Aurelia Butler

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    ‘Lilo & Stitch’: How a Fuzzy Blue Alien Became a Disney Cash Cow

    Step aside, Moana, Elsa and Simba. In recent years, Stitch has quietly become one of Disney’s most popular — and most merchandised — characters.Eight-year-old Elle Bauerlein of Wake Forest, N.C., is obsessed with Stitch. “Honestly, I think about him all the time. Like, 10 hours every day.”Her American Girl doll, currently clad in a Stitch onesie complete with alien-eared hood, is technically named Stacy, but Elle prefers to call her “S” in tribute to Stitch. If she had to pick a favorite Disney princess it would be Moana, but only because Moana spends time on beachy activities similar to Stitch. Her pillowcase is Stitch. Her backpack is Stitch. Her Crocs are Stitch.The third grader was born more than a decade after the 2002 Disney animated film “Lilo & Stitch” was released in theaters, and yet, for the past two years, the rambunctious title character has been a fixture in her life.She’s not alone.In an act of belated cultural permeation, Stitch — the destructive but adorable alien experiment who crash-landed in Hawaii and befriended a young girl named Lilo — has become a crucial character in the Walt Disney Company’s modern empire, mainly in the form of a dizzying array of licensed merchandise.At PetSmart, you can find a Stitch squeaker toy for your dog. The discount chain Five Below has Stitch neck pillows, portable power banks and slime. Stitch clothing and accessories line the shelves at Primark. Yoplait offers berry- and cherry-flavored Stitch yogurt. Even Graceland has a tie-in collection of Stitch pompadoured plushies dressed in various Elvis Presley ensembles. If you’re overwhelmed, don’t worry: There’s also a cottage industry of TikTokers who devote their entire accounts to showcasing the latest Stitch-centric items to their legions of followers.While Disney does not release official sales data, the company’s annual financial reports for 2023 and 2024 included “Lilo & Stitch” on a short list of nine examples of its “major” licensed properties, putting it on par with classic titans like Winnie the Pooh and Mickey and Friends, and conglomerates like Star Wars and the collective Disney princesses.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Hollywood Figured Out How to Adapt Video Games. I Wish It Hadn’t.

    Polished adaptations like “The Last of Us” and “Minecraft” lack the awkward charm of the genre’s early years.How do you turn a video game about zombies into a television show? If you’re making “The Last of Us,” HBO’s Emmy-winning post-apocalypse drama, you take a sober approach, treating the zombie-killing action as an opportunity to articulate profound things about the human condition. You remind viewers that what matters is not the spectacle of the end of the world, but the resilience of the survivors as they cling to their tattered humanity. And so, like the PlayStation game on which it is based, “The Last of Us” becomes a grim show with big themes: the power of hope, the futility of vengeance, the terrible things we’ll do to survive.But if you were making “House of the Dead,” based on the 1990s arcade game, you went in guns blazing. This 2003 film, from the notoriously disreputable German director Uwe Boll, contained practically no coherent ideas, and its primary motivation seemed to be to cram as many bare breasts, exploding corpses and nu-metal songs into one movie as the Motion Picture Association of America would allow. The game it was based on was not exactly a paragon of artistic merit to begin with. But even by the crude standards of the source material, Boll’s film, with its constant slo-mo and goofy “Matrix”-style camera movements, felt especially tasteless.Everything I know about movies and television tells me that “The Last of Us” is the superior adaptation — subtle instead of broad, mature instead of childish, concerned with real feelings instead of lizard-brain titillation. And yet every time I watch it, some recess of my soul yearns for the lurid, tooled-up lunacy of stuff like “House of the Dead.” “The Last of Us” is a duly touching story of trauma and grief, but it feels as if everything lately is a duly touching story of trauma and grief. When was the last time you put on a movie and saw slow-motion shots of a woman in a Star-Spangled Banner leotard dodging a sledgehammer-wielding zombie?It’s not the trashiness itself that I’m nostalgic for. What made “House of the Dead” charming was its idiosyncrasies, and idiosyncrasy is precisely what the current generation of video-game adaptations has managed to iron out. Hollywood has learned how to produce successful, respectable game adaptations by slotting them into proven formulas, like comic-book blockbusters and prestige TV. You know what to expect: either a serious-minded, no-nonsense drama, as with “The Last of Us” or “The Witcher,” or an irreverent, wisecracking comedy full of inside jokes and fan service, as with “The Super Mario Bros. Movie,” “Sonic the Hedgehog” or “A Minecraft Movie.” Adaptation is a solved problem.The earlier Mario was played by Bob Hoskins; the new one is voiced by Chris Pratt.But before Hollywood solved it, the industry simply let artists — and, yes, sometimes hacks — attack the problem with creative abandon. The results were as delightfully singular as they were critically reviled. You could walk into Andrzej Bartowiak’s “Doom” movie with no idea that you were about to encounter a five-minute point-of-view action sequence shot in one unbroken take. You could also read a one-star review of it by Roger Ebert, who hated it so much that he ended up provoking a debate over whether video games could ever be art. These movies had a lowly reputation, but I look back on them with gratitude and affection. For all their faults, they were alive with creative possibility — with the freedom to be bad on fresh terms.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    What if Making Cartoons Becomes 90% Cheaper?

    “Fear not! For I shall lead ye to riches beyond your wildest dreams!”Inside a tiny recording booth in downtown Los Angeles, John Peck waited for a verdict from the voice-over engineer: Did the line sound pirate-y enough?Try again, the engineer suggested, perhaps with more throaty emphasis on “wildest.” It might make the animated character Mr. Peck was voicing — a buccaneer with a peg leg — a tiny bit funnier.Mr. Peck, 33, cleared his throat and gave it a whirl, prompting chuckles from the production team. A couple of clicks on a laptop later, and an artificial intelligence tool synced Mr. Peck’s voice with a cartoon pirate’s mouth movements. The character was destined for an episode of “StEvEn & Parker,” a YouTube series about rapscallion brothers that attracts 30 million unique viewers weekly.Just a few years ago, lip-syncing a minute of animation could take up to four hours. An animator would listen to an audio track and laboriously adjust character mouths frame by frame. But Mr. Peck’s one-minute scene took 15 minutes for the A.I. tool to sync, including time spent by an artist to refine a few spots by hand.Toonstar, the start-up behind “StEvEn & Parker,” uses A.I. throughout the production process — from honing story lines to generating imagery to dubbing dialogue for overseas audiences. “By leaning into the technology, we can make full episodes 80 percent faster and 90 percent cheaper than industry norms,” said John Attanasio, a Toonstar founder.“This is how you build the next generation of hot intellectual property,” Mr. Attanasio added excitedly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Los Angeles Mayor Seeks to Lure Filming Back by Cutting Red Tape

    With film and TV production in Los Angeles down by roughly one-third in recent years, Mayor Karen Bass took steps to make it easier to shoot at top locations.Mayor Karen Bass of Los Angeles said Tuesday that she was taking steps to make filming in the city easier as local, state and federal officials have grown concerned about the exodus of film and television production to other states and nations.The mayor issued an executive directive to streamline city processes, lower the costs of filming in the city and make it easier for productions to shoot at well-known city-owned locations like the Griffith Observatory. The mayor also reaffirmed her support for a massive funding increase for the state’s film tax credit program.“We are going to fight now,” Ms. Bass said at a news conference on Tuesday morning. “While we push for the tax credits to be passed in Sacramento, we need to do what we can today to impact building in Los Angeles.”Though the specific changes detailed in the directive are somewhat technical, the move by Ms. Bass represents a signal of her support for the film industry at a time it faces something of a existential crisis. Filming in the region is down roughly a third in recent years, lured away by massive subsidies in other states and other countries, which often offer cheaper labor. The exodus has left tens of thousands of middle-class union workers without jobs.At the news conference inside SAG-AFTRA’s headquarters, Ms. Bass — flanked by more than a dozen members of the film and television industry — also reiterated her support for a proposal by Gov. Gavin Newsom of California to dramatically increase the size of the state’s tax credit program for film and television to $750 million annually from $330 million.Lawmakers in Sacramento are expected to finalize the state budget next month. Mr. Newsom’s plan appears to have wide support, but exactly how much money lawmakers will ultimately allot to Hollywood at a time the state faces a $12 billion deficit is unclear.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    A 7-Song, 130-Minute Jam Band Primer

    Listen to noodling tracks by Dave Matthews Band, Grateful Dead, Goose and more.Dave MatthewsAmy Harris/Invision, via Associated PressDear listeners,It has become a joke among a few friends and colleagues that I am the newspaper’s jam band correspondent. I have written (and Popcasted!) about the Grateful Dead, Phish’s wizard-like lighting director and, last month, Goose. I do these stories because I like this music, and in some cases love it. Now, it is time for me to make my case. If you’ve ever found yourself even a little jam-band curious, then this one is for you.A jam band borrows the grammar the Grateful Dead set more than a half-century ago: concerts with ever-shifting set lists; songs with ample room for extensive improvisation; eclectic musical roots encompassing bluegrass, gospel, jazz and rock (Southern, prog, classic, indie); fans who treasure live recordings over studio albums; and an ethos that is laid-back and, though sometimes serious, rarely self-serious.Roll your eyes if you must. But jam bands aren’t going anywhere. Goose and the virtuosic guitarist Billy Strings are on the cusp of mainstream moments. Suddenly, somehow, the Dead became a little bit cool. Jam bands might be perfectly suited to our era, in which an artist’s best bet is developing intimate relationships with core groups of passionate fans who will pay for tickets, merch and subscriptions.What follows is a 101-level syllabus. Live tracks only, of course. If you get confused, listen to the music play.We play bebop in the band,MarcListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Spike Lee May Be in Cannes, but His Heart Is Courtside With the Knicks

    The director brought his latest collaboration with Denzel Washington, “Highest 2 Lowest,” to the festival, but he really wanted to talk basketball.Few things could pull Spike Lee away from a courtside seat for the New York Knicks, but the Cannes Film Festival trumps all.Lee is in France to support his new film, “Highest 2 Lowest,” which means he’ll miss the opening games of the Knicks’ playoff series. Still, he has left no doubt where his heart really lies. At the premiere on Monday, the director paid tribute to his beloved basketball team by wearing a suit in the Knicks’ signature blue and orange. He doubled down at the news conference on Tuesday, showing up in Knicks gear from head to toe.“Knicks in how many?” a journalist asked him.Lee didn’t hesitate: “We only need four.”The director said that even during the production of “Highest 2 Lowest,” which stars Denzel Washington as a wealthy New Yorker whose son is involved in a kidnapping, his filming schedule revolved around the Knicks.“When people know the Knicks are playing that day, they know they get to come home early,” he joked. “They’re calling home like, ‘Honey, I’ll be home for dinner tonight!’”To the chagrin of the baffled French news media, basketball came up again and again in the hourlong news conference. At one point, the director took a question from journalist Chaz Ebert, who introduced herself by noting that she hailed “from the home of the Chicago Bulls.”Lee perked up, ready to do battle. “Can I ask you a question?” he responded. “When’s the last time Michael Jordan played?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    On TikTok, ‘Propaganda’ Lists Go Viral

    TikTok users are building eye-catching lists of their dislikes and are labeling them as propaganda that they’re “not falling for.”Lip filler, people who aren’t cat people, the societal expectation for women to shave their legs, working a 9-to-5 job. On TikTok, users have recently begun lining up their dislikes and branding them with an eye-catching term: propaganda.In thousands of videos, many of which are set to a snippet of Charli XCX’s “I think about it all the time featuring bon iver,” users present a list of things they have deemed “propaganda I’m not falling for.” With the context of only a few words of text on a screen, the topics span across genres, with common examples including milk (both plant-based and from cows), Labubus, artificial intelligence, politics, run clubs and the male loneliness epidemic.Delaney Denton, 22, said when she first saw one of the videos she thought it was “kind of iconic” and was inspired to make her own, which now has nearly a million views.“I think it’s putting a spin on things that just feel a little off in our society but aren’t necessarily propaganda,” Ms. Denton said of the trend.

    @delaneydenton #fyp ♬ I think about it all the time featuring bon iver – Charli xcx & Bon Iver The concept isn’t exactly new. Social media aficionados will probably remember the “in” and “out” lists that were an inescapable start to 2024. And people are often looking for new ways to classify their opinions, as is the case with the recent rise of “coded” language online.

    @maya81802 I could make so many of these I have 10,000 opinions (they’re all right) #fyp #propoganda ♬ I think about it all the time featuring bon iver – Charli xcx & Bon Iver We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Lilo & Stitch’ Review: Creature Chaos

    The live-action remake of the hit 2002 Disney film is mostly serviceable and often adorable, even if the best parts of the original got left behind.An interesting facet of this age of Disney live-action remakes is how the style and tone of these updates to children’s classics, reimagined decades later, can personify exactly how the sensibilities of mass entertainment have shifted since. From the opening moments of “Lilo & Stitch,” which mostly mirrors the content of its 2002 animated predecessor, the difference is clear: more speed, more noise and more hand-holding for the audience.To be fair, that is all particularly enhanced by a movie whose entire engine (and marketing) is fueled by a critter that wreaks mayhem and destruction at every turn. Here, things move at warp speed, even as the movie constantly trips over itself trying to pluck at the next heart string. But there’s just enough to make for a moderately fun, mostly serviceable and often adorable revamp that will probably satisfy fans of the original.Save for a couple characters added and subtracted, along with an amped-up climax, this update, directed by Dean Fleischer Camp, is largely faithful to the original, tracking the bond between Lilo (Maia Kealoha), an orphaned girl being raised by her older sister, Nani (Sydney Agudong), and Stitch (a returning Chris Sanders, who was one of the directors of the 2002 film), an incorrigible alien lab experiment that crash-lands in the jungles of Hawaii.On the run from the United Galactic Federation, Stitch poses as a dog and goes home with Lilo and Nani, using them as human shields against Jumba (Zach Galifianakis) and Pleakley (Billy Magnussen), two aliens tasked with capturing Stitch. As Nani struggles to raise her sister on her own and tries to prevent child services from taking Lilo away, Stitch only adds to the chaos. But for Lilo, a desperately lonely girl still grieving the loss of her parents, Stitch quickly becomes “ohana,” i.e. family, i.e. “nobody gets left behind.”This early aughts romp didn’t seem like an obvious candidate for Disney’s ongoing live-action redo campaign, other than the opportunity it presented to let such a memorable (and moneymaking) creature loose in the real world; the studio giant’s other remakes have been partly justified by either recreating vast and fantastical universes (“The Little Mermaid,” “The Lion King”) or dusting off classic storybook properties for a new century (“Dumbo,” “Pinocchio”). In this case, the unique visual splendor of the original — rendering Hawaiian landscapes in a gorgeous and idiosyncratic watercolor animation — is replaced by the easy blandness of a Disney Channel movie.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More