Can't we just put all the billionaires in a cage, like rats in a bucket ala that scene in Skyfall, and just oops accidentally forget to release them? Or I dunno, just spitballing ideas here, some kind of sealed carbon fiber tube at the bottom of the Atlantic?
I don’t hate the original version. But it has so many flaws, I’ve never watched it a second time. Just not a true-to-the-spirit comic adaptation. I never care about direct copying of plots from comics, and I’m very open to modified back stories as well; after all, the tradition of alternate realities in comics is canon.
But they need to stay true to the spirit of the character/s. If they can’t do that, then there’s no point in it. If you make a Spider-Man movie/show and he’s this grim, uber-serious person, it isn’t going to work (most of the time)
And that’s where the first suicide squad failed. Pretty much, Harley was the only one that was close enough to their “spirit” for it to work. Everyone else felt like they just copied the look partially, then wrote without bothering to read anything about the character.
Comics have that freedom in a way book adaptations don’t. Books and comics made into movies trade on the idea of established fan bases being the initial “butts in seats”. With books, established fans expect not only the characters, but the plots to adhere to the printed original (otherwise, it isn’t the same thing at all, and they might as well just call it a parody and be done). But comic fans love a good alternate reality. But if the company can’t be bothered to understand the characters that make such things interesting in the first place, it’s a fail.
I know Clarkson is really polarizing but I really enjoyed this show and appreciate his brand of humor a lot. Long time Top Gear fan. Excited for more seasons of this
This show is absolutely awesome. One of the best shows being made right now. I cannot express my appreciation for this show well enough. It's just wonderful.
Both their New York and Vancouver studios have joined IATSE in the last few years - the Canadian studio was the first animation house in the country to join a union, ever.
So they think it’s better to get a tax write off of half the cost, and sell it to a streamer to cover the other half, than make money and profit with a global cinematic release?
Well, I’m not going to assume that every decision made by the senior decision-makers in a company is rational for the firm or for ‘maximizing shareholder wealth’ in the long term.
CEOs and executives may act in their own, or their firm’s short term interests, they can however also get complex decisions entirely wrong. Not to mention tax law can incentivize some sub rational behaviour.
There are enough historical cases of absolutely bad thinking running companies into the ground, with deceptive practices that leave lenders and subcontractors short.
The stock market’s reaction to act against bad management can be tardy.
(I’m setting aside corporations taking responsibility for larger societal benefits here because US SEC norms for publicly traded corporations don’t provide for that the way they are in Canadian or European law. In the other hand, there may be some arguments that some of these actions are anticompetitive, and worthy of antitrust investigation.)
I just wanted to point out how amazing it is that the Sistine Chapel was painted 541 years ago and is still emulated in art such as this thumbnail. That’s crazy!
the show failed to sustain the level of ticket sales that would cover its weekly operating costs. During the week ending November 5, for example, the show filled just 79% of seats at the Broadway, grossing $768,244.
It's disheartening that a show's weekly nut (weekly operating expenses like salaries and rent) appear to be at more than 80% of capacity. It means that a show has to effectively sell out just to get to the point where investors can even start to make back their capital investment (initial costs like development, rehearsals, set/lighting/sound design and construction and - in the case of Here Lies Love - extensive theatre renovations).
That particular figure of $768,244 in the Deadline article doesn't quite line up with the Variety article on Here Lies Love's closing, which refers to a Washington Post article, stating:
It cost about $700,000 per week to mount “Here Lies Love,” which exceeded its weekly box office take of $500,000 to $620,000, according to The Washington Post.
But the overall point remains. You have to be a hit just to have a chance of breaking even on Broadway, and a smash hit to turn a profit.
The Broadway production of Here Lies Love had a bit of a bumpy ride - I remember that some members of the Filipino community objected to the show's subject matter (claiming it glorified the Marcos regime), and the production also got into trouble over its planned use of pre-recorded music rather than live musicians. Eventually they agreed to use 12 live musicians, but of course 12 live musicians also adds about $25,000 to the weekly nut. (Broadway musicians are paid at least $2143.10 per week.)
It's a tough business.
BTW, I saw the Public Theater production of Here Lies Love back in 2014, and while the style of music wasn't my cup of tea, I loved the immersive staging. It was one of those shows that made me realise what a talented director Alex Timbers is. I remember that I really wanted him to have used the immersive approach on a production of Evita instead. (Cause Here Lies Love is basically the Filipino version of Evita. 😁)
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