The Greatest Showman #894 – Monstrous

The 54th Grammy Awards have concluded, and it's undeniable that Adele is the biggest winner, representing the new generation of singers. But Renly, in many ways, has emerged as the biggest beneficiary.

Renly's accomplishments go beyond his three Grammy trophies. Don Quixote's album sales and single popularity have soared, achieving remarkable results. The impact of his work on the Billboard chart is just one example. On online forums, the buzz around folk songs has been reignited, and a fresh wave of young fans has emerged.

Even more notably, in music cities like New York, Nashville, and Memphis, folk music has experienced a resurgence in bar performances. While Renly alone can't reverse the industry's overall decline, his Grammy win and speech have planted seeds across North America—quietly waiting to grow.

Amidst the excitement of the Grammy aftermath, the entertainment world keeps moving. Awards season continues with the upcoming Screen Actors Guild Awards, one of the major indicators before the Oscars, shaping the narrative around the big categories: Best Picture and Best Actor.

In the midst of this chaotic and buzzing season, Entertainment Weekly dropped a bombshell. Cornell McGregor penned a shocking four-page feature titled:

"Renly Hall: The Man Who Deceived the World!"

As of 2012, Renly Hall's name has become synonymous with art, creativity, freedom, and self-indulgence. He represents the American dream, the dream of art, and the ideal of balancing business and creativity. His name embodies every artist's pursuit of self-expression and the aspirations of everyday people to live their dreams.

In the past month alone, Renly has achieved the extraordinary:

Silver Bear Award for Best Actor at the Berlin Film FestivalAn Oscar nomination for Best ActorThree Grammy trophiesA sold-out One Man's Concert at Madison Square GardenDon Quixote hit the public eye, with explosive album salesThe North American box office for his films exceeded $100 million

Who can match such achievements? Is there anyone who hasn't heard of Renly?

Clearly, no one. He is the epitome of gentlemanly grace, artistry, and future dreams. But behind this polished image, lies a shocking truth: Renly has deceived the world. Cornell draws a comparison to Frank William Abagnale Jr., the most infamous con artist, whose life was famously portrayed in the film Catch Me If You Can.

Cornell begins by listing Renly's recent accomplishments, along with the media's glowing praise, but then pivots—accusing Renly of maliciously manipulating the public's perception. According to Cornell, Renly has used a variety of tactics to package himself, create an idealized image, and achieve his unprecedented success. His latest tactic, according to Cornell, is nothing short of a hype machine.

The article focuses on Renly's One Man's Concert. Cornell questions the timing and location of the event, which took place at Madison Square Garden in a mere four days—something that would typically take at least six months to arrange. He also highlights Renly's association with Heather Cross, a supposed "charitable figure" whose ties to Renly seemed fabricated. No social media connections, no previous public support, nothing to suggest a genuine relationship.

Cornell digs deeper into Heather's connection to Renly, or the lack thereof. Despite Renly's claim of charity work, there's no evidence that he had volunteered at Mount Sinai Hospital, where Heather was supposedly a patient. And when Heather passed away on February 20, Renly was in Los Angeles, attending a theme park outing with two children, instead of honoring her at the funeral.

This raises the question: If Renly and Heather were truly close, would he have missed the funeral? Cornell argues that he wouldn't have, especially since Renly had previously canceled appearances, such as at the Oscars, for personal health reasons.

Despite Renly's absence at the funeral, Cornell continues to expose discrepancies in Renly's actions, questioning the motives behind his One Man's Concert. Renly's public relations stunts seem to coincide with his soaring career achievements, such as Grammy wins, Billboard chart-topping success, and Oscar buzz.

Cornell presents Renly's decisions as calculated, like choosing to bring Annie and Alex, two children from Mount Sinai, to the Grammy red carpet, further exploiting the charity angle to shield his actions from scrutiny. He also points out that Renly attended two public relations events on the night of Heather's death, one with Woody Allen and another with Scott Rudin and Brad Pitt.

But the accusations don't stop there. Cornell points to several other events over the past year, claiming Renly has engaged in malicious hype. Negotiations for a Fast and Furious sequel ended with Renly requesting a higher salary and ultimately joining Warner Bros. His absence from the Oscars was seen as a calculated move to garner sympathy. The premiere of I'm Fighting Cancer started modestly but turned into a fan-driven success. And the Natalie Portman scandal only served to boost Renly's profile.

Finally, Cornell raises an important question: Since the Pacific War, discussions about Renly's background have been ongoing, but the truth remains elusive. Is this all part of a larger plan? If Renly is truly from an ordinary background, why has he been so secretive about it? And how has his career progressed so smoothly, without the usual struggles or setbacks, to the pinnacle of success?

Cornell ends the article with a provocative statement:

"No one should forget that Renly just turned twenty-two last November."

With this, Cornell brings his report to a close, leaving readers to form their own conclusions.