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Maybe it's not time to send Americans to the movies
Last weekend, a new movie released in American theaters earned $4 million at the box office. It is displayed on about 1,823 screens,
, Making it the first widely released version in the United States since the beginning of the COVID-19 pandemic. Movie is
In the process of hunting down a woman and her son, as a raging murderer, killed many people. Therefore, restoring the most precious American pastime is not the dumbest way, but it is at least something. Although the United States lags behind many other countries under a certain degree of control, this vague return to normality still exists. Anyway, for some people.
Cinemas-at least some of them-are already in
: New York, California, New Jersey, North Carolina, Maryland and New Mexico. The first four are densely populated, which means that even if some people predict the recovery of the film industry, the film industry still suffers a huge hit at the box office. Of course, even in states where theaters resume operation, there are still many people who are still unsafe to return to such public places, preferring to stay at home and continue to ingest seemingly unlimited streaming content, rent on demand, and broadcast television.
Part of me wants to be excited about movies that are shown in the traditional way again. Well, to be honest, part of me is
Excited. Like many other seemingly milestones in this unattainable experience, the release of the film seems to herald a certain progress, a certain feeling, even if it is not nature, that it is healing. But what I think is more of people around a sick country marching happily to see
, The authenticity of things collapses, as I saw when I was walking nearby, there are so many people enjoying food in restaurants with outdoor seating. I am eager to join them, but stop myself. I have always believed that this is real and permanent. We have tried our best, but in so many unknown ways, we seem to have not done so.
If I don’t want to go to the restaurant or go to the movies when the New York theater is open for safety reasons, then I don’t know that I will be morally harmed in watching movies, and I don’t know, which provides people with tacit encouragement to let them Go to see things and see where it is still dangerous?
This is where I find myself in trouble, for example like
(Does not discriminate critics in any capacity) and huge
(Only shown in theaters for reporters; no links allowed) Enter the United States. In grand plans, even on a small scale, this dilemma doesn't make much sense. People always see things when they make decisions, without the indiscretions of critics, in fact they often ignore them. But as everyone learns to adapt and try to adapt to new realities, it turns out that it is difficult to know when to recognize the recently invented paradigms. Not only will these paradigms inevitably change, they will eventually prove to be harmful.
In the first few months of the closure, the situation became clearer, when I was able to help motivate people to stay home by pointing out various disturbances in some subtle ways.
Or glowing demon
-This will help to pass their indoor time. Or, sometimes, I can highlight
It is worth staying at home even in the healthiest times. However, inevitably, the audience has become more and more bored, restless, and more and more anxious. It now appears that at least a considerable part of them have exhausted all isolated routines and are ready to go back in time. Life. I can't blame them. I have a common impulse. But this shift has brought a strange, troublesome potential new use to my work: to help shape a narrative that is increasingly compelling and repulsive.
The first thought should be the employees of the cinema. Generally speaking, they are not well paid or insurance, but now they not only take on the work they signed, but also take the huge responsibility for maintaining health and safety themselves and their customers. Many people need and want to start working again because our government has failed to provide them with the safest basic financial resources. (Not to mention always providing meager compensation and eternal respect for service personnel in this country.) For this, I have seen people make just assertions and return to the film industry to support these workers and provide them with pay. Opportunity. I know the reason there. However, the symbolic meaning of asking people to risk their lives to serve the country’s revitalization is one of the toughest demands placed on some of the country’s least entitled people.
This tricky topic has always been
. Of course, hands-on are the product of a greater culture of uncertainty: since there is no centralized guidance on how to respond to the changing circumstances of COVID, we just need to worry about ourselves and negotiate with ourselves and the immediate community. Smaller conversations and the resulting decisions will help, but we still suffer without a unified mind. This direct transmission to entertainment venues is a necessary and benign transfer that will only make us go straight to further disasters.
In a sense, this critical juncture came in summer, which is very gratifying. At that time, most of the movies were big and silly. Without direct sensory enjoyment, they would not have much impact. It will be easier to give up these things in the context of a sense of responsibility. I believe that (perhaps naively) large film studios can absorb the loss, and these films will find us in some way. It may be more difficult to watch smaller, more conspicuous movies (for example, autumn), and they just fall by the side of the road and disappear. On the other hand, it's really hard to resist the temptation of being big, stupid and without consequences, and another option is the constant crowding of houses. We can't share the excitement and transportation as we did in the past.
I am very eager to have this kind of experience again, which I love more than most things in life. Over the years, part of this joy has been spread (and reiterated). It's exciting to recommend some good things; to defend something that needs attention; and sometimes to warn people away from things that are not worth their time and money. But all of these, which are of vital importance to me, must occupy second, third, and fourth place in the basic well-being of the people who make up the most important part of the film industry (theatre workers and movie audiences).
Maybe this is why I have to review the long-term apologies
When I can, although I hope that no matter what book I write, or any book written by anyone, I can do it without the slogan, "Hurry up and see." There must be more caution than the United States, because we all Everyone may be immersed in the brilliance of IMAX movies, in which time is lucky. This promise of escapism is irresistible. But this is only a real escape, if it can't help us further into the absolute and extremely real situation, there is no easy way out.
Peter Lenkov, Chairman of CBS Showrunner
—Sarah Cooper (Sarah Cooper) to Donald Trump (Donald Trump)
In the TV series that will anger Trump
Scratch the surface only
—Olivia de Havilland's way of learning
At the Oscars in 1940
—See Ryan Murphy and Sarah Paulson's "Ode to the Idol":
— From the archives: Olivia de Havilland's interior
Sister Joan Fontaine
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