Arts Vanity: Amidst Box Office Success of 'Frozen 2,' Disney Announces Plans for Franchise Expansion
Having made $358 million in its opening weekend, and after being called an “indomitable, enjoyable powerhouse” and “well-worth the six-year wait” by top critics, Disney plans to capitalize on the film’s momentum in a series of franchise expansions.
Whatever goes on at Disney Animation Studios seems to be working, because “Frozen 2” is yet another indomitable, enjoyable powerhouse of an animated movie, and joins the canon of Disney classics — and in some ways, redefines it.
Rene Gallimard (Henry R. Lynch ’20) and Butterfly (Eric J. Cheng ’20) in "M. Butterfly"
Hulu’s new eight-episode miniseries, “Looking for Alaska,” remains fairly faithful to its source material as it follows protagonist Miles Halter as he adjusts to life at a boarding school called Culver Creek Academy.
Eleven years, 23 movies, and $22.4 billion dollars (!) later, not a single BGLTQ, Asian, Hispanic, Native American, or disabled superhero has graced the entire multiverse.
This year’s Tony Awards demonstrated that American theater is as engaging, diverse, and relevant as the best that HBO and Amazon Prime have to offer.
Nico P. Barlos ’22 and Odessa X. Deng ’22 play a young couple embroiled in chaos aboard a flight to London in “Cruising Altitude,” this year’s First-Year Musical.
For the most part, “Five Feet Apart” checks off all the boxes: Expect to chuckle liberally, cringe occasionally, and cry inevitably (although not quite when one would expect).
Disney, and others, have raised the bar. DreamWorks needs to keep up.
“You" takes the cultural trope of boy-meets-girl and successfully turns it on its head by revealing the dangerous underlying obsession behind a contrived relationship.
I present five songs to get you through finals — show tunes edition.
A new, original adaptation of Ginsberg’s poem “Kaddish for Naomi Ginsberg” will premiere at the Loeb Ex thanks to the cast of HRDC this Dec. 1.
Anne Washburn’s “Mr. Burns, a Post-Electric Play” is a charged show. It’s a part-comedy and part post-apocalyptic social commentary in which survivors work first to piece together an episode of “The Simpsons,” then to form a theater company that reenacts those scenes exclusively.
As in Season One, we are treated to the show’s signature brand of humor, one that’s grounded in and dependent upon its characters.
“La Reine de Saba,” a grand five act opera composed by Charles Gounod in 1862, reentered the stage for its American premiere on Sept. 22 at the New England Conservatory’s Jordan Hall. This tale of love, betrayal, and envy is being revived by the toils of the Odyssey Opera’s music director, Gil Rose.
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