The Greatest Showman #1395 - American Focus
Not just Warner Bros. and other key players in the film industry, but even Disney found themselves taken aback. They quickly realized that the situation was spiraling beyond their control. Social media was already ablaze, and if Disney didn't issue an official statement soon, the consequences could be catastrophic.
Initially, Disney had intended to execute a viral marketing strategy—similar to last year's "Ice Bucket Challenge"—leveraging the connection between Renly Hall and Marvel to generate fan enthusiasm. The goal was to ignite discussions, create buzz, and then unveil the actual news. The strategy worked—too well. The story spread like wildfire, reaching levels far beyond their initial expectations, amplifying a hundredfold, even a thousandfold.
If Disney remained silent, allowing fan excitement to reach its peak before abruptly dousing it with cold water, the backlash would be severe. The risk of alienating their audience was real. To mitigate this, Disney had no choice but to step forward and clarify the situation.
This was perhaps the first time in history that a company had to prematurely terminate a marketing campaign because it was too successful.
"Renly Hall to voice the lead in Disney Animation's first Marvel adaptation."
Disney made its second official announcement. While the core details remained unchanged, the additional context significantly altered the news' impact. Once again, the power of media narratives was on full display.
Since acquiring Marvel, Disney had been exploring new ways to tap into its full potential. Similarly, after taking over Pixar, Disney had been striving to push its animation division further. Now, they were combining both forces.
Live-action films are fraught with complexities—scheduling conflicts, budget constraints, and unpredictable audience reception. In contrast, animated films offer a more stable, cost-effective, and controlled approach. There are no concerns about fluctuating actor salaries, contract disputes, or the risk of actors demanding higher paychecks post-success. Animation also provides a sustainable development model, allowing for long-term expansion.
"Big Hero 6" would be Disney's first Marvel-inspired animated film, produced by Disney Animation, with creative input from John Lasseter, the former head of Pixar. With the film nearing completion, Disney was assembling its voice cast, and Renly Hall stood out as the biggest name attached to the project.
Technically speaking, Disney's initial and subsequent announcements were not misleading. Both involved Marvel. Both involved Renly. Yet, for the public, the distinction was stark. The difference between a live-action superhero film and an animated voice role was fundamental. Fans who had anticipated seeing Renly don the iconic suit were now voicing their frustration.
Disappointed audiences took to social media, with some vowing to boycott the film in protest, while others proposed an alternative perspective: If Renly was already involved in a Marvel animation, could a live-action role be on the horizon?
Regardless, "Big Hero 6" found itself at the center of an unexpected media storm. The film's early marketing campaign had already drawn massive attention, though whether this would translate into box office success remained uncertain.
With this development, Disney became the fourth major Hollywood studio—after Universal, Warner Bros., and Sony Classics—to collaborate with Renly. Now, only Paramount and 20th Century Fox remained. This underscored Renly's unparalleled status in Hollywood.
More significantly, "Big Hero 6" provided a counterpoint to industry concerns raised during the Cannes Film Festival. Some critics feared that Renly was veering too far into the world of independent cinema, alienating mainstream audiences. However, with this project, he demonstrated a willingness to explore commercial opportunities, striking a balance between artistic integrity and mass appeal.
This was a promising sign.
Following his four-month hiatus, Renly returned to work with a bang, taking on both "Whiplash" and "Big Hero 6" in quick succession. His career momentum showed no signs of slowing.
Interestingly, neither Disney nor Renly disclosed his salary for "Big Hero 6."
On one hand, voice acting fees are relatively standardized. Even top-tier actors rarely command astronomical sums for animated roles. The figures are nowhere near the exclusive "$20 million club," and not even the "$10 million club." Many actors take on voice roles to expand their reach within the family-friendly market, rather than for financial gain—an approach popularized by Tom Hanks, whose involvement in "Toy Story" set a precedent.
On the other hand, voice acting does not carry the same market leverage as live-action performances. The primary audience for animated films is families, with children being the key decision-makers. As a result, the presence of a high-profile actor does little to influence ticket sales.
That said, industry rumors suggested Renly had secured a $5 million payday for "Big Hero 6." If true, this indicated Disney's strong interest in cultivating a long-term relationship with him.
Naturally, this fueled speculation—was "Star Wars" next?
Overnight, Hollywood buzzed with excitement.
Two major cinematic universes—Warner Bros.' DC Extended Universe and Disney's Star Wars franchise—were both, directly or indirectly, linked to Renly. Even at this speculative stage, industry insiders were eager to see how this would unfold.
The situation bore an uncanny resemblance to the golden era of Harrison Ford and Steven Spielberg. Their involvement in any project had the power to shape industry trends, with over 70% of major commercial films considering their participation at some stage.
This was true Hollywood dominance.
And this was just the beginning.
The social media frenzy surrounding "Big Hero 6"—as spectacular as it was—paled in comparison to the next seismic event on the horizon.
The Tony Awards were coming.
In past years, this announcement would have barely registered with mainstream audiences. Broadway had been in decline, and only a niche group of devoted theatergoers paid attention to new productions. Even industry professionals largely regarded the Tonys as an afterthought, scanning the winners' list without much enthusiasm.
The awards had attempted various strategies to regain relevance, incorporating elaborate musical numbers and enlisting Hollywood-friendly hosts like Hugh Jackman and Neil Patrick Harris. Yet, while these efforts yielded some results, they fell short of revitalizing Broadway's broader cultural impact.
This year, however, the narrative was different. And there was only one reason: Renly Hall.
Because of EGOT.
For the first time, Renly stood on the precipice of entertainment's most prestigious honor—winning an Emmy, Grammy, Oscar, and Tony. While many believed he would inevitably reach this milestone, the possibility of achieving it at just twenty-three years old was staggering.
The significance extended beyond mere accolades. If Renly succeeded, it would reshape Hollywood's entrenched perceptions and set a new precedent in the industry's century-long history. Even the most seasoned veterans couldn't predict the full ramifications.
This was a once-in-a-lifetime moment.
Thus, without any additional marketing efforts, the Tony Awards had already cemented their place as the most anticipated event in America.
And all eyes were on Renly Hall.