The Flatness of Being
Hanson first met Stan during his job working as an Assistant Director in Berlin, and he had a vague feeling of what kind of person...
Author: hansonhe
The Act of Becoming
As much as it pains him to admit it, Hanson has failed. He has not been living up to his preconceived purpose of moving to...
The Fight for the Future of YouTube
By Neima Jahromi, newyorker.com … because YouTube offers popular video producers a cut of ad revenue, the company had implicitly condoned Crowder’s messages. YouTube has the...
Barking Up the Wrong Tree
by Eric Baker These qualities were often negative at the mean—qualities you and I would consider “bad”—but due to the specific context, they became positives....
The Art of Decision-Making
by Joshua Rothman, newyorker.com Your life choices are shadowed by ignorance: you choose to be a parent without knowing what being a parent will be...
The Argonauts
by Maggie Nelson Perhaps this is why psychologist D.W. Winnicott’s notion of “feeling real” is so moving to me. One can aspire to feel real,...
New Chapter
Dear Reader: I’m back! As you can see, I haven’t written anything in quite some time, but I decide to come back because it’s a...
《爱乐之城》：情怀与套路
迪士尼大卖的《冰雪奇缘》一开始对自己的音乐剧成分总是遮遮掩掩的。宣传的中心总是在双公主和雪人上，歌曲是由百老汇名剧《摩门经》作曲者创作的这种细节偏偏什么都没提。只是在上映之后，”Let It Go”成为一时的神曲，迪士尼才开始提及这部动画片的音乐剧成分。事后两位导演也承认，他们不想宣传这部动画的音乐，因为想先“骗”观众进电影院，然后让他们被惊讶到。这不过是用另外一种方式来说，观众对音乐剧的热情不够。如果一开始就在宣传里提及音乐的话，可能看的人就更少了。也正是因为《冰雪奇缘》的成功，迪士尼很快就同意了《美女与野兽》真人版的翻拍，并且决定全方面拥抱音乐剧成分，而不会像《丛林之书》真人版那样只是尴尬的唱两首歌向原版致敬。
