Q Guide: Arts & Entertainment

Friday, April 30, 2010

Film

The Reel Queens: Astorian’s May-December porn romance heads to Tribeca

Bearden’s film follows the story of an obsessed Washington teenager (Dustin Ingram) who treks across the country to track down the titular 1970s adult film star (Kim Cattrall), only to find she is living a downbeat existence in Indiana. Comment.
Food

Dining Out: Fatty ‘Cue: Queens guy makes new kind of ‘cue in Brooklyn

We don’t usually venture outside our home borough for our dining adventures, but this time we had a compelling reason. Fatty ’Cue in Williamsburg is the result of a collaboration between Zak Pellaccio, the wunderkind of Southeast Asian flavors, and Queens’ own Robbie Richter, the Horatio Alger story of barbecue. Comment.
Arts

Wonder Women

The Bayside Historical Society will debut its new exhibit next week focusing on women who have made a mark on the community, including the former owner of the Bayside Times. Comment.
Arts

The plot thickens in Douglaston with play ‘Murder on the Nile’

DOUGLASTON — Mystery, intrigue, love, greed and jealousy: All the classic ingredients for a good old whodunit are in the mix at Theatre a la Carte’s latest production, Agatha Christie’s “Murder on the Nile,” now playing at the Community Church of Douglaston. Comment.

Thursday, April 29, 2010

Food

Dining Out: Fatty ‘Cue: Queens guy makes new kind of ‘cue in Brooklyn

We don’t usually venture outside our home borough for our dining adventures, but this time we had a compelling reason. Fatty ’Cue in Williamsburg is the result of a collaboration between Zak Pellaccio, the wunderkind of Southeast Asian flavors, and Queens’ own Robbie Richter, the Horatio Alger story of barbecue. Comment.

Wednesday, April 28, 2010

Arts

Breaking the frame

According to Astoria resident and artist Jairo Toro, contemporary art is not about using technical skill to draw realistic pictures, but about creating a new way to see art. Toro designs sculptures using plywood and acrylic paint that leap beyond the bounds of the conventional canvas to make statements about modern art and society. Comment.

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