#Studio 100 Pop-up Theater
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*parts of this article was written previously and then recently updated*
Taylor Swift isn't just a pop icon anymore; she's the next great American dynasty, singlehandedly steering some of the country's most vaunted brands and institutions.
Why it matters: She already fueled the nation's economy for much of the summer and drove thousands to register to vote. Now, she's a beacon of opportunity — and cash — for both the NFL and Hollywood.
The NFL: Swift was spotted cheering on the Kansas City Chiefs alongside Donna Kelce, mother of Chiefs tight end, Travis Kelce, during last Sunday's game against the Chicago Bears.
Throughout the broadcast, Fox panned over to Swift nine times throughout the game and social media was abuzz over her attendance.
The NFL flashed images of Swift in their game day graphics throughout the game, released 10 TikToks on the official NFL account — which changed its bio to read "9/24/23. Taylor was here' — and NFL on Fox even ran an ad capitalizing on her romantic link to Kelce.
Kelce is also a recipient of the halo effect. In the 24 hours following the game, he gained over 300,000 new social media followers, saw a 400% increase in merchandise sales and his podcast ranked #1 on the Apple charts.
By the numbers: Her attendance did in fact drive ratings, particularly among young, female viewers
The Chiefs vs. Bears game drew 24.3 million viewers, making it the most-viewed telecast of the week, and female viewership in the key 18-49 demo saw a 63% increase.
What they're saying: "This buzz around Travis Kelce and Taylor Swift isn't just about speculation about their relationship, it's about the Halo Effect at work - where one person's influence boosts the appeal of others around them. Suddenly, football is more than a game; it's a stage for pop culture," said communication expert Molly McPherson.
"It isn't just an academic theory; it's a savvy marketing move. When an All-Pro tight end like Travis Kelce invites Taylor Swift to a game, he's essentially inviting her entire fan base to tune in as well. Swift, Kelce, the NFL, and the Kansas City Chiefs all come out ahead. There was only one loser in Sunday's game, and it was the Chicago Bears."
Box office: With Hollywood mired in the depths of dual labor disputes, this fall's movie slate was looking pretty bare for theaters — until Swift delivered an unexpected jolt with the surprise announcement of her "Eras Tour" film, set for release this month.
Swift and her family directly negotiated a distribution deal with theater chain AMC, leaving out the traditional studio middlemen via an agreement that could upend how concert films are released in the future, per Puck's Matthew Belloni.
The concert film is tracking toward a $100 million opening weekend domestically — and likely much higher, according to Deadline, with one analyst calling it a "unicorn."
Its announcement also forced a last-minute jolt of Hollywood's release calendar, as Blumhouse head Jason Blum moved up the release of the forthcoming "Exorcist" sequel by a week, declaring "#TaylorWins."
The big picture: Swift has so much influence, clout and engagement for a reason.
She has won over the trust of her fandom — referred to as Swifties — through authentic and direct communication across social media and through fan experiences.
Her penchant for hiding clues and Easter eggs throughout her communiques is so well-known that she took over Google Search to reveal new song titles last month.
Music accolades aside, Swift gained even more respect from her fellow musicians by challenging the way artists were compensated across streaming platforms.
What's next: Swift is expected to attend this week's Chiefs vs Jets game, which could continue to bring more eyeballs, more chatter and more money to the NFL.
The bottom line: When Taylor Swift gets involved, the only blank space that matters is on the checks that'll inevitably be cashed.
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Solo Leveling - World Premiere
How hype am I for this show?
I dropped $300 for an overnight trip to Tokyo to go to the World Premiere when I won tickets!~~
It wasn't anything super fancy or special, the tickets themselves were only 2000 yen / $20, but I considered it serendipity that I won tickets when I never win shit! (Capybara has a God Hand Of Luck and I have him do all my gachapon pulls for me to get what I want. He got me this Hisoka figure at the movie theater.) And it was worth the shinkansen ticket!
The World Premiere for Japan was on December 10, 2023, and was simultaneously shown in both Tokyo and Seoul and then at other various large cities around the world at other dates. I assume the later showings were recordings of the live viewing but with subtitles.
It was at 10:30 am and WOW THERE WERE SO MANY PEOPLE. Half of me was wondering if not that many people had bought tickets, and so the lottery for the tickets wasn't necessary, but nope FULL HOUSE.
(I will retake this once it's on display...)
We got cool little styrofoam cut outs with stands of Sung Jin Woo's very first dagger, the Kasaka's Venom Fang (which I have yet to put on display cause I'm moving soon, but I also got a spare for my Fox friend who's also obsessed with this show :3 Hopefully she'll put hers on display once I give it to her.)
The fricken... powerpoint screen I have at the top of this post. I wish I had been able to take photos outside of my tickets and that screen, cause like.
Thats a powerpoint. (That SURE IS a font choice) But it's not in presentation mode.
It's legit just a screen share of someone's laptop. There were slides with RED SQUIGGLY LINES UNDER SOME WORDS TO DENOTE MISSPELLINGS that don't normally pop up in presentation mode. Or SCREENSHOTS of slides, and various other font choice mishaps.
Welcome to the tech capital of the world, I guess? Lol.
Then we got to see the first two episodes!! I wasn't surprised by the lack of an opening or ending credit sequence because those tend to be a little last minute or have extra special touches put in to them. (For example, Zom 100's opening didn't show up until halfway through the first season because their studio is small and was having production delays, but its SO GOOD and worth the wait.)
I have yet to re-watch the episodes now that they've been released because I'm waiting for a chance to watch them with my Fox and Frog friends, but oh man.
The Japanese names sure did throw me off. Here is a link to a reference post I made about the Korean to Japanese names.
Solo Leveling Korean -> Japanese Names
I admit. I held out hope for keeping the original Korean names, but I'll leave my complaints about that for a different post. (Message from future Crow!! THERE ARE TWO VERSIONS!! A global version with the korean name, and a Japan version with the localized Japanese names. Curious if it'll be Korea or Japan in the global version.)
I was so excited by the sequencing of the story, though. We got to see Byung-nim in the first scene, AHHHHH!! 😍😍😍 The pacing is very good, the animation is very well done, I was holding my breath despite knowing what was coming and having an ABSOLUTE ethereal experience with one my favorite medias coming to life before me.
I'm also so happy I got to see Woo Jin Chul / Akira Inukai (BEST BOY). I love his Voice Actor. Unfortunately, he was not one of the VAs at the World Premiere. ALSO - HE'S BEING PLAYED BY SUNGWON CHO IN THE ENGLISH DUB. THAT ALMOST MAKES ME WANNA GO WATCH.
After the two episodes and credits played, the VAs came on to the stage and had interview time, and took a massive group photo.
The VAs from left to right:
Cha Hae In / Shizuku Kousaka played by Ueda, Reina (Also plays Kanao from Demon Slayer, Lemon from Mashle, Akane from SSSS.Gridman, Ruri from Dr. Stone, IdolM@ster and
Sung Jin Woo / Shun Mizushino played by Ban, Taito (Also plays Soyuz in Dr. Stone (HILARIOUS), the MC in Angel Next Door, YAGI FROM GIVEN.)
Yoo Jin Ho / Kenta Morobishi played by Nakamura, Genta, who is also a baby VA! He's only been in stuff since 2020, and considering Covid, there probably wasn't a lot of work for him to do! Hopefully he'll be popping up more in the future!)
Lemme just say.
Taito Ban.
Holy shit this dude goes
SO.
HARD.
SO.
EMOTIONAL.
SO.
GOOD.
I don't know how he doesn't have more main character roles??? But maybe this is his big break?? He super fucking deserves more roles cause DAMN he's giving me chills.
At the Premiere, when they came out on stage and started interviewing, he was acting like the "cool guy" who was trying not to show how nervous he was, and honestly it took him a bit to warm up to the crowd, but when they brought out the real replica of the Kasaka's Fang Blade, he got so excited like a little kid. It was very fun.
Shizuku Kousaka was a lot more used to these events, which makes sense considering shes in SO MUCH, including IdolM@ster, and a few magical girl animes.
Genta Nakamura was excited and nervous and happy to be there, and you can tell he enjoyed his character and was excited for future episodes where his character would appear.
Multiple photos of the above shot were taken for various online news / anime websites (including another foreigner who might have been there for crunchyroll?)
Me in the top left corner of that group photo. I could spot my glasses, the little white patch is the skeleton clip I have in my hair, and I'm half a head taller than everyone else in the seats lmao.
Over it was super fun! It was only about two hours, but I got to hang out in Shinjuku and go hunting through Animate for various anime goods before taking the bullet train home again for work the next day.
I'm excited for the goods that will be coming out for Solo Leveling soon! I had a photo of them but NOW I CAN'T FIND IT??? was it a FEVER DREAM? hopefully it reappears soon. I want goods. Need a can badge of my boy Woo Jin Chul like now.
Hopefully I'll get around to write ups about the episodes now that they're coming out! They're on my to do list~
#solo leveling#ore dake level up na ken#俺だけレベルアップな件#sung jin woo#yoo jin ho#cha hae in#solo leveling world premiere
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Queen Mathilde, Princess Elisabeth and Princess Eléonore of Belgium watching the Red Star Line musical at the Studio 100 Pop-Up Theater in Puurs - 16.04.23
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: Good start to what it says 👆from the numbers that this movie will be able to start making at from 28 million dollars to 38 million dollars for the domestic box office in this upcoming opening weekend, if some of you want to go to whatever different movie you want to watch, that is fine with us being up to it, which I hope that I do not become one of them, which I will try to not be able to watch those, but of Elemental instead whenever I am ready for being able to feel it apart from the other movies that the others will be able to watch from this summer when it comes to Disney Plus including with all of the bonus features extras included with the movie as well as for when it comes out on its digital copy release, and on its physical copy release, and for all of the other movies that will be able to be throughout the summer, I can try to be able to watch them all online besides from all of the bonus features extras included with each of the movies especially if they are in Disney Plus, or not like I have done in the past with all of the other stuff that is animated, or so else that is not animated, besides from all of the ones that we will be able to currently get in the present way before we will be able to get whatever might be able to come in the future, but still if you do decide to watch Elemental, it is fine with having a perfect accurate long fun filled factual, math logical, scientific, historical, etc., and logical explanation analysis of every single thing of the movie even with all of the characters, all of the scenes, seeing all of the visuals, catching all of the gags, catching all of the puns, being able to be understanding all of the jokes, getting all of the tidbits, looking for all of the Easter eggs, seeing all of the references whether it is pop culture, or not, and being able to be inspecting every little detail of everything of the movie as I just listed in here, and much more besides from all of the things that I just listed in here, and all of the other stuff 100% complete frame by frame by pausing to every single second of every single minute of the entire footage movie from when it is with all of the opening logos, and all of the opening credits of the very start of the movie at 00 : 00 : 00 to the very end of the movie with all of the closing logos, and all of the end credits at 01 : 42 : 00, but do not ever let this happen to the movie by not letting the movie flop at the box office, and not being able to have any of all of the criticizing to all of the misjudgings, not being able to be labeling all of this movie as underestimated, not being able to be categorizing this movie as either underated, or overrated, and not being able to be doing all of the other negative things to the movie at all like how some people are hurting the movie with all of their own hating ways to it such as making fun of it the bad way, trolling, cat phishing, deceiving red herrings, etc., so instead of cyber bullying to this movie, have all of your pity apologies to being able to be sorry for by supporting the movie safely to us fans of this movie with the love it needs both positively, and neutrally as it has been with all of the other films from Pixar's past as well as for all of the ones for Disney's, and all of the other film studios with their stuff from their very start of when the company was first ever made besides from leading to all of the ones that we have currently have so far in the present way before we get to see with all of the stuff that we will be able to get in the future otherwise if we do any of these things that I just listed in here, and whatever else I did not list it in here at all, it will be like how it was last year! :
: It will be able to have us being able to get ready on the red carpet to be able to return in style for almost all of us to be able to go this summer to a theatrical preview press screening world premiere event at the Cannes Festival on this upcoming Saturday, May/27th/2023 (it is somewhere in France, but I do not know what the exact address is it going to be able to take place in along with all of the directions for being able to know how to get there along with myself not being able to know who is going to be able to be in this event yet nor of being able to know what is going to be able to be the time of when it is going to be able to at its very start of when everything is being set up while all of the people that are going to be there are coming along with being able to open to us in the public to the very end of when it will be able to be closed for when we go back to where we left the parking spot on the way to there while all of the lot other people that were there are all gone for good) ! :
: (Extra posters, and advertising stuff for the movie 👇!) :
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:
: (I wonder where this image is from what video 👇!) :
: (I still wonder where these images is from what video 👇!) :
: (I know that we all have seen the image on the right whenever we see it on the internet, or wherever it is put in, but I really wonder where this image on the left is from what video 👇!) :
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: Meet Wendi McLendon-Covey also known as the real voice over actor who plays as Gale Cumulus! :
youtube
: 1st ever cosplay for the movie as seen from 👇, let's go? :
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: This is the place where these two from 👆 got it from 👇! :
: : (I am curious about where this image is from what video 👇!) :
: (Please be able to let me know where this image is from what video 👇!) :
:
: (Behind the scenes of Pixar's Elemental, and all of the other past 20 something movies, or so from the brand 👆!) :
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: (👆 New tv spot commercial for the movie, same old footage from all of the other stuff that we had before we just got this one here from YouTube!) :
: (I really still wonder where this image is from what video 👇!) :
: (I wish to be able to wonder where this image is from what video 👇!) :
: (I guess that Gale Cumulus was on American Idol after all as shown 👇 for being able to help out with this message on a sign carried by Clod, Ember Lumen, and Wade Ripple (not meaning that saying that this sign says that someone is on fire, since because of Ember Lumen made of this material of a little way to put it, but in a figurative way to be able to say that to someone who is either very enthusiastic, excited, or passionate about something (there are a lot of ways to explain the figurative way to someone who is on fire, but you can be able to get the gist of what I just mean though I am curious about who Wade Ripple, Gale Cumulus, Clod, and Ember Lumen are saying to with the sign 👇) ) !) :
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: (I really really wonder where this image is from what video 👇!) :
: (Avoid the other character costumes that are not from Pixar's Elemental 👇 including with all of the images provided by Google, but still save them for all of that original source material from which movie, or so they are from!) :
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: (I really still am curious where this image is from what video 👇!) :
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: Meet Mason Wertheimer, also known as the real voice over actor who plays as Clod, 👇! :
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: Here is the movie being able to be advertised on a bench! : I was wrong that today was hopefully going to be able to be better than yesterday, but it turns out that this day pretty much more boring like how it was yesterday, but I still feel like tomorrow, Friday, May/26th/2023 might be able to start to be able to get all of the things back to normal! :
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Disney’s ‘Strange World’ to Lose $100 Million in Theatrical Run
Disney’s “Strange World” bombed at the box office over Thanksgiving, leaving the studio to mop up oceans, mountains and terrains of red ink. The animated feature debuted dramatically behind expectations with $11.9 million from 4,174 North American theaters over the weekend and $18.
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Raya and the Last Dragon at 35
A review by Adam D. Jaspering
Imagine you owned a four-screen movie theater. Your four screens are in auditoriums of four different sizes: 400 seats, 300 seats, 200 seats, and 100 seats. You can show two different movies on any number of screens. Movie A is a much anticipated blockbuster from a widely respected studio. Movie B is a less auspicious film that has garnered only mild interest. You can safely assume for every 1000 customers wanting to see Movie A, only 50 will want to see Movie B.
On the surface, it would seem logical to put Movie A on all four screens. 1000 tickets sold is better than 950 tickets sold. But as counterintuitive as it seems, this would not be the best decision for a theater owner. Offering Movie B on the smallest screen, even filled to half capacity, will pay off better in the long run.
From a consumer perspective, you have already demonstrated a commitment to Movie A. Those unable to see Movie A due to sold out showings know there will be another opportunity. They can return at another time or another day. But if Movie B is never shown, you lose those potential customers outright. They won't return because they know they will not be served. By only showing Movie A, you serve 1000 customers. By catering to both markets, you combine both totals, serving 1050 over a longer range.
The reason is, it is in a business’s best interest to provide a variety of products or services. Economists routinely find evidence that consumers appreciate options. It allows businesses to reach a wider audience. It increases customer loyalty. It demonstrates growth potential. It improves visibility and credibility in a competitive market. It also provides for crossover demographics. In our hypothetical scenario, there is also an unaccounted for third group who will see both Movie A and Movie B.
This scenario is the basic booking strategy for a movie theater. Their main goal is to accommodate their customers. Variety benefits theaters and patrons. It does not represent the best interest of the movie studio who made Movie A.
As Disney continued along their domination of pop culture in the late 2010s, they began exercising their power on the movie theater industry. Disney Animation, alongside Pixar, Star Wars, and Marvel, were consistently earning hundreds of millions of dollars at the box office. It wasn’t uncommon for their films to cross the one billion dollar threshold. Disney knew they had a viable product, a market presence, and a consumer base. But they needed to control the theaters themselves to maximize returns.
Because of an antitrust law from 1948, movie studios are unable to own their own movie theaters. All cinemas in the United States must be unaffiliated from film studios. Meaning, Disney was legally required to split all their grosses with any theater who played their films.
To put it another way, a movie’s potential is not just the responsibility of the studio. They can make the film, and they can market the film, but it's ultimately theaters who decide when and where you can see the film. Booking agents decide what films to book, what markets to focus on, and how long engagements last. Then individual theaters decide when the movies play, how often, and in how many theaters of what size.
In 2016, 30% of American box office sales were for Disney films. They were the cinematic titans, with the closest runner-up accounting for only 11% of sales. With this leverage, Disney forced theaters into more lopsided deals. Theaters favored variety. Disney pressured them to favor homogeny.
We'll use 2017′s The Last Jedi for an example. Under Disney's new contracts, theaters were required to play the film for four weeks on their largest screen. Released over the busy holiday season, every rival studio was automatically relegated to inferior auditoriums. Competing films would be smaller affairs by default, unable to impact Disney's revenue.
Disney also began taking larger percentages of the box office draw. Typically, studios and theaters split the revenue of a new release 60/40. Disney increased their take to 65%. Breeching any part of the contract authorized Disney to increase their take to 70%. Violators would also be blacklisted from future releases. It was Disney's ultimatum: show our movies the way we want them shown, or else you can’t show them at all.
Disney held all the cards. They were responsible for one third of a typical theater's annual income. Losing that income was a serious threat. These were authoritative demands, but theaters had no recourse. They were forced to accept.
How much longer until Disney forced their films onto every screen for months at a time? How much longer until they took 80% profits? 90%? Would they start demanding a percentage of concession sales as well? How long until Disney pressured congress to roll back antitrust laws, allowing Disney to own their own Disney-brand theaters, making them the only place to see Disney content?
Fortunately, these questions remain eternally hypothetical. Things changed in 2020. As powerful as Disney was as a corporation, they still had to buckle to the power of an international viral pandemic.
When the world entered governmentally mandated shutdowns, the film industry came to a screeching halt. For months, the vast majority of movie theaters were closed. Studios lost their primary revenue source.
Initially, studios attempted to wait out the Coronavirus pandemic. It was speculated the virus would run its course and be controlled after two weeks. When the pandemic reached its third month, studios realized they needed a long-term solution.
In the pandemic’s beginning, streaming sites were still operating on a library-based system. They offered a back catalogue of films. They showcased movies after their premieres and theatrical runs. With the exception of Netflix, which operated in defiance of the conventional studio/theatrical system, debuting films on streaming sites was a rare occurrence. It was usually reserved for documentaries, special interest films, or low-budget affairs.
Antitrust laws prevented Disney from owning their own theaters, but a streaming site is not a theater. Disney was well within their rights to debut films on Disney+, superseding movie theaters altogether. Being the only major studio with their own streaming service, they had an advantage available to no one else.
Perhaps this was always the intent. Perhaps Disney was frustrated by the limitations and boundaries of the theater system. Perhaps a move to online premieres was always an intended path for Disney+. If it was, the quarantine moved the timeline forward.
Debuting a film on streaming meant a staggering decrease in profits. The infrastructure was in place, but the market was not primed. Audiences were either hesitant, uninformed, or unmotivated to purchase new releases online. But Disney was currently earning nothing from new releases, and any number was better than zero.
But how should one price a film in this new market? Theaters had an obvious itemization metric. One body, one seat, one ticket. Was it fair to charge a price for a new release on top of already charging for the site’s membership? Or should they forego one fee for the other?
Disney tried various strategies in real time. Artemis Fowl, Soul, and The One and Only Ivan were released for free to Disney+ subscribers. A live-action adaptation of Mulan was also released on Disney+, but with a $30 surcharge.
Bypassing theaters was a major leap forward instead of a gradual rollout. The strategy wasn't expected to be a success, only a slowing of the financial hemorrhage. Mulan earned $261 million from streaming against a $200 million budget. Compare that to the previous year’s adaptations of Aladdin and The Lion King, which respectively earned $356.6 million and $543.6 million domestically.
The verdict was in: some people would willingly pay $30 for a new release on streaming. A good percent of patrons would not. This would not be a viable strategy for the future.
As the pandemic entered 2021 and society began reopening, a large percent of people were still hesitant to return to public spaces. Disney and other studios were impatient. They wanted their money, and theaters were still the best place to get it. But some people weren't going to theaters, just as some people weren’t buying premier streaming access.
Studios made the decision to offer simultaneous releases for the foreseeable future. Those who wanted to pay for convenience could watch at home. Those who wanted to pay for the experience could go to theaters. Either way was fine, just as long as they paid.
In 2021, many films from various studios were offered both in theaters and as premium video on demand. On Disney’s side, such films included Black Widow, Jungle Cruise, and the subject of today’s article, Raya and the Last Dragon.
Their releases delayed by months, Disney needed to recoup money somewhere. Marketing and merchandising for Raya and the Last Dragon were slashed. It's hard to hype up a soft, delayed, inauspicious premiere when you can't even attach a specific date.
The financial breakdown of the simultaneous release strategy is unknown. Here, Disney and other studios ceased the practice of officially reporting studio earnings and box office results in tandem with streaming numbers. As the saying goes, no news is good news. And the movie industry desperately wanted some good news.
Simultaneous releases were always intended to be a temporary measure. Disney and other studios discontinued the practice by the end of 2021. Disney is still reliant on theaters, for now. They can still arbitrate demands, but are no longer using theaters as their only option.
Most mid-budget films are debuting exclusively on Disney+. Large budget films are still playing in theaters first, but Disney has been more flexible with theatrical releases. Standard booking windows were once 90 days before Disney released on home media, streaming, and digital purchase. That range has been shortened to 45 days. In some cases, it’s even shorter. Their following film, Encanto, was in theaters for only 30 days before being offered on Disney+.
The point is, people and corporations are primarily driven by their own self-interests. But self-interests change in times of emergency. A draconian overlord of the box office one day could be struggling the next. One has to adapt and acclimate to a changing environment to survive. It's true whether you’re a movie studio trying to sell films in a pandemic, or a fantasy heroine trying to defeat the forces of darkness.
Raya and the Last Dragon is a fantasy adventure set in Kumandra, a land overrun by distrust and tribalism. The hostility of its five populations has awaken an ancient curse, The Druun. 500 years ago, The Druun was defeated by an army of dragons, of which none remain. Raya, princess and surviving heir to one of Kumandra's thrones, fights for her world's future. Following a legend, she discovers the world’s one remaining dragon. Together, they must stop Kumandra from being destroyed by The Druun, but also stop Kumandra from destroying itself.
Let’s address the elephant in the room straightaway. The Druun is a smoke monster. It travels through the air. Large swaths of the population perish after being exposed to it. The lucky survivors remain vigilant, taking many precautions to avoid exposure. They live disenfranchised, their lives upturned. The world has been thrown into upheaval because of The Druun. This is either the most unfortunate or ironically appropriate film for Disney to release during the Coronavirus.
Raya and the Last Dragon is Disney’s foray into dystopian fiction. We see the world as chaotic and struggling, but still surviving. The five Kumandran tribes begin the film as temperamental and isolationist. They're houses of cards; functional, but ready to collapse. The Druun is the catalyst.
The Druun, as monstrous and destructive as it is, is only one element of the world's negative state. The people are besieged by political turmoil, environmental disasters, and militaristic omnipresence. It's an essential element of dystopian fiction the film gets right: even if the big problem somehow vanishes, the million little problems still exist.
Kumandra is geographically centered on a large inland sea shaped like a dragon. Each of the five nations takes it name from the anatomical portion of the dragon it borders: Fang, Heart, Spine, Talon and Tail. Five lands, five populations, five biomes, and five cultures.
Having five separate lands makes for an interesting challenge. Five designs, five styles, five motifs, five interlocking sprockets of a single complex mechanism. These lands pride themselves on specific attributes and traits. They're all part of one collective whole, but not by choice. They more readily identify themselves by their individual distinctions. These conflicts define the world; a contrast between how each tribe identifies and what how it wishes to differentiate from the others. People from Fang very much wish not to be like people from Heart, for example.
Such a portrayal relies on the filmmakers immaculately constructing all five lands. There must be an emphatic and deliberate representation of these five nations and populations. We must be able to tell instantly, from any still, what land we are in.
Raya and the Last Dragon doesn’t accomplish this. In a film that’s only 100 minutes long, less than 20 minutes can be dedicated to each land. There just isn’t enough time to define a full national aesthetic while also telling a story of characters just passing through.
Early in the film, we’re given a brief montage providing a one-sentence identifier of each land. The issues are present early on, with the five nations being far too similar. The writers abused their thesaurus, finding every synonym for “combatant” to describe them. Maybe a commentary on the futility of their fighting. An indication that despite their insistence on differentiation they’re pretty much the same. Maybe.
When all five nations are represented in a room together, they all look the same and they all act the same. If they weren’t all wearing their specifically-assigned color scheme, there’d be no way of knowing who comes from where. Once the sun goes down and everyone is shrouded in shadows, that’s exactly what happens. Again, maybe a deliberate design choice. Maybe an oversight. It’s hard to say.
When it comes time to visit their lands, the distinctions are clarified marginally. Tail and Spine are completely ravaged by The Druun, leaving next to nothing of their world. What little we knew about them before, we now know even less. Their culture and their populace are left in ruination.
It’s hard to mourn the loss of an empire when we were never introduced to the empire. Tail is presented to us as a giant inhospitable desert, and that’s what it feels like. That anyone ever lived here, much less a thriving empire, we have to accept on rumor.
The same goes with Spine. In certain shots, it looks like a remote village in the woods where maybe a few dozen people lived. But on the scale we’re presented, it could also easily be an abandoned sentry post. Either way, it’s hard to imagine it as an entire empire.
These lands don’t feel like the ruins of newly fallen civilizations. They feel like waypoints for Raya to travel through. They feel like staged ghost towns or amusement park facades. Places bereft of any true identity beyond the first glance. Their only distinguishing features are their climate, used to break up the visual monotony. They don’t register as the lands of Tail and Spine. They’re the desert land and the icy forest land.
Talon gets a fair share of distinctive characterization. It’s floating markets have kept the hydrophobic Druun at bay. A majority of its populace remains alive, relocating to the waterfront. However, the desperate people have descended to a life of crime and con artistry. We see them as innovative, commercialized, treacherous and duplicitous.
Talon is the only one of the five lands that seems like a real world within this film. Our characters interact with the citizenry. We see their day-to-day life. We have adventures and situations and interactions that could happen only here. This is an empire. Everywhere else feels like a movie set.
Heart and Fang are where a majority of the film takes place, including both the prologue and climax. Ironically, so much of the story takes place in these two locations, we learn very little about them. There's too much story happening in the foreground. Characterization and exposition has to be forced out. There's no time to let us absorb the scenery because things are moving too fast and in such abundance. Details concerning setting are treated as unimportant, and therefore undefined.
We can understand base traits of Heart and Fang based on things like architecture and landscaping. For example, Heart features cobblestones and an integration of grass and plants. They’re reverent of the past and the surrounding natural world. Fang meanwhile features polished marble and golden accents. It’s a very structured and controlled environment. While these designs evoke ideas, we learn nothing about the societies or populace beyond each land's two named characters.
Heart is Raya’s homeland. It’s a peaceful land, steeped in its appreciation for ancient history. Except for the polished azure palace, it’s fully integrated with its surrounding jungle environment. So much so, one is quick to associate Heart as the token jungle land. Except every time Raya is traveling outside one of the five lands, she’s traveling through jungle landscapes. Heart doesn’t represent anything because its the default, standard empire. It's the jungle land in a world full of jungle lands. If not for the temples and palace, it would have nothing distinguishing about it.
Prior to the Druun apocalypse, Heart was home to an artifact known as the Dragon Gem. An ancient relic full of magic, Heart kept the gem protected and safe for centuries. They were rather adept at protecting it. Which is why they trained a 12 year-old Raya to be a guardian, who on her first day of the job, opened the temple to show the gem off to her friend, who immediately tried to steal it. The land of Heart is one based in ancient customs, but not logic or critical thinking.
Fang is a stock empire in dystopian fiction, that of a false utopia. It’s a very urban environment (or as urban as one can get in this fantasy world). In a world where peril and uncertainty abound everywhere, Fang can guarantee security. This doesn't happen by chance or accident. The powerful and the influential promise safety in exchange for obedience.
There’s a dark irony of Disney portraying a paradise masking a nefarious secret. The Disney Corporation’s entire schtick is portraying itself as a utopia, trying to suppress its heinous exercises of power. The manicured beauty of Disneyland is maintained by underpaid wage slaves. The company’s colorful cartoons and movies hide the authoritative lawyers who enforce copyrights with an iron fist. Coveted merchandise is assembled and packaged in third-world sweatshops. Their library of intellectual property cheats creative minds and laborers out of residuals. Even the previously mentioned totalitarian standards against theater owners is a demonstration of their merciless drive for control and profit. All these crimes are hidden behind childlike smiles and family-friendly whimsy. The ends justify the means. Disney can’t rightfully depict a dystopia onscreen, as they themselves would never see the perpetrators as the bad guys.
Fang is the only one of the five lands that has not descended into anarchy or ruination. This puts them in a unique position of power and privilege. Fang’s leader knows full well that any return to normality is a dismissal of these entitlements. It's her full intention to possess the Dragon Gem which could otherwise undo her fortune.
If she can prolong the apocalypse, maintaining her position of power, she wins. If she can end the apocalypse herself, positioning Fang as the heroic savior of Kumandra, she wins. Either way, things work in her favor. But she needs the Dragon Gem before she decides. And as such, she needs Raya out of the way.
These orders are carried out by, Namaari, the film’s antagonist. Namaari is the daughter of Fang’s leader, just as Raya is the daughter of Heart’s. Both are versed in the history of their land. Both appreciate the legend of ancient dragons. Both are thoroughly trained in combat. There's a symmetry that makes them a memorable pair. They have very much in common, and in another life would have been strong allies. But one decision set these two on separate paths, turning the two into bitter enemies.
As a child, Namaari was instructed to befriend and betray Raya. All personal feelings aside, Namaari carried out her mission. Maybe Namaari was genuine in her affection towards her new friend, but saw an opening and took advantage. Maybe it was subterfuge all along, stringing Raya along until an exploitable opportunity presented itself. We don't know, and frankly, Namaari presents herself as not knowing either. Six years later, Namaari continues sparring with Raya, their rivalry only worsened with time.
The Dragon Gem is a magic artifact that has kept The Druun at bay for centuries. In a struggle to steal it, the gem shatters into five pieces, each fragment claimed by a different land. Once it shattered, The Druun returned.
The Dragon Gem is the last remnant of the dragon army who sacrificed themselves 500 years ago. One dragon remained behind, using the Dragon Gem to defeat the Druun before disappearing. If this dragon can be found, they can use the Dragon Gem to stop the Druun once again. With nowhere else to go and no better plan to try, Raya follows an old legend that the last dragon is dormant somewhere. This is Sisu, the Last Dragon of the film’s title.
It only takes a few moments of screen time to understand Sisu's schtick. She's directly influenced by Genie from Aladdin. The eccentric mannerisms. The manic energy. The upbeat and jovial personality. The insistence on telling jokes while everyone else is waiting patiently for her to be quiet so the movie can continue.
Sisu is a very commanding character, in that any scene she's in, she must be the center of attention. I’m sure there are some people out there who appreciate her and her sense of humor. Maybe in a different film, she’d contribute more than she contributes to Raya and the Last Dragon. As it is, Sisu has a bad habit of distracting the audience and ruining the film’s immersion. She doesn’t feel like she belongs in this world. She doesn’t act like she belongs. She doesn’t talk like she belongs. She feels like she got stuck in a wormhole and popped in from a different universe.
This problem isn’t Sisu’s exclusively. The movie has major tonal consistency problems throughout. It wants to be a serious film, trenched in warfare, with explorations of nobility and honor. It also features bugs that fart and explode. It wants to champion the tenet that in times of tragedy, people should put aside their differences and work together for the good of mankind. Then it features a sassy baby doing parkour. It wants to be an honorable depiction of southeast Asian culture and heritage. Then our hero and villain bond by finding out they are both, and I quote, “Dragon nerds.”
Genie was one of the best parts of Aladdin, and the reason was, despite him being unlike anything else in the film, he still fit into the film. He was a thematically clashing comic relief, but Aladdin was a comical movie. Every character had a humorous disposition or good natured quality to them. Even the stern and sour Jafar had a penchant for dressing up in costumes and verbally mocking the heroes.
When Genie did something that made no sense in the film's world, there was a foundation that supported it. He provided a unique style of comedy in a movie that was already explicitly comedic. Raya and the Last Dragon is not that type of movie. Raya and the Last Dragon feels like it should be an epic period drama crossed with a fantasy adventure. A boisterous comic presence doesn’t benefit it.
Half of the movie, Raya's half, is trying to be a serious, Wuxia-inspired adventure. Sisu’s half is trying to be a low comedy escape. These two halves are in competition throughout the film, and the comedic portions fail every time. Sisu and Raya don’t make a good pairing. Sisu’s jokes seem like an unwelcome intrusion, and make Raya’s brooding seem unnecessarily misanthropic.
All these critiques would still apply even if Sisu were actually funny. In reality, Sisu is a fairly obnoxious presence. Not only does her humor clash with the tone and setting of the world, they’re just not very good jokes. And because Raya is so concerned with her own affairs, the screenplay forces her to accept Sisu as a helpful ally. There's no time for her to argue or pass judgment. Raya can’t break her stride and tell Sisu she’s irritating. She just ignores Sisu until she’s quiet again. A skill I’m sure most of the audience wishes they possessed.
Sisu’s schtick is delivered in abundance. Sisu has the temperament of a seven year-old child crossed with a barking terrier. She’s in love with the sound of her own voice, and she’s desperate for others to hear her speak. The filmmakers definitely took the quantity over quality approach. She's the worst type of comic relief character: a poor comic and no relief.
Raya’s main character arc concerns her trust issues. Betrayed as a child, she’s grown into an extremely self-reliant but paranoid person. To grow, she needs to give people the benefit of the doubt, accept help when needed, and rely on the promises of others. Especially if she’s going to be a leader.
While this sounds like a noble message in a vacuum, it’s deeply flawed in practice. Even the film itself has trouble making the moral work. Time and again, Raya is told to trust people, mostly by Sisu. Throughout, trusting strangers leads to moments of vulnerability. Raya and Sisu are repeatedly subjected to deception, fraud, theft, or treachery, usually after Sisu insists Raya trust a total stranger. A movie can't espouse the importance of trust one minute only to use treachery to disenfranchise our heroes in the interest of drama. It's one or the other.
The knows what point its trying to make, but absolutely fails at demonstrating it. It wants to offer a perfect ideal of harmony, and not a gray, conditional reality. But trust is not something that can be doled out without consideration or caveats. Raya certainly has trust issues, but Sisu’s blind faith and optimism is just as big a problem. And yet, only Raya’s flaw is addressed as something that needs fixing.
The logical route would be to offer an interplay between the two extremes. Together, our two heroes learn the flaws of their respective viewpoints. Together, they find a happy medium between their polarized extremes.
But caution and forbearance doesn't fit into the Disney mold. “Everyone lived happily ever after” is the traditional ending. You can't achieve that by serving the unflappably happy character a reality check. "Everyone lived with a much more realistic understanding of the duality of human nature" doesn't have the same ring.
There’s a lot of story going on, and the movie wants us to understand it alongside the world, mythos, and people. A lot of exposition happens trying to establish it all. Not only do we get a flashback, we get a prologue within the flashback.
The plot isn’t really all that complicated: there’s a dragon, there’s a monster, and there’s a magic rock broke into five pieces. The dragon can use the rock to stop the monster, but she needs all five pieces.
It’s not an impressive story, but it’s serviceable. The focus is instead on the unique world and the unique characters. While there are plenty of unnecessary distractions, vacant areas, and a lot of painful humor, it’s a detailed and unique world. Despite the film's many flaws, it's at least pleasant to look at.
There’s lots of great animation. The Druun cloud effects. The flowing hair of Sisu as she flies and swims. One can practically smell the scent of a riverbed every time a moss-covered stone is shown. The animation detail is plentiful.
The water effects are also good, and I deliberately damn them with faint praise. Canonically, The Druun is repelled by water. As such, the people of Kumandra have adapted to living on or near the giant inland sea as a form of protection. There’s a justified reason in-story for three quarters of this movie to feature water effects. Behind the scenes, it was another opportunity for Disney’s animators to display their proficiency at animating water.
After both Moana and Frozen 2, I have zero doubts that Disney can animate water. Raya and the Last Dragon is the third film that demonstrates their marvelous ability to animate water in CGI. We’ve seen their abilities in great abundance, and we're seeing them again. Either Disney has lost their confidence to try anything new, relying on one skill they know they can do well, or they’re conceited, assuming everyone is pleased with this one specific trick. The water effects are good, but they’re rote and overdone.
What of the characters? There are better heroes in the Disney canon than Raya, and there are better villains than Namaari. But what makes them unique is that they make a great adversarial pair. Normally, Disney films don’t feature the hero actually sparring with the villain until the third act. Until then, they either don’t cross paths, or there’s a tense coexistence until the villain becomes irredeemable.
Raya and Namaari feud throughout the film. There are great choregraphed fights between the two, each skilled in close-quarters combat. It never gets violent or offensive to the young audience, but the thrill is still present. The outlandish stunt choreography keeps the combat rooted in the fantastic. Raya’s sword, which can transform into a whip, is ridiculous but also stunning.
Raya is the film’s main character, and as such, it’s her character arc that serves as the central crux of the story. But it’s not Raya’s growth and development that drives anything. When she was a kid, she trusted someone when she shouldn’t have. Then when she was a teenager, she didn’t trust anyone. Then at the film’s end, she trusts people again. That’s not growth. That’s getting back to normal.
As a kid, Namaari betrayed Raya. She did so based on the beliefs and values forced upon her. She was taught that manipulating others for the sake of her homeland was not a bad thing. Namaari continues to antagonize Raya to present day.
Raya was the one hurt. Raya is the one who’s carrying this baggage. Raya cannot rightfully be expected to be the one to grow and change. It’s Namaari who has to redeem herself and in turn save Raya. The film should instead be focusing on Namaari in terms of character growth and development. This would allow Raya to be static and drive the plot.
Namaari’s redemption arc is a slow burn, realizing she’s become a person she doesn’t want to be. Her patriotism to Fang, her loyalty to her mother, her command of an army... all hollow without her own self-respect. Throughout the film, she realizes how meaningless and destructive all her achievements have been. She's been a pawn in her mother's tyrannical game.
She knows she needs to change. She needs to fix things, many things, but doesn't know how. In the film's climax, The Druun's strength reaches critical mass. It forces her to take the necessary steps to redemption all at once.
The movie gets the roles of Namaari and Raya backwards in the climax. As it plays, Raya is sacrificing herself to save Kumandra. Namaari has to make a giant leap forward and join her, absolving herself and stopping The Druun.
Instead, it should be Namaari sacrificing herself first. Both to atone for her misdeeds against Kumandra, and to apologize for betraying Raya. Raya should be the one forced into a moral dilemma against a ticking clock. She needs to decide whether to stick to her toxic beliefs, or to abandon them and accept Namaari’s apology.
The relationship between Raya and Namaari is an adversarial one. These two are evenly matched in every confrontation. There are very few differences between them, and as such, they understand each other very well. Knowing their enemy is just as easy as knowing themselves. Their fights are tense and personal, whether they be verbal or physical.
Unfortunately, it all feels hollow. What should be a front and center character dynamic is left in the periphery of the film. Not by neglect or ineptitude, but forced out. There are too many superfluous elements crowding the film.
Again, the film’s focus is on the importance of trust. As Raya travels through Kumandra, she encounters strangers whom she needs to rely on to progress. In turn, Raya winds up acquiring a large travel party. With each land she visits, Raya acquires a new tagger-on. The film is called "Raya and the Last Dragon," but such a name is underselling the swollen cast.
At the film’s climax, there’s Raya and the last dragon. There's also Raya’s pet/steed Tuk-Tuk (a combination pillbug, armadillo, dog, bear amalgam), Boun the young restaurateur/boat captain, Noi the infant con artist, Tong the grieving warrior, and three thieving monkeys. Namaari may be the most important secondary character thematically and contextually. But she's forced to fight for screen time with a character eerily similar to The Boss Baby.
Each tagger-on has been negatively affected by The Druun, losing their family, loved ones, homes, and purpose in life. Each of them need both friends and hope, and Raya provides both. Just like Dorothy in The Wizard of Oz, they join her quest, turning a personal journey into a group endeavor.
The cast represents a message of unity and cooperation. Each comes from a different land of Kumandra, but each have the same wants and goals. Narratively, it makes sense. The problem is, since each has basically the same backstory, the same goal, and the same purpose in the story, they don’t have much to distinguish themselves. There’s too many characters and not enough story. It’s easy to forget Noi and Tong even have names. I keep calling them Baby and Eyepatch.
It's the same problem as Meet the Robinsons. The story requires a large cast, but that's an ambition, not a justification. There are too many characters, and the movie doesn’t provide enough for them to do. After everyone is introduced, they sit around, contributing nothing. They become set decoration.
Raya and the Last Dragon is a movie that has good ideas at its core, but buries them under unhelpful nonsense. The final result is an unrewarding slog drowned under superfluous ideas, bad humor, and a misguided moral. The film tries to build a world beyond its ability and the limits of the running time. Everything seems rushed, underdeveloped, synthetic, or redundant. What’s good is emaciated, and what’s left is irritating.
Maybe we should have watched Movie B.
Beauty and the Beast
Fantasia
The Lion King
Frozen
Snow White and the Seven Dwarfs
Cinderella
Alice in Wonderland
Sleeping Beauty
Mulan
Zootopia
Tangled
The Little Mermaid
Aladdin
Lilo & Stitch
The Many Adventures of Winnie the Pooh
Pinocchio
The Jungle Book
Robin Hood
The Sword in the Stone
Bambi
The Emperor’s New Groove
The Hunchback of Notre Dame
Moana
The Princess and the Frog
The Great Mouse Detective
Big Hero 6
101 Dalmatians
Bolt
The Three Caballeros
Lady and the Tramp
Frozen II
The Rescuers Down Under
Atlantis: The Lost Empire
Wreck-It Ralph
The Fox and the Hound
Fantasia 2000
Peter Pan
Dumbo
Hercules
Meet the Robinsons
Brother Bear
The Black Cauldron
Raya and the Last Dragon
Melody Time
Oliver & Company
Treasure Planet
Tarzan
The Rescuers
Pocahontas
Saludos Amigos
The Adventures of Ichabod and Mr. Toad
Winnie the Pooh
The Aristocats
Ralph Breaks the Internet
Dinosaur
Fun and Fancy Free
Make Mine Music
Home on the Range
Chicken Little
#Raya and the Last Dragon#Disney#walt disney#Walt Disney Animation Studios#disney studios#Disney Canon#Film Criticism#film analysis#movie review
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Lose Control - Teddy Swims ✩ Rhythm Karaoke Original Traffic (World Music) Ayrıcalıklardan yararlanmak için bu kanala katılın: ( Join this channel to enjoy privileges.) ✩ https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join Şarkının Orijinal Versiyonunu Linkten Dinleyip Ritim Karaokesiyle Çalışabilirsiniz. ✩ https://youtu.be/GZ3zL7kT6_c Aykut ilter Ritim Karaoke Kanalıma Abone Olun Beğenip Paylaşın. Lose Control - Teddy Swims ✩ Rhythm Karaoke Original Traffic (World Music) Somethings got a hold of me lately No, I don’t know myself anymore Feels like the walls are all closing in And the devil’s knocking at my door Woooahhh Out of my mind, how many times Did I tell you I’m no good at being alone Yea, it’s taking a toll on me Trying my best to keep from tearing the skin off my bones Don’t you know I lose control When you’re not next to me I’m falling apart right in front of you Can’t you see I lose control When you’re not next to me, mhm Yea, you’re breaking my heart You make a mess of me Problematic problem is I want your body like a fiend like a bad habit Bad habits hard to break when I’m with you Yeah I know I could do it on my own but I want That real full moon black magic and it takes two Problematic problem is when I’m with you I’m an addict And I need some release My skin in your teeth Can’t see the forest through the trees Got down on my knees Darlin, please Oooohhhh I lose control When you’re not next to me I’m falling apart right in front of you Can’t you see I lose control When you’re not next to me, mhmmm Yea, you’re breaking my heart baby You make a mess of me, yeahhh I lose control When you’re not here with me, mhmm I’m falling apart right in front of you Can’t you see I lose control When you’re not here with me, mhm Yea, you’re breaking my heart baby You make a mess of me, yeahhh Teddy Swims Swims in 2023 Background information Birth name Jaten Collin Dimsdale[1][2] Born September 25, 1992 (age 31) Origin Conyers, Georgia, U.S. Genres R&Bsoulcountrypopblue-eyed soul Occupations Musiciansingersongwriter Instruments Vocals, piano, ukulele Years active 2011–present Labels Warner Formerly of WildHeart Website teddyswims.com Jaten Collin Dimsdale (born September 25, 1992), also known pseudonymously as Teddy Swims, is an American singer-songwriter whose music blends genres including R&B, soul, country, and pop.[3] He originally attracted fans through song covers on his YouTube channel throughout 2019 and 2020. His third extended play Tough Love (2022) caused him to chart on the Billboard 200 for the first time. Swims rose to prominence in 2023 with his single "Lose Control", which reached the top-ten in various international territories and topped the Billboard Hot 100 in 2024. Considered as his breakout single as an artist, it was preceded by the release of his debut studio album I've Tried Everything but Therapy (Part 1), which reached the top-ten in Australia and the Netherlands. In 2024, MTV named Swims their "Push Artist of February".[4] Early life Swims grew up in Conyers, Georgia. His father introduced him to soul music at an early age by way of artists like Marvin Gaye, Stevie Wonder, and Al Green.[5] Swims' family were football enthusiasts; he had been playing football for ten years when, during his second year at Salem High School, one of his teachers suggested he and a few of his teammates sign up for a musical theater class. The teacher also said he should join the chorus.[6] Swims discovered his passion for performance through his experience in high-school theater, where he performed in musicals such as Joseph and the Amazing Technicolor Dreamcoat as well as Shakespeare plays.[7] He began playing instruments including piano and ukulele, and watched YouTube videos of singers to help develop his vocal technique.[5][6] Career 2019: Early career Swims began his music career joining a variety of Atlanta area bands, including alternative rock band WildHeart and post-hardcore band Eris, as well as soul and hair metal cover bands. He was also the lead singer of progressive rock/r&b/soul band Elefvnts. In early 2019 Swims' friend Addy Maxwell invited him to rap over some beats he had made, which earned the pair an opening slot on a U.S. tour with Tyler Carter.[5][8] On this tour he began performing under the name Teddy Swims–referring to a nickname from his childhood referencing his size, and an internet-speak acronym for "someone who isn't me sometimes," referring to the idea of integrating different parts of his personality.[5][9] In June, Swims posted his first cover performance on YouTube, Michael Jackson's "Rock with You", and continued posting additional covers of artists from a mix of genres regularly including Lewis Capaldi, Chris Stapleton, Amy Winehouse, and H.E.R.[7][10] His cover of Shania Twain's "You're Still the One" posted in October went on to become his most viewed video, with 153 million views as of January 2024 .
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It’s the Summer of Barbenheimer and we’re all just living in the shadow of its hot pink mushroom cloud. The double whammy of Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer offered audiences one of the most exciting cinema double bills since long before the pandemic, and they came out in droves for both. Now, Barbie is the second highest-grossing movie of 2023 so far, and Oppenheimer, a three-hour biographical drama about the Manhattan Project, has grossed more money than The Little Mermaid and Mission: Impossible – Dead Reckoning Part One.
The frenzy this double bill inspired, from themed parties and cocktails to the best memes of the season, drove home the genuine desire that film lovers had for something they could truly sink their teeth into. Sure, one is based on a toy and the other is a pretty traditional biopic, but both films represented a kind of change that we needed in the pop culture landscape. One such yearning: more stand-alone movies!
...we’ve come to expect a tease for a cinematic universe that may or may not come to fruition. Remember the Dark Universe? Or the six-film King Arthur universe Guy Ritchie was supposed to make? Or the Robin Hood series with Taron Egerton that ended after the first installment? There’s a reason people were wondering if films like Oppenheimer would have a post-credits sequence: because we’re so painfully used to having every movie end with a tacked-on promise for more, whether or not it makes sense or there’s any true hunger for it (and the possibility of an Oppenheimer post-credits scene is faintly terrifying: Which creation of a devastating weapon does it hint at next?).
Why is it now so rare to get a stand-alone film with a beginning, middle, end, and a guarantee of a complete narrative? Yes, us grumpy critics have been complaining about sequel overload for decades now, but things definitely feel different now. You can watch Die Hard and be perfectly satisfied because it existed as its own thing long before the idea of a sequel entered the filmmakers’ brains. It doesn’t spend half its running time setting up hints for future stories and a bunch of story threads that are never paid off. There��s also a distinct lack of adult-focused mid-budget films in the current theatrical market. While neither Barbie nor Oppenheimer technically qualify for this since both films cost over $100 million, they do fit into that increasingly rare niche by merit of their focus on telling a singular story that isn’t dependent on the viewer having to do a ton of homework before tuning in.
...when I see articles offering ideas for Barbie sequels, I can’t help but feel disappointed. Part of what made Gerwig’s film so special was its densely layered, funny, heart-aching, and complete story. You leave the theater feeling so satisfied because you got what you were promised (and so much more). Oppenheimer is complex, with a vast ensemble and most of its lengthy running time dedicated to conversations about physics and ethics that Nolan refuses to dumb down. Why would you ever walk out of that film wondering about plans for an expanded universe? You just know some studio head floated the idea at some point.
It seems like so little to ask for, yet it feels inevitable that Hollywood will learn all the wrong lessons from the success of Barbie and Oppenheimer. Expect more sequels about toys and fewer emotionally driven tales that give viewers exactly what they want. But our hunger for stand-alone stories remains strong. We don’t have the time nor inclination to watch every film we see evolve into a decade-plus commitment that has a strong chance of being abandoned long before it reaches that much-hyped climax. Let Barbenheimer lead the way and remind Hollywood that it’s okay for things to end.'
#Oppenheimer#Barbie#Barbenheimer#Greta Gerwig#Mission Impossible Dead Reckoning Part One#Christopher Nolan#The Manhattan Project#The Little Mermaid
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The Writer's Strike - Part Two
"As the present now will later be past
The order is rapidly fadin’
And the first one now will later be last
For the times they are a-changin"
Bob Dylan - The Times They Are A-Changin’
People today go to the local Saturday Market and happily pay much higher prices for homemade jams, fresh farm eggs and organically grown vegetables - all from local craft farmers.
150 years ago, this was the way many non-farmers got their food.
How many little local farms would you need scattered in and around New York City to make this work today?
How about Chicago, San Francisco, Miami and El Paso(tumbleweed farms)?
What's that word? Oh yeah, PROGRESS.
Generations of farmers lost their farms and their livelihoods. There was no national outcry because no one even noticed - it was a slow train coming. And the food was good, cheap and convenient.
Seemingly overnight the whole of America changed from an agricultural to an industrial based economy.
It was the same with horse drawn buggies and buggy whips. It took a lot of highly skilled artisans to make fancy buggies and quality whips. Mostly gone now. Buggy and wagon makers moved into the auto industry. Our grand parent's dogs probably ate all those horses.
Unfortunately, the whip makers mostly just got screwed.
Maybe they should have unionized in 1910 and walked off the job to demand their trade be protected. They had some power at that time.
If they had, each and every car sold today would have a buggy whip in the trunk - mandated by the Federal Trade Commission.
They do still make buggies and buggy whips - but they probably sell most of them to the Amish.
Listen to most of today's pop music. Many of the instruments and especially the rhythms and drums are computer produced. Often even the singer's not-so-great vocals are auto-tuned by a computer.
Stage Production and Pyrothechnics are what sells out many arenas, not musicians. And often the audience watches their favorite singer lip syncing.
Studio musicians are being rapidly replaced by computer laptops and hi tech music generating systems.
Many years ago the Beatles stopped touring because most of their music could no longer be created live. The irony is that they could do it today thanks to computer technology.
Movies? All the blockbuster movies are made with a bunch of actors running around in front of a green screen and all the death and destruction(which sells out theaters) -
is made with computer graphics - much of which is supported by A.I.
News Organizations? More and more of the articles are written by Artificial Intelligence.
Deepcake (AI-powered content optimization web platform) recently took 34,000 images of Bruce Willis to create a Digital Twin to use in advertisements for a Russian Telecom company.
The BBC announced the production of a new Sci-Fi movie "Back To Eden" featuring James Dean - who died in 1955.
This will increase over time - 'cause it's all about the money. Whoever owns the rights to Elvis's digital self will make ludicrous amounts of money on new Elvis songs and movies.
A hundred and fifty years from now the blockbuster movie "Fast and Furious XXIIVII - Uranus Drift" starring James Dean and Marilyn Monroe (screenplay by William Shakespeare) will be directly streamed into our hybrid brains via a Google implant using 100% computer produced content via Artificial Intelligence - untouched by human brains.
OK, maybe instead you will be old school and pick up your they/them/unicorn BFF and space walk on down to that little coffee house with the ancient flat screen that is showing an independent film proudly advertised as, "WRITTEN, DIRECTED AND FILMED IN A REAL LOCATION AND ACTED BY REAL HUMAN BEINGS AND NOT EVEN THOSE (You can't tell the difference) HUMANOID/ANDROID/HYBRIDS!"
Those 'real' movies filmed in 35mm will still be there for you to enjoy. There will always be a retro/craft market. Just like Saturday Markets today. Maybe you can grab a bag of real popcorn costing 53 credits and not that synthetic computer printed popcorn costing 19 credits over at the sold out A.I. Cinamax.
But most of humanity will love their Google brain implants and will prefer to watch Dean and Monroe in hundreds of movies - always just as cool and beautiful as ever.
When the coal miners voiced their fear of losing their livelihoods, Presidential Candidate Byden offered some advice: "Learn to code".
This is even better advice for the writers since they already know how to type.
I feel for them.... I really do.... No wait....I don't.
They are the ones that have been pushing all the meaningless sex, genderbends, drugs, wokeness, America Hate and group think on us.
That's a big enough reason to feel nothing for the Hollywood special people demanding future job guarantees.
If you are one of those that do feel sympathy well, bless your heart.
But you know deep down you you can never stop progress, you can only delay it.
To misquote the scientist Michio Kaku when asked what should humans do hundreds of years in the future when A.I., running on Quantum Computers, far exceeds human capability and we are, in all probability facing extinction?
He replied with a smile, "Join them."
So one big uncaring yawn for the writers and Hollywood elites.
Well, except for those who were working on Season 2 of The Terminal List.
"Get those guys back on the job - STAT!"
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Fan Falls at Drake Concert at Harlem’s Apollo Theater; Show Halted for Safety Check
Fans dropped into the orchestra from the mezzanine at the Drake concert at Harlem’s world-famous Apollo Theater on Sunday night. The incident occurred about 90 minutes into the show, shortly after Drake released his collaborator 21 Savage.
The Canadian rapper abruptly stopped the show after being quickly informed of the incident by security, according to The Insider.
“Just have to make sure somebody’s OK,” he said. The rappers left the stage for about 15 minutes, and the house lights were brought up as on-site emergency medical services attended to the fallen fan.
The Apollo Theater then announced that there were no injuries and that the person was “under investigation.” The show has resumed after the incident, and the theater said, “The show must go on.” Apollo tweeted about the incident on Monday.
“Drake, Apollo, and SiriusXM halted the show immediately when learning of a potential fan injury and standard protocols were taken,” the venue stated.
“The fan and other audience members reported that they were OK. No major injuries have been reported.” The Apollo added that it is “investigating the situation further.”
The show was abruptly stopped by Drake to ensure the safety of the injured fan, and the fans praised him for acting quickly. It serves as a reminder that both venues and artists should always put concertgoers’ safety and wellbeing first.
This is a reminder that these events are serious affairs and that the safety of the audience is always a top priority for performers and venues.
Read also: Mastering the Palette and Technique of the Greats: ArtTour International Hails Patricia Karen Gagic as Artist of the Year 2023
On the Stage
Last night, Drake and 21 Savage took the stage to perform songs from their highly anticipated duets album, Her Loss. Released last November, the album received mixed reviews from critics, but still managed to top the Billboard 200 chart.
One of the most buzzed moments of the concert was the performance of “Circo Loco,” a track from the album that caused controversy for its lyrics. The song includes a line that implies that Megan Thee Stallion lied about being shot by Tory Lanez, an accusation that drew criticism from Thee Stallion herself. The rapper later went on to win her case against Lanez in court.
Despite the criticism, Drake and 21 Savage’s concert was a hit with fans, who were excited to see the two artists perform together for the first time. The concert was a memorable event, and it’s clear that the two artists have a strong chemistry together.
Overall, Her Loss may have received mixed reviews, but the album’s success and the concert’s popularity show that Drake and 21 Savage are still at the top of their game. Fans can’t wait for what’s next from these two talented artists.
Drake
Drake is a Canadian rapper, singer, and songwriter, born Aubrey Drake Graham, who has taken the music industry by storm.
He rose to fame in the mid-2000s with his mixtape series, So Far Gone, which featured the hit single “Best I Ever Had.” Since then, he has released six studio albums, all of which have debuted at number one on the Billboard 200 chart.
His music is known for its blend of hip-hop, R&B, and pop, and his lyrics often address themes of heartbreak, relationships, and personal growth. He is better known for his collaborations with other artists, such as Rihanna, Nicki Minaj, and 21 Savage.
One of his most notable achievements is his record-breaking chart success. He has the most number-one singles on the Billboard Hot 100 chart among solo male artists, and his album Scorpion holds the record for the most simultaneous top 10 songs in a single week.
He has also won four Grammy Awards, six American Music Awards, and 33 Billboard Music Awards.
Offstage, Drake is known for his philanthropy and his dedication to his hometown of Toronto, Canada. He has donated millions of dollars to charitable causes, and he also established the OVO Foundation, which focuses on improving the lives of young people in Toronto.
His impact on the music industry is undeniable. His unique sound and relatable lyrics have earned him a loyal fan base, and his record-breaking success has cemented his place as one of the most influential and successful artists of his generation.
With new music on the horizon and a tour planned for the near future, Drake’s fans eagerly await what’s next from this talented artist...Read More
Read also: Madonna’s “Celebration” Tour: A Once in a Lifetime Opportunity to See the Queen of Pop Perform
Source: Celebrity News
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Drake Puts Safety First at Apollo Theater Concert, Halts Show After Fan Incident
At Sunday night’s Drake concert at Harlem’s famed Apollo Theater, a fan fell from the mezzanine into the orchestra. 90 minutes into the performance, just after collaborator 21 Savage had been introduced by Drake, the incident took place.
The Canadian rapper abruptly stopped the show after being quickly informed of the incident by security, according to The Insider.
“Just have to make sure somebody’s OK,” he said. The rappers left the stage for about 15 minutes, and the house lights were brought up as on-site emergency medical services attended to the fallen fan.
The Apollo Theater then declared that nobody was hurt and that the person was “checked on.” Following the incident, the theater declared that “the show must go on. The Apollo issued a tweet on Monday confirming the incident.
“Drake, Apollo, and SiriusXM halted the show immediately when learning of a potential fan injury and standard protocols were taken,” the venue stated.
“The fan and other audience members reported that they were OK. No major injuries have been reported.” The Apollo added that it is “investigating the situation further.”
The show was abruptly stopped by Drake to ensure the safety of the injured fan, and the fans praised him for acting quickly. It serves as a reminder that both venues and artists should always put concertgoers’ safety and wellbeing first.
This serves as a reminder that these incidents are serious ones, and that both performers and venues should always put the audience’s security first.
Read also: Lisa Marie Presley’s Daughter, Riley Keough, Announces Child’s Birth During Memorial Service
Perform
The highly anticipated duet album Her Loss, featuring Drake and 21 Savage, was performed live last night. Despite the album’s mixed reception from critics upon release in November of last year, it managed to top the Billboard 200 chart.
One of the most buzzed moments of the concert was the performance of “Circo Loco,” a track from the album that caused controversy for its lyrics. The song includes a line that implies that Megan Thee Stallion lied about being shot by Tory Lanez, an accusation that drew criticism from Thee Stallion herself. The rapper later went on to win her case against Lanez in court.
Despite the criticism, Drake and 21 Savage’s concert was a hit with fans, who were excited to see the two artists perform together for the first time. The concert was a memorable event, and it’s clear that the two artists have a strong chemistry together.
Overall, Her Loss may have received mixed reviews, but the album’s success and the concert’s popularity show that Drake and 21 Savage are still at the top of their game. Fans can’t wait for what’s next from these two talented artists.
Drake
Drake is a Canadian rapper, singer, and songwriter, born Aubrey Drake Graham, who has taken the music industry by storm.
He rose to fame in the mid-2000s with his mixtape series, So Far Gone, which featured the hit single “Best I Ever Had.” Since then, he has released six studio albums, all of which have debuted at number one on the Billboard 200 chart.
His music is known for its blend of hip-hop, R&B, and pop, and his lyrics often address themes of heartbreak, relationships, and personal growth. He is better known for his collaborations with other artists, such as Rihanna, Nicki Minaj, and 21 Savage.
One of his most notable achievements is his record-breaking chart success. He has the most number-one singles on the Billboard Hot 100 chart among solo male artists, and his album Scorpion holds the record for the most simultaneous top 10 songs in a single week.
He has also won four Grammy Awards, six American Music Awards, and 33 Billboard Music Awards.
Offstage, Drake is known for his philanthropy and his dedication to his hometown of Toronto, Canada. He has donated millions of dollars to charitable causes, and he also established the OVO Foundation, which focuses on improving the lives of young people in Toronto.
His impact on the music industry is undeniable. His unique sound and relatable lyrics have earned him a loyal fan base, and his record-breaking success has cemented his place as one of the most influential and successful artists of his generation.
With new music on the horizon and a tour planned for the near future, Drake’s fans eagerly await what’s next from this talented artist...Read More
Read also: ‘Only Murders in the Building’ Season 3 Will Feature Meryl Streep
Source: Us Reporter
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Prachtige voorstelling, geweldige voorstelling en een stukje geschiedenis dat tot leven wordt gewekt. #Daens #studio100popuptheater (bij Studio 100 Pop-Up Theater) https://www.instagram.com/p/Ci5eo8romS5/?igshid=NGJjMDIxMWI=
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Community Blog: Next Destination: Seoul, South Korea (Official Trailer)
The Sims team has released the official blog for The Sims 4 Incheon Arrivals Kit!
The Sims Takes Flight with Jazzy Cho for The Sims 4 Incheon Arrivals Kit Reveal
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When visiting Seoul, your first experience with the South Korean metropolis is likely through the Incheon International Airport. Rated as one of the busiest, cleanest, and technologically-advanced airports in the world, Incheon is an incredible introduction to the nation’s rich and vibrant culture. There’s a museum, miniature gardens, art shows, and live performances, in addition to countless shops, a variety of restaurants, a movie theater, an ice rink, putting greens, and more.
Incheon is also a prime destination to experience South Korea’s revered style. Before a traveler’s plane glides down the runway, you may see them catwalking the corridor runways.
In recent years, Seoul has become one of the preeminent fashion capitals of the world, with its bi-annual fashion week presentations rivaling that of Paris, London, Milan, and New York. Seoul doesn’t have 100-year-old fashion houses like the other cities mentioned, but it is able to meld traditional and modern styles unlike most.
The heritage comes in the form of hanbok, Korea’s traditional way of dress, which consists of long and flowy shapes, tight angles, and bright hues. The modernity is a result of South Korea being one of the most digitally-connected countries on Earth, from its high-speed internet, to its production of electronics. The two come together in fashion, where the form and vibrancy of yesteryear are matched with globalized trends unearthed through today’s digitized world.
“Because the world has become more globalized, South Korean people have been able to see trends across the world,” explains Jazzy Cho, TV host, content creator and Miss Korea USA 2016. “Everything was sort of meshing together, and we were able to bring in the western ideas, or global ideas with the already creative DNA of South Koreans. Combined, that created this amazing, stylish, trendy ‘K-fashion.’”
“Airport style is 공항 (gonghang) fashion [meaning airplane fashion],” says Cho. “It stemmed from when the press would greet or welcome back traveling celebrities. It really began to boom with the rise in global popularity of K-pop, the internet, and social media.” Cho continues, “Images of the hottest South Korean stars arriving or departing would be shared across the internet, and if one style that they were wearing goes viral, then that style becomes the trend of the season.”
The Sims has collaborated intently with Cho to bring The Sims 4™ Incheon Arrivals Kit to life, and she made sure we stayed true to K-fashion’s trendy foundations. Cho, a Korean-American, grew up as a competitive studio dancer in Southern California. She took a liking to the variety of styles of costumes she performed in, but it also encouraged her to explore her Korean heritage.
“I was one of the first Korean team captains for my high school dance team. As I was looking across my team one day, I was the only Korean-American, and I was like, ‘Wow, I’m representing Korean females,’ even at a young age. It gave me a sense of pride.”
Cho asked her mother if she could join a local pageant, still yearning to learn more about ancestry. “[I wanted to] learn more about how to carry myself as a beautiful Korean woman, and nurture and develop myself in that way. [The pageant was going] to be a stepping stone to diving in and learning more about [Korean] culture.”
Soon after she won the Miss Korea USA 2016 pageant, she began working across South Korea as a part of the Miss Universe Korea pageant. Her constant traveling to and from South Korea, opened her eyes to Seoul’s distinct style, especially through the lens of Incheon Airport. “Incheon Fashion is like [a celebrity’s] own runway before they get on or off the plane.” In describing the type of outfits one would see, Cho says, “When you’re travelling, you need to be comfortable. You wouldn’t see them coming in red carpet attire, but it’s comfortable, stylish fashion.”
The Sims 4 Incheon Arrivals Kit is a full wardrobe for all Sims to dress for any occasion with both semi-formal and casual pieces, from sneakers, sweatpants and hoodies, to structured looks like the women’s long coat, one of Cho’s favorite pieces. “The women’s long coat is what we would typically see on pictured celebrities. Whatever stylish, trending outerwear piece atop a looser fit top and pants. It’s a lot about comfort when it comes to 공항 (gonghang) fashion, comfort and style.”
“With kits, The Sims is creating an immersive experience where people, places and experiences can be discovered, and our players from around the world can experiment with these distinctly unique mini collections of curated content,” shares Sheila Judkins, Director of Global Brand Management, The Sims.
“Working with Jazzy, our research was extensive to ensure the concepts reflect trendy outfits in Seoul,” shares Woori Bae, Concept Artist for The Sims. “We also had a lot of fun referencing the latest K-dramas, online shopping sites and celebrities’ everyday outfits for inspiration. I am so excited to see this kit come to life, particularly the wide pants and oversized fit items that add more in-game styling options like never before.”
In explaining why she wanted the kit to focus on airport style, Cho said, “I think it’s great that the setting of the kit is at the Incheon Airport because that is the global hub. It’s where people from all over the world embark on their journey to learn about South Korea. I hope everyone is just as excited when they see the kit because when you enter Incheon Airport, the architecture is very modern, the entire ceiling is windows, sunlight pours through – and your heart is filled with warmth! I hope people from all walks of life, wherever they are in the world, have an open, eager and excited mindset and energy towards exploring what Korean fashion is like.”
The Sims™ 4 Incheon Arrivals Kit is available beginning October 5, 2021 on PC and Mac via Origin™ and Steam®, PlayStation®5, PlayStation®4, Xbox Series X|S and Xbox One systems.
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