Called out as unlikable narcissists (who can’t even make a hit), Dee Dee and Barry decide to rehabilitate their tainted reputations with celebrity activism. In its broad outlines, the story - a show-people lark wed to a morality tale about a teenage lesbian’s triumph - seems unchanged. Its canny mix of nostalgia and idealism, old-fashioned conservatism and new-age liberalism will hit the spot for some, even if its vision of American unity is hard to recognize right now. On Netflix, the movie will sit alongside thousands of other titles, subject only to mysterious algorithms and sheltered from both critics and the box office. “The Prom” starts streaming on Netflix on Friday, which means no amount of cheers or jeers will matter. In his review of “The Prom” on Broadway, my Times colleague Jesse Green amusingly reassured readers that this wouldn’t happen, deeming it “a joyful hoot.” It won’t happen with the movie, which is based on the show, for other reasons. “This is not a review you want when you have crappy advance sales,” he bleats. And then the flack starts reading the notice from The New York Times (hiss, boo). The drinks and laughs are flowing, and everyone is as lit as their bedazzled outfits. Early in Ryan Murphy’s “The Prom,” a Broadway flack starts reading the reviews of a newly opened show about Eleanor Roosevelt, “Eleanor!” The gang’s all here, including the self-adoring stars, Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden).
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