The Greatest Showman#1372 - Industry Concerns

"Renly, may I ask if you're ready to start shooting again when you return to New York this time?"

Finally, Renly's footsteps came to a halt. Someone immediately asked the most anticipated question. Under the watchful gaze of all the reporters, Renly didn't hesitate for a moment. He simply answered with one word that ignited the reporters' excitement: "Yes."

The atmosphere immediately became charged with excitement.

"Excuse me, is it for Boom Drummer?"

"After choosing several independent films, what about commercial films?"

"Are you considering Marvel movies?"

"Will you be attending the Tony Awards?"

"Are you looking forward to the possibility of an EGOT?"

"Choosing another independent film with a strong male lead—are you ready to pursue your second Oscar?"

"Is this a deliberate move for the awards season?"

"Do you regret missing out on this year's summer blockbuster season?"

"Will you increase your focus on commercial films in the future, or stick with independent art films?"

The barrage of questions came at Renly from every direction, relentless and fast-paced. The reporters didn't pause for a breath, as though there were no limit to how many questions they could throw his way.

Renly stood still, smiling. He didn't speak but chose not to leave. Slowly, the noise around him began to quiet down as everyone focused on him, waiting for his response. The dust settled, and the earlier chaos seemed like it had never happened.

"For the upcoming period, I'll be focusing on the preparations for Boom Drummer and its subsequent filming. This will be my core focus. I appreciate your concern and enthusiasm, and thank you all for coming to the airport to welcome me back," Renly said. His words were still polite and graceful, yet firm in their direction.

After finishing his statement, Renly took another step forward. Amid a renewed wave of questions, he quickly moved toward the exit of the airport pick-up hall.

As Renly walked, a line of bodyguards, eight strong, positioned themselves between the reporters and him. Like an impenetrable wall, the security formed an unbreakable barrier, ensuring Renly could leave without interference.

The reporters could only watch as Renly disappeared into the back of a black van, driving away.

Frustrated, the reporters left behind angry mutterings.

"Renly's starting to act like a big shot now, huh? Eight bodyguards? This is how he's going to be just like those Hollywood superstars!" one reporter grumbled.

However, a fellow reporter responded sharply, "What do you expect? You want him to stand there and let us strip him bare with questions? The so-called literary youth should just submit to whatever we want? Greenwich Village is full of young people, but they don't need bodyguards, and we don't chase them down like this. If you want to see audacity, go talk to Woody Allen!"

The argument escalated, and the reporter who had made the complaint was quickly drowned out by the jeers of others, leaving him isolated and without support.

"Forget it. Renly doesn't owe you a thing. Why should he let reporters tear him apart like that? Maybe some people are just upset because they didn't get the chance to get a shot at him."

"Exactly. If you're so brave, go get an exclusive interview with Andy Rogers. When someone hangs up on you, don't whine. That's the real shame."

The mocking continued, leaving the critic with no room to respond, and he eventually slunk away, defeated.

In the world of Vanity Fair, media reporters are often an unavoidable presence, annoying and sometimes even hateful. However, from another perspective, they are indispensable—like a mirror reflecting the state and future of the entire industry. It's not just about fame and popularity; it's about the internal struggles and decisions that shape careers.

Even in the age of the internet, where the title of "uncrowned king" has lost much of its significance, the role of the press remains irreplaceable.

This is true in Renly's case as well. The massive crowd at JFK and the intense questioning were clear indicators of Renly's place in the film industry—these weren't just idle questions. In fact, The New Yorker magazine had recently published an in-depth feature that captured the industry's thoughts on Renly.

One particular Chinese film critic, Emily Chen, wrote an analysis from an objective standpoint, covering everything from the Olivier Award to the Tony Award, and from Cannes to Venice. Emily's piece delved into Renly's career, noting the sharp observation that, despite all of his successes, Renly might be heading toward a "dead end" in his career.

This wasn't a criticism, but rather an assessment.

Emily drew comparisons to two of Hollywood's most iconic actors: Marlon Brando and Nicole Kidman, both of whom had navigated similar crossroads in their careers.

Marlon Brando, during the golden age of Hollywood, was the top actor from the late 1950s to the 1960s, dominating both the box office and awards. Yet, as he entered the 1960s, his career took a downturn. After a string of failures, he became Hollywood's most famous "prodigal son," known for his eccentricity and withdrawn behavior. Though he made a comeback in the 1970s with The Godfather—winning his second Oscar—his career had been almost entirely dormant for a decade.

Nicole Kidman, too, faced a challenging period. After her Oscar-nominated performance in The Hours (2002), she encountered a series of commercial failures. It wasn't until her role in Big Little Lies in 2017 that her career revived, after nearly a decade of stagnation.

Both Brando and Kidman had reached the peak of their careers, only to falter due to poor project choices, forcing them into long periods of limbo.

Now, Emily saw Renly potentially on a similar path. After the overwhelming success of Love Crazy, Renly's choices, such as The Cancer-fighting Me, Transcendence, Drunken Town Ballad, Gravity, and Les Miserables, seemed to follow a pattern—exquisite performances but a lack of broader commercial appeal.

And now, with Boom Drummer on the horizon, Renly seemed to be repeating the same cycle, following the paths of Brando and Kidman. Emily expressed concern that Renly might be heading toward the same artistic exhaustion that had once led these stars into career stagnation.

Renly's commitment to independent film had made him an actor of great prestige, but Emily's analysis raised a pressing question: Would he be able to find new avenues to avoid the pitfalls that claimed even the most talented stars of Hollywood?