Sydney Sweeney is breaking her silence on those Glen Powell romance rumours.
24.07.2023 - 15:35 / deadline.com
It was a magnificent movie weekend. Barbie, Oppenheimer, Sound of Freedom. All hits, a blow-out!
So what else have you got?
The question sounds obnoxious, like its near-cousin, the always infuriating: “What have you done for me lately?”
But it’s an honest query, and an important one for a strike-bound, streaming-bent, pandemic-emergent industry that is still in need of revival.
The record-breaking weekend is a wonderful tonic, a welcome reminder that the audience, given half a chance, is still willing. But one weekend, even with the anticipated hold-over business from its hits, doesn’t mean a return to health.
That requires yet more watchable movies, lots of them, preferably offered in quick succession, while the viewers are showing an appetite. And those won’t be easy to come by in a Hollywood that has been shut down by dual strikes—raising the prospect of potential scheduling delays—and is already operating with perhaps a third fewer than the 900-plus theatrical films it released before the pandemic.
An old show business maxim says that ‘hits beget hits.’ Tantalized by a film one week, a viewer is more likely to come back next week for something else. Before social media, the dynamic was driven by what producers and executives used to call “the wheel of movies”—just the right trailers attached to just the right hits, all of which kept the turnstiles turning.
Granted, there was a counter-theory. Some executives persistently argued that fewer films, and less competition, would mean more ticket sales for the lucky possessors of a major studio distribution slot. I can remember one competition-averse executive telling me—off the record, unfortunately—that his large studio had just acquired and closed a pesky,
Sydney Sweeney is breaking her silence on those Glen Powell romance rumours.
Sydney Sweeney is addressing the rumors and speculation.
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Jem Aswad Executive Editor, Music Syd Barrett was the guiding light of the original Pink Floyd — the band’s singer, primary songwriter and guitarist from their first day until their psychedelia-defining 1967 debut album, “Piper at the Gates of Dawn.” His sparkling, childlike melodies and lyrics have cast a huge influence over rock and pop music ever since — David Bowie cited him as a pivotal influence, and it shows — and entire genres of music, particularly the neo-psychedelic waves of the early ‘80s in the U.S. and U.K., bear his fingerprints. Yet he was also one of rock’s first “acid casualties” — people who took too many drugs, or at least the wrong ones, and were never the same afterward. His bandmates and friends say one day, he was just gone: The distinctive sparkle in his eye and spring in his step had disappeared. He became uncommunicative and withdrawn; he’d go onstage and just stand there, strumming one chord or doing nothing while the other bandmembers would struggle to hold things together. He’d bring the band a song and continually change it as they tried to follow him — this remarkable documentary takes its title from one such song, so titled because they could never get it if he kept changing it.