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Lionsgate spent $100 million on Ballad of Songbirds & Snakes in 2023 and got $349 million back. Lowest opening weekend in franchise history. $44 million domestic debut for a series that used to open north of $150 million. Their response was to double the cast budget on Sunrise on the Reaping. Ralph Fiennes. Glenn Close. Kieran Culkin. Jesse Plemons. Elle Fanning. Maya Hawke. Jennifer Lawrence and Josh Hutcherson returning for the first time since 2015. That's four Oscar nominees and two Emmy winners in a single YA adaptation. The cast page reads like an awards ceremony guest list stapled to a Succession reunion. And the math behind it is actually rational. The Hunger Games franchise has made $3.3 billion across five films. Catching Fire, the one installment that involved a Quarter Quell (the 75th), is the highest-grossing Lionsgate film ever at $865 million. Ballad of Songbirds & Snakes proved the IP still has a floor: $349 million worldwide on a cold-start prequel with zero legacy cast. The floor held. So Lionsgate is running a calculation. The Second Quarter Quell is the most requested story in the fandom because Haymitch's games were only described in two paragraphs of the original novel. Suzanne Collins turned two paragraphs into a 400-page book. Lionsgate turned the book into a cast sheet that makes you do a double take. Kieran Culkin as Caesar Flickerman is the kind of casting that sells tickets on name recognition alone, before a single frame of footage exists. The trailer drops tomorrow. Mockingjay statues with flowers showed up in Millennium Park, Chicago. Snake statues covered in ivy appeared in Times Square. The marketing campaign is treating this like an event film, which tells you exactly how Lionsgate sees the stakes. Their entire theatrical slate depends on this franchise producing $600M+ worldwide. Anything less and the prequel strategy dies. 48 tributes. The most stacked cast in franchise history. And a studio betting everything that the one story fans have been asking about for 14 years can bring the audience back.

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56 years ago today, the Kent State massacre unfolded, where four students were killed and nine others were wounded for protesting the expanding involvement of the Vietnam War. Instead of universal outrage at the murder of innocent students, there were voices saying that they were sorry “they didn’t killed more.” These weren’t one off, fringe voices. They were part of a broader climate that cast student protestors as threats rather than people exercising their right to dissent. It’s hard not to hear echoes today. The language might be different, but the logic is the same: delegitimize dissent, frame students as dangerous, and make state repression seem like the reasonable and obvious solution. Film: The Day the ‘60s Died (2015)
1:48

56 years ago today, the Kent State massacre unfolded, where four students were killed and nine others were wounded for protesting the expanding involvement of the Vietnam War. Instead of universal outrage at the murder of innocent students, there were voices saying that they were sorry “they didn’t killed more.” These weren’t one off, fringe voices. They were part of a broader climate that cast student protestors as threats rather than people exercising their right to dissent. It’s hard not to hear echoes today. The language might be different, but the logic is the same: delegitimize dissent, frame students as dangerous, and make state repression seem like the reasonable and obvious solution. Film: The Day the ‘60s Died (2015)

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Adrienne Barbeau on how she was cast in John Carpenter's "The Fog" (1980): "If you were doing TV, no one would see you for film. It was before John Travolta went from a Sweathog (on 'Welcome Back, Kotter') to Saturday Night Fever. Now of course, the fastest way to film is being on TV. John Carpenter told me he was going to write a role for me. 'The Fog' was my first feature. Had it not been for that, I don’t know what my first feature would have been. The Fog — I loved it. I loved (my character, radio DJ) Stevie Wayne. We wound up buying a home up (near where we shot)." ("Preview: With the revival of “Pippin,” Adrienne Barbeau’s career hits the literal high wire", Jim Farmer, ArtsAtl, 2015) P.S: Happy 81st birthday, Adrienne Barbeau!

DepressedBergman

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Harvey Keitel had no knowledge about being a pimp when he was cast for Martin Scorsese's "Taxi Driver" (1976). He asked around and was finally able to find someone to help him, who claimed he was an "expert" pimp. Keitel then spent two weeks with him learning to be a pimp & rehearsing both as a pimp and the girl. The real pimp played the other part improvising on all occasions. Slowly, Keitel learned how a pimp thinks, his concerns and what he cares about. The real pimp's advice to Harvey Keitel on how to be a pimp: 1. Above all, you love the girl. 2. When she wants to go on a vacation, you take her. 3. Give What she wants. 4. Never lie to her. It took a while for Keitel to fully understand what he said. ("Harvey Keitel Talks ‘Youth’, ‘Taxi Driver’, and Working with Great Filmmakers", Collider Ladies night, 2015) P.S: Happy 87th birthday, Harvey Keitel!
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Harvey Keitel had no knowledge about being a pimp when he was cast for Martin Scorsese's "Taxi Driver" (1976). He asked around and was finally able to find someone to help him, who claimed he was an "expert" pimp. Keitel then spent two weeks with him learning to be a pimp & rehearsing both as a pimp and the girl. The real pimp played the other part improvising on all occasions. Slowly, Keitel learned how a pimp thinks, his concerns and what he cares about. The real pimp's advice to Harvey Keitel on how to be a pimp: 1. Above all, you love the girl. 2. When she wants to go on a vacation, you take her. 3. Give What she wants. 4. Never lie to her. It took a while for Keitel to fully understand what he said. ("Harvey Keitel Talks ‘Youth’, ‘Taxi Driver’, and Working with Great Filmmakers", Collider Ladies night, 2015) P.S: Happy 87th birthday, Harvey Keitel!

DepressedBergman

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Anya Taylor-Joy on why she cried after watching "The VVitch" (2015) for the first time: "Interviewer: Was 'The VVitch' (2015) your first audition? ATJ: Oh my gosh, you just sparked a memory: my first audition was to play the young Angelina Jolie in 'Maleficent' (2014). Oh, I wanted it so badly. It was Disney and I love Angelina. I look nothing like her, so I was never going to get it, but I was naive and I thought, “Miracles happen.” But yeah, not long after I got asked to audition for 'The VVitch', so I went in and taped, but just never thought I would get it, because the character Thomasin was described as plain. And I just thought, “Okay, there’s a lot of things that I can do, but I can’t really change my face that much.” Interviewer: But you were cast anyway by Robert Eggers, who was making his feature directorial debut with this. You were 18 and playing your first sizable part. And the film premiered at Sundance. What was it like seeing yourself on the big screen? ATJ: Rob showed us the film maybe two hours before the audience screening, and I was devastated. I thought I’d never work again, I still get shivers thinking about it. It was just the worst feeling of, “I have let down the people I love most in the world. I didn’t do it right.” And I’m quite verbose, I like to talk, I like to communicate. I did not talk, I just cried. I couldn’t handle seeing my face that large." ("‘Awards Chatter’ Podcast — Anya Taylor-Joy (‘The Queen’s Gambit’)", Scott Feinberg, The Hollywood Reporter, 2021)
1:29

Anya Taylor-Joy on why she cried after watching "The VVitch" (2015) for the first time: "Interviewer: Was 'The VVitch' (2015) your first audition? ATJ: Oh my gosh, you just sparked a memory: my first audition was to play the young Angelina Jolie in 'Maleficent' (2014). Oh, I wanted it so badly. It was Disney and I love Angelina. I look nothing like her, so I was never going to get it, but I was naive and I thought, “Miracles happen.” But yeah, not long after I got asked to audition for 'The VVitch', so I went in and taped, but just never thought I would get it, because the character Thomasin was described as plain. And I just thought, “Okay, there’s a lot of things that I can do, but I can’t really change my face that much.” Interviewer: But you were cast anyway by Robert Eggers, who was making his feature directorial debut with this. You were 18 and playing your first sizable part. And the film premiered at Sundance. What was it like seeing yourself on the big screen? ATJ: Rob showed us the film maybe two hours before the audience screening, and I was devastated. I thought I’d never work again, I still get shivers thinking about it. It was just the worst feeling of, “I have let down the people I love most in the world. I didn’t do it right.” And I’m quite verbose, I like to talk, I like to communicate. I did not talk, I just cried. I couldn’t handle seeing my face that large." ("‘Awards Chatter’ Podcast — Anya Taylor-Joy (‘The Queen’s Gambit’)", Scott Feinberg, The Hollywood Reporter, 2021)

DepressedBergman

30,566 просмотров • 2 месяцев назад

In 2007, Candace Owens used the NAACP to get a $37,500 settlement from Stamford after she was allegedly the victim of racism. In 2015, at the peak of GamerGate hysteria, she made an anti-conservative, anti-gamer website, then a doxxing website named Social Autopsy. After Trump won and Conservative alt-media blew up she had an "overnight" conversion to conservatism. With Trumpism crying out for based minority representatives, she made herself the face of "Blexit." After previously being a Zionist, she flipped on that issue, well after anti-Zionism exploded on the right post-October 7. These wild swings make sense when you realise that narcissists like Candace treat beliefs like costumes they to be swapped out for attention and status. She has never actually evolved or re-evaluated her beliefs, she just jumped between cultural flashpoints wherever there was a ready-made audience to whom she could cast herself as a heroic victim – in the Obama era she was the victim of racism, during Gamergate she was standing up to gamer trolls, in the Trump era the woke left, after October 7 the Zionists, and now that she has no filters she has convinced herself entire governments are trying to kill her.
2:05

In 2007, Candace Owens used the NAACP to get a $37,500 settlement from Stamford after she was allegedly the victim of racism. In 2015, at the peak of GamerGate hysteria, she made an anti-conservative, anti-gamer website, then a doxxing website named Social Autopsy. After Trump won and Conservative alt-media blew up she had an "overnight" conversion to conservatism. With Trumpism crying out for based minority representatives, she made herself the face of "Blexit." After previously being a Zionist, she flipped on that issue, well after anti-Zionism exploded on the right post-October 7. These wild swings make sense when you realise that narcissists like Candace treat beliefs like costumes they to be swapped out for attention and status. She has never actually evolved or re-evaluated her beliefs, she just jumped between cultural flashpoints wherever there was a ready-made audience to whom she could cast herself as a heroic victim – in the Obama era she was the victim of racism, during Gamergate she was standing up to gamer trolls, in the Trump era the woke left, after October 7 the Zionists, and now that she has no filters she has convinced herself entire governments are trying to kill her.

Keith Woods

965,718 просмотров • 8 месяцев назад