The Greatest Showman #854 - Sweeping Across the United States

Calm. Silent. Silent.

Suddenly, "Entertainment Weekly" broke the silence with an exclusive report that disrupted the balance and captured everyone's attention. In an instant, all eyes were fixed on the "one-man concert."

People are not foolish. Despite Cornell's firm and seemingly irrefutable claims, there were too many holes in the story to ignore. The questions piled up:

Why hadn't anyone heard about this concert before?Why was there no publicity?Why was there no online ticketing system?Why hadn't any news outlets reported on the event?Why was the first report accusing Renly of using this as a publicity stunt, when no one had even heard of it until now?Why was this event scheduled so close to the Grammys, with no connection to the Oscars?Why was the concert date so close?

It was these unanswered questions and the contradictions that fueled the frenzy. The news from Entertainment Weekly went viral, sparking massive discussions with supporters, detractors, and onlookers.

The report was released on Valentine's Day, which, ironically, lost its charm in the wake of the concert announcement. Couples on dates couldn't help but join in the heated debate.

Fox TV, ever astute at capturing trends, took to the streets of New York for a live interview on Valentine's Day, asking, "This year's special event for Valentine's Day—will you be attending Renly Hall's 'One-Man Concert'?"

The speed at which the topic exploded was unimaginable. Entertainment Weekly hit the jackpot, capturing an audience of over 30 million, and Cornell McGregor's name quickly became a fixture among journalists.

For three hours, Entertainment Weekly held the spotlight. In today's Internet age, three hours is an eternity. After that, The New York Times released a special feature.

Written by Bradley Adams, the piece offered an alternative perspective on the "One-Man Concert."

"A concert dedicated to someone, a dirge of life hidden behind the glitz."

Bradley had learned the full story behind the concert—one that wasn't just about Renly, but about a terminally ill girl, a deeply personal connection, and the album Don Quixote that served as the backdrop. This wasn't hype or exploitation. It was a promise Renly had made.

In his article, Bradley condemned the reporters who twisted the facts and made malicious claims. He expressed his admiration for Renly's dedication and the story of the girl, going as far as to criticize the sensationalism of some reports.

The article quickly gained traction, with the click-through rate surpassing 8 million within an hour. The battle between Entertainment Weekly and The New York Times had completely polarized public opinion.

Would people believe Entertainment Weekly or The New York Times?

Most would automatically lean toward The New York Times, but the damage had already been done by Entertainment Weekly's exclusive. Their report had planted doubts and framed Renly's actions within the context of his career controversies—his absence from the Golden Globes, the success of Don Quixote, and other scattered details that painted a picture of scandal.

So now, the debate raged. One side pointed to Renly's supposed flaws; the other, to the deeper, more human story behind the concert. Discussions flooded the Internet, peaking just as Valentine's Day was ending, drawing attention away from the Grammys and even the Oscars.

In less than 12 hours, "One-Man Concert" went from a total unknown to one of the hottest topics, but it was impossible to say whether this was a good or bad thing for Renly.

Despite the widespread success of Don Quixote and Renly's rising fame, many still saw him primarily as an actor. There was skepticism about his music, and the question remained: Was this concert a joke, a circus, or a real artistic endeavor?

The Chicago Tribune took a more skeptical view, sarcastically asking if anyone would really pay to attend the concert at Madison Square Garden, given the cold weather and the questionable turnout.

Yet, The New Yorker took a different stance, viewing the concert as an act of courage, persistence, and artistic integrity. "For Renly Hall, it's just a one-man concert. And if even one person shows up, it will be a success."

The article suggested that the concert was a reflection of Renly's spirit, much like the themes in Don Quixote. At just 22 years old, Renly was showing the world his dedication to his art, and his belief in the project was what truly mattered.

But would the concert succeed? No one could say for sure.

As for the Chicago Tribune, their mocking tone revealed their doubts about the concert's box office success. Most media outlets were predicting disaster.

But as The New Yorker wisely pointed out, "Success isn't defined by the number of seats filled; it's about the journey."

Would Renly's "One-Man Concert" succeed or fail? That question remained unanswered, but one thing was clear: the controversy surrounding it had captured the public's attention in ways no one could have anticipated.