Michael's scene at the bar at the wedding can be watched on YouTube in (at least) two different versions:
Version 1: Filmed off of a movie screen with a mobile device, Michael T. Weiss and Chris Noth are dubbed in a foreign language and the pictures are looking slightly wobbly
Version 2 created by 'noomi65': Movie version, with images of Michael from the premiere added, but instead of the actors voices the clip is underlayed with "Let Me Love You" by DaBuzz
Mike really looks his role description as 'Handsome Man at Wedding'!

Sex and the City 2 will be released on DVD & Blu-ray in
Germany: Oct. 22, 2010 ; US/Canada: Oct. 26 ; Japan: Oct. 27 ; Australia: Nov. 4 ; France: Nov. 10 ; UK: Nov. 29

Do you remember "Razor Sharp", the multiple award winning short film from 2006, written, directed and produced by Marcus Perry, starring Cassidy Freeman as Veronica Sharpe, Adam Gregor as Bryce, Skye McCole Bartusiak as Isis/Ice-6, and Michael T. Weiss as Dex?

Veronica Sharpe is a female James Bond in "Razor Sharp"
The story: Veronica Sharpe is the superwoman for whom there is no insurmountable challenge. In this action-packed mini-movie, business turns anything but usual when Veronica is hired by her underworld boss to steal an exotic code-breaker from a high-security skyscraper.

It is now playing in VSM Cinema. But you have to become a member of the VSM interactive movie club, to watch this 2008 Very Short Movies Festival finalist, or other films listed on their website.

Strange, that none of the reviews, whether professional or from fans has mentioned the final moments of the play.
So, here you go, with thanks to CMEW: Mace finally cracks, has some words and then gets violent and knocks out Chad Deity, The Fundamentalist and poor EKO. Hits him with a right jab to the face, then a left one and down goes Michael flat on his back out cold. Lays there for several minutes, Chad is lying in the aisle of the audience and Mace continues on with his dialog. Everyone comes to, gets up, all have some lines and it's sort of the end ....
Perhaps now after the end of the run, everyone heads for the Chiropractor.

Beyond Bodyslams: The Truth About The Elaborate Entrance of Chad Deity
by Broadway.com Staff
It's been a few weeks since the fiercely physical, hip-hop infused social satire The Elaborate Entrance of Chad Deity made its New York debut at Second Stage on May 20, and if you haven't seen it, you may be thinking: "A play? About professional wrestling?" But there's more to this exciting evening than men in tights. A Pulitzer Prize finalist, Chad Deity uses its muscled men, flashy entrances and whip-smart comedy to put social stereotypes and the American Dream in the spotlight, attracting audiences with flamboyant showmanship while secretly serving up a modern drama with a serious message. Broadway.com talked to playwright Kristoffer Diaz and stars Usman Ally, Terence Archie, Desmin Borges, Christian Litke and Michael T. Weiss to get the insiders' take on this remarkable new American play...and why you need to step into the ring with it.


The actors and writer Kristoffer Diaz talk about the play, the production and the fun of working with each other. And Everett K. Olsen has the final word!

Wrestling isn't exactly a subject I'm looking to see a play about. Sure, I watched a little as a kid. Overly muscular men in tight, usually little, clothing wasn't exactly worth passing up, even if I didn't quite understand it at the time. And the dramatic developments were truly ludicrous, which is captured elegantly and held up for its own insanity in Kristoffer Diaz's Pulitzer Prize finalist The Elaborate Entrance of Chad Deity.
Narrated by the central character, Desmin Borges’s Macedonio "Mace" Guerrero, TEEOCD (for short, that's a long honking title) is filled with the insights of a young man growing up admiring professional wrestling, fully aware of the complex training and Machiavellian coordination that goes into the enterprise. To say the show is well-scripted and insightful would be selling it short, and that whole Pulitzer finalist thing should speak well enough on its own.
Mace tells the tale of his own career as a secondary performer in the THE Wrestling organization, including acting as fall-down fodder for the titular Chad Deity. And yes, his entrance is indeed elaborate and as ridiculous as you'd imagine. Eventually tired of watching a less-talented, but clearly charismatic, wrestler, he ventures to a Brooklyn basketball court to discover a young man primed for his own spotlight, Vigneshwar Paduar, whom Mace brings to the head of the wrestling organization with a bid for stardom.
Up until this point, there have been a host of subtle race-related and social-structure allusions, but by bringing in an Indian man to create a wrestling character, Diaz kicks off his true plot-line: the use of racial stereotyping in the wrestling world is simply an hyperbolic allegory of race relations in America. And he's not wrong. With punching words that sting more than the demonstrated wrestling moves on stage, Diaz's dialogue, driven by Borges, Usman Ally (as Paduar), Terence Archie (as the titular Deity), and Michael T. Weiss (as the THE Wrestling head Everett K. Olson), is full, lush, and perfectly balanced with satire, surrealism, and reality.
I don't want to give away too much of the story, since the developments really work with an element of surprise, and, I presume, gain power upon multiple viewings. But the construction Diaz has built is very much a modern theatrical experience. Much of it is split between Borges's asides to the audience (at least a good third of the show) and usually very rapid dialogue (the other two-thirds). The asides are interesting, at least to me, since they tell not just about feelings, but about expectations. Diaz does a wonderful job avoiding typical exposition, leaving the dialogue & stage action to cover his points and notes for the audience. And the dénouement, while somewhat harrowing, never feels too preachy.
And the dialogue. Suffice it to say there is something of a treatise on raisin bread that is both powerful, moving, and hilarious it isn’t hard to see the accolades of the play pilling up. And Diaz tosses in a great joke about the cultural tastes of a professional wrestler that will make any theatre fan laugh rather loudly. There's the blazing speed of Ally's deliver, perfectly attuned to the character's believability. There's healthy interplay between all of the characters, with Archie's Deity's ultimate anger at Ally's Paduar's riding star building both believably, and in true wrestling form, takes on a delivery of sublime ridiculousness. All I'll say is there is a great use of a refrigerator's crisper as a metaphor. At least the audience should think of it as a metaphor.
The performances are uniformly strong, led rather distinctively by Borges. He conveys what I assume to be Diaz's wish-fulfillment as a character, the love of a profession so ludicrous he doesn't care. He not only delivers the excellent writing well, but does it with distinction and with actual wrestling moves. It’s a great performance, and if the rumors of transfer to Broadway are true, one that easily deserves a Tony nomination. Easily. Ally’s performance is so much of a caricature, but he does it quite well. There are bits of him sprouting off that are really great, and his moment in the wrestling ring is quite priceless. Archie's got two of the best speeches and a truly elaborate entrance, and executes all of it with aplomb. Weiss's role isn't exactly enjoyable, but he does enough to make it work.
The production of TEEOCD (that name really is a problem, but that’s the point) is equally well-done. There's a very fun stage setup, complete with wrestling ring, and the play uses the full theatre, much like wrestling does, to captivate and engage the audience. There's live camera work, running up and down the aisles, and, yes, very elaborate entrances. I did mention this was a modern piece, right? It is very much not a stage row removed from the audience, and it likes it that way. And so do we. Director Edward Torres, who brought the production from Chicago, has done an overall excellent job in breathing life into Diaz's already stellar piece.
This production of The Elaborate Entrance of Chad Deity is a limited run, but I'm expecting that it will be in an open run on Broadway very soon. To paraphrase Borges' Mace, it's about community, and Kristoffer Diaz's play makes it happen.
June 3, 2010

From one of the Pretender message boards and 'Pretender Fans Unite' on MySpace comes the following suggestion:

Who Do You Want to See Oprah Interview?
The Oprah Winfrey Show will come to an end in 2011, but before 'it's a wrap', who do you want to see sitting next to Oprah?

Fill in the provided form for Season 25 and request cast, crew and creators of the TV series The Pretender to be guests on Oprah's sofa.

A fan who already saw the movie reports the sighting of Mike at the wedding as follows: "He is at the bar and hits on Mr. Big".
And he indeed attended the film's US premiere at New York's Radio City Music Hall on May 24. See some photos here.

Stage Review: The Elaborate Entrance of Chad Deity (2010)
Reviewed by Melissa Rose Bernardo, May 27, 2010
EW's Grade: A-
Even if you think there's nothing entertaining about the WWE, it's impossible not to be swept up in the recent Pulitzer finalist The Elaborate Entrance of Chad Deity, Kristoffer Diaz's ode to headlocks, elbow drops, men in tights, scripted matches with predetermined winners, headline-grabbing characters, and all the other hilarious absurdities of professional wrestling.
Diaz is an admitted wrestle-maniac, as is his loquacious, streetwise narrator, Macedonio Guerra, a.k.a. the Mace (played by the affable Desmin Borges). The slightly pudgy, hangdog-faced Mace is an underpaid, unsung competitor for THE Wrestling (read: WWE). He's "one of the really f---ing good THE wrestlers," he tells us. "The guy who loses to make the winners look good." Enter the overly oiled, excessively muscled, extremely charismatic but astonishingly empty-headed THE champ Chad Deity (Terence Archie), whose supreme ego is outstripped only by his glaring lack of talent. "In wrestling, you can't kick a guy's ass without the help of the guy whose ass you're kicking," Chad Deity explains. And Mace has gotten his ass kicked many, many times by Chad Deity, as evidenced by several - ouch! - limb-popping videos. (Those sequences, plus the clever assorted MTV-style montages accompanying each wrestler's arrival, are courtesy of @radical.media.)
Though we do get to see a few body-slamming moves, most of the action takes place outside the ring, as THE honcho Everett K. Olson (Michael T. Weiss) transforms a basketball-playing motormouthed Indian Brooklynite named Vigneshwar Paduar (Usman Ally) into a cave-dwelling, turbaned militant Muslim dubbed the Fundamentalist. And since Mace discovered this new THE star/publicity stunt, he becomes the Fundamentalist's manager/sidekick, "Che Chavez Castro, Mexican revolutionary and denouncer of all things American" - complete with Cuban cigar, sombrero, and bongos. (Mace, it should be said, is a Puerto Rican kid from the Bronx.) Diaz's knowledge of and passion for the "sport" is infectious, and director Edward Torres' hip-hop-infused production is appropriately muscular and high-energy. Words of warning: Keep your feet out of the aisles, lest you trip an actor during an "elaborate entrance." Also, one lucky front-row dweller will probably get bench-pressed. The show sags when Mace steps into the ring, but otherwise, this is one powerbomb of a play.
(Tickets: 2st.com or 212-246-4422)

For more information about the play, read here.