for the job hasn’t stopped him from obsessively informing the world of his thoughts on how the film should run. Currently: denouncing Matt Bomer for the role of Christian Grey. 

‘Pride & Prejudice’ and Other Classics Get Sexed-Up, ‘Fifty Shades’ Style

What hath E.L. James wrought? The British author’s massively successful FIfty Shades of Grey and its two sequels have made everyone lose their minds, clearly, because now a publisher is printing classic romance novels with super-sexy book covers in order to entice bored housewives to pick up a Jane Austen novel with the expectation that Mr. Darcy will spank Elizabeth Bennett or force her to eat clams or something equally uncomfortably unsexy. Oh, but it’s not just the covers that get racy! These novels have been updated to include new scenes in which those beloved characters basically fuck each other’s brains out. Charlotte Bronte would be so proud, I’m sure.

This is all the great idea of the folks behind Clandestine Classics, an imprint owned by parent company Total-E-Bound Publishing:

The old-fashioned pleasantries and timidity have all been stripped away, quite literally. You didn’t really think that these much-loved characters only held hands and pecked cheeks, did you? Come with us as we embark on a breathtaking experience — behind the closed bedroom doors of our favorite, most-beloved British characters. Learn what Sherlock really thought of Watson, what Mr. Darcy really wanted to do to Miss Elizabeth Bennet, and unveil the sexy escapades of Mr. Rochester and Jane Eyre. We’ll show you the scenes that you always wanted to see but were never allowed.

So, basically, it’s fan-fiction, just like Fifty Shades of Grey, because this is how literature works now! And just in case your brain hasn’t exploded yet, here are some of the synopses of these literary-erotica mashups. 

Charlotte Bronte’s Jane Eyre:

From the moment Jane Eyre sets eyes on her one and true master, Mr Rochester, her life is irrevocably changed.

The tall, dark man is an enigma, complex, deep, compelling, frightening, and tempting beyond compare.

This stern, unyielding man brooks no refusal and demands all of what Jane has to offer as he invites her on a journey of the senses that would scandalise society. He demands her abject surrender. In his strong and athletic arms, Jane submits to his darkest desires and discovers hers are every bit as searing, plunging her into a world she never suspected and never wants to escape.

Jane Austen’s Northanger Abbey:

This is the story of the initiation into life of the naïve but sweetly appealing heroine, Catherine Moreland. A woman who suddenly finds herself an enthusiastic participant in the darker side of sexual activities. At the same time she finds herself embroiled in a real drama of misapprehension, mistreatment, and mortification, until common sense, humour and a crucial clarification of Catherine’s financial status, resolve her problems and win her the approval of Henry’s formidable father.

And finally, Arthur Conan Doyle’s A Study in Scarlet, now with 100% more gay sex:

When Dr John Watson takes rooms in Baker Street with amateur detective Sherlock Holmes, he has no idea that he is about to enter a shadowy world of criminality and violence. Nor does he anticipate falling in love with Holmes and having his sexual needs attended to in a way he had only previously dreamed about.

Why Is E.L. James at Comic-Con?

Comic-Con is taking place this week in San Diego, and my understanding of the event is pretty minimal. I assumed it was for people who are into comics to get together and talk about comic stuff? And also monster movies, or something? But the cast of Twilight is a big draw, which makes some sense to me since it’s a series about vampires and werewolves and magic stuff. So here is my question: Why the hell is E.L. James at Comic-Con?

James is, of course, the author of the incredibly successful Fifty Shades of Grey and its two sequels, the names of which I forget but will now dub Fifty Shades of Greyer and Fifty Shades With a Vengeance. I haven’t read these books, clearly, but I get it: ladies want to fantasize about being tied up sometimes, too, I guess. But it’s my understanding that there are no vampires, werewolves, monsters, fairies, or any supernatural elements to the series, right? So what does that have to do with Comic-Con?

And then there’s this, which I find very confusing:

The last time E L James came to Comic-Con, she participated in a panel for fans who wrote fiction inspired by the hugely popular “Twilight” series.

Here’s where I actually had to look up on Wikipedia (which is always right, of course) that Fifty Shades of Grey began as Twilight fan-fiction, which seems pretty appropriate. (Little known fact: The Sun Also Rises was originally fan-fiction inspired by The Great Gatsby!)

Basically Comic-Con has turned into this weird thing, I guess, in which no-longer niche markets are represented becaue they make a ton of money and it’s fun to pretend that the people who are into them are super unique and weird. But if Fifty Shades of Grey, which doesn’t really count as genre fiction but not really as literature, either, is represented, what does that mean for the weirdos who want to dress up as, I dunno, villians from video games? Scratch that: I’m perfectly fine with my new fantasy, in which housewives who are into entry-level BDSM fall in love with guys clutching bagged X-Men comic books. That might not be what’s actually happening at Comic-Con, but a boy can dream. 

‘Fifty Shades of Grey’: Where to Do It Yourself, All Over NYC

Whether you love it, hate it, or just get off on it, there’s no denying Fifty Shades of Grey is an S&M-ridden force of nature. Guys are reading it, libidos are reawakening, and the sale of rope at hardware stores has significantly increased

So why not get in on the action? Here are our top five places to do it yourself, live the Fifty Shades life, all over NYC. Fuck yes.

Holy cow, oh my. Am I blushing? Did I just bite my lip? 

Please don’t hit me. 

’50 Shades Of Grey’ Authoress Is Stinkin’ Rich And That’s 50 Shades Of Fucked Up

50 Shades Of Grey, the BDSM erotica that even your grandmother’s book club is reading, has been sitting on my iPad for two months now. I can’t read more than a few pages without recoiling in disgust: This writing is hooooooorible. And you know who doesn’t care? Newfound millionaire author E.L. James.

Gawker crunched the numbers and figured out precisely how much Scrooge McDuck money we’re talking about. First of all, Uniersal/Focus purchased the movie rights for $5 million. Second of all, E.L. James earns a seven percent royalty off each $14 paperback and a 25 percent royalty off of each e-book. Given how last month 50 Shades Of Grey sold four million paperbacks and one million e-books, James has been earning $1.34 million a week — or $191,000 — off the trilogy. And all for poorly written kink that started out online as Twilight fan-fic. 

Now that’s 50 shades of fucked up.

Selena Gomez Lampoons ‘Fifty Shades of Grey’ for FunnyOrDie

Dear readers, your new crack comedy pairing: Justin Bieber’s (possibly ex? I don’t even know anymore) girlfriend… and Ruxin from The League. In their latest video, pop star Selena Gomez and Nick Kroll skewer guilty-pleasure bodice-ripper Fifty Shades of Grey.

In “Fifty Shades of Blue,” Gomez provides the voiceover channeling Anastasia Steele to Kroll’s Carl Blue, a housepainter (as opposed to uber-wealthy flagellation fanatic Christian Grey) with adult-onset acne and terrible hygiene (he greets our narrator by shaking her hand after coughing into it). As she confides in her friend her erotic feelings for Carl, he digs lint out of his belly. And you can only guess her reaction to seeing Kroll with his caulking gun.

Whether you’ve read the book, haven’t or just don’t want to admit either way, watch and have a good laugh. You have to admire the commitment from both parties:

Linkage: ‘Bring It On’ on Broadway, ‘Fifty Shades’ Mania Hits Both Coasts

While speaking with astronaut Buzz Aldrin (what?), rocker Jack White reveals that he’s still pissed that he wasn’t recognized for playing an entire show with only one note. "[T]he Guinness book is a very elitist organization," he complains. "There’s nothing scientific about what they do." [Interview]

Why are TV show finales always so unsatisfying? (Ahem, Lost.) Here’s a thoughtful look. [AVClub]

It’s getting hot in here, Toros. Bring It On: The Musical is officially headed to Broadway. [EW]

New York bodegas are catching onto that sweet mommy porn rage that’s crippling the nation. [Anna Holmes]


Speaking of Fifty Shades of Grey, here’s a look at the penthouse where the smutty book takes place. [Curbed]

Even though Ashton Kutcher is currently filming one, Aaron Sorkin has announced that he’s working on "the definitive" Steve Jobs biopic. [Death & Taxes]

I’ll never understand fashion. Here is a very expensive beanie with a black veil. [The Gloss]

Here’s your single-serving Tumblr of the day. [Brad Pitt Eating Things