Editorials
‘Shin Godzilla’ is Surprisingly Grounded and Compelling
It’s no secret that I don’t like the 2014 U.S. remake of Godzilla. In fact, I think it’s one of the most gorgeous heaps of trash I’ve ever seen. Because of this, it was cause for celebration when Toho announced a new Godzilla film of their own. Only, it turned out it was being co-directed by Shinji Higuchi, the man behind the incoherent, disastrous and unwatchable live-action adaptation of “Attack on Titan”. My stomach churned. While we’ve been reporting on the upcoming film, which is stomping its way into U.S. theaters for a limited engagement on October 11–18, I’ve ignored it under the assumption that I was surely going to disappointed. I was sent a screening link yesterday morning, and with expectations at the lowest point possible, I figured “what the hell?”
Having already shared one the first online reviews of Shin Godzilla, I don’t think it’s necessary to pen a proper one of my own. But, having absolutely obliterated Higuchi’s work, and his piece of shit “Attack on Titan” adaptation, I felt the need to reassure everyone that Shin Godzilla is pretty fucking good.
Co-directed by Hideaki Anno (Evangelion), Shin Godzilla is far from perfect, but it’s also a perfectly good time. Spoiler warning. I have never been a huge Godzilla fan, so I can’t speak to the dozens of films in existence, but I really like the approach to Shin Godzilla. Yes, it’s a Japanese remake, and scraps all the previous films from existence. It begins when a giant sea creature (a baby Godzilla?) surfaces and begins swimming through channels around Japan. One of the biggest issues with this film is that it isn’t told through anyone’s eyes, and the characters are all pretty forgettable, but what I did like is the “House of Cards” style politics of the event. Shin Godzilla really hones in on the political and economic ramifications of Godzilla’s presence, while also taking the time to really understand what Godzilla is and how he exists as a biological entity.
It’s interesting that the movie presents itself as a political thriller (with a plethora of scenes featuring people just talking and talking) than an actual Godzilla movie, and surely that will turn a lot of people off, but when Godzilla in on screen it’s pretty great. The puppet/CGI mixture works quite well – in fact, Shin Godzilla carries a sort of 80’s creature feature vibe. From his first form to his fourth, there’s a wonderful realism to the character that we’ve never seen before. Godzilla is also frightening, mostly because he/she doesn’t appear to be a thinking entity, but one acting out of instinct. Godzilla blasts fire out of his mouth, nuclear energy out of his body, and ejects lasers across the sky (taking out space-bound military planes).
I just loved the bold attempt at a fresh perspective, even if it’s too long and has an astoundingly flaccid finale. If anything, it’s a welcome new beginning to the franchise that sets the stage for multiple sequels and has set the stakes enormously high. I think the coolest implication is that, shit, maybe they can crossbreed a sequel with the U.S. producers?
Shin Godzilla is basically Godzilla meets “House of Cards”, and has enough action to appease those who don’t care about a story. In the first of a new series, I think the stage has been set for something enormous to happen next…
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.
For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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