It’s the hack still being heard around the world, a surreal situation made even more bizarre by the reaction of the target and the accompanying response from the community. Before Sony succumbed to the pressure put on it by a shadowy group known only as the “Guardians of Peace”, which led to the studio pulling the proposed Seth Rogen/James Franco political comedy The Interview from distribution, it was simply dealing with the collective face egg that comes from your private corporate business becoming Reddit fodder.
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As the final tallies were coming in and the titles were being ranked, tongues all over Tinseltown were in full blown wagging mode over the news that the latest installment in Sylvester Stallone’s post-millennial career reboot, The Expendables, had wound up in a very disappointing fourth place.
Not first. That still belongs to those horrid Michael Bay produced Ninja Turtles. Not second, as the great Guardians of the Galaxy holds that spot. Not even third, with the poorly timed Let’s Be Cops defying the situation in Ferguson, Missouri to rustle up enough ticket sales to take said position.
We live in troubling times. All around us our examples of our inability to adapt while using technology and its tainted perks as a means of further escape. We claim victories over social ills (racism, economic inequality) where no triumphs truly exist and celebrate those who ride such unrealities all the way to a position of power. In these dark and disturbing days, a film like Dawn of the Planet of the Apes speaks louder than any pundit’s proclamations. As with much art, it reflects the era in which it was made. As with all art, it signposts situations we’d otherwise ignore or try to avoid, provides insights, and provokes questions. This film, like all great art, is alive, vital, and transcendent.
One of the hottest rumors going around Hollywood right now centers on Warner Bros. and their plans to put out numerous DC-themed films over the next few years. It’s a move that many in the comic book fanbase have been longing for and yet never thought they’d see.
If the story pans out (and there’s always an “if” with such web exclusives), we will be inundated with cinematic product, beginning with Batman vs. Superman: Dawn of Justice in May of 2016, a Shazam movie two months later, followed up by Sandman during Christmas of the same year. Then, 2017 will be equally overflowing with a Justice League film proper (May), a Wonder Woman stand-alone (July), and a Green Lantern/Flash pair-up (the Holidays). Add in an official Man of Steel 2 for May of 2018 and you’ve got quite the ambitious schedule.
Their names are synonymous with box office gold. Even in arenas outside of film, they find a way to stay in the public eye long after their regional value has been depleted. Put another way, Americans may have long given up on the musical oddball they call Michael Jackson, but before his untimely death in 2009, his planned world tour was predicted to go gangbusters overseas. You see, whether we like it or not, our entertainment has gone global. Let’s repeat that, with proper emphasis, OUR entertainment has gone global. Blockbuster foreign films barely get recognition outside of arthouses and critics groups here in the US, but when an American movie gets released abroad, it can bank significantly more money that it could ever make on our shores. Why? The answer is obvious: star power.
// Sound Affects
"Get a drink, have a good time now. Welcome to paradise, and read all about the 305th most acclaimed album of all time. An Australian plunderphonics pioneer is this week’s Counterbalance.READ the article