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    How Japanese Superfans Redefined What It Means to Be Obsessed

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    Otaku, people for whom hero worship is a way of life, have changed everyone’s relationship to the culture.ON ANY GIVEN night, the neon-lit streets of Akihabara, an entertainment district in central Tokyo, are packed with visitors. Inside windowless shopping malls, they flock to stalls selling used Hello Kitty or Astro Boy figurines, Pokémon trading cards and vintage video game consoles. At the idol bars and theaters — venues dedicated to musical acts like AKB48, which was named after the area — they wave glow sticks in colors that correspond to their favorite performers. And at the maid cafes, they pay to take pictures with young waitresses in petticoats and pinafores, many of whom hope to become stars themselves one day. Since the Japanese anime boom of the past few decades, Akihabara has been a refuge for the otaku — someone who would “go beyond the lengths of any normal person to pursue their interests,” according to the 2004 documentary film “Otaku Unite!” Kaede, 29, a member of F5ve, a girl group based on the 1990s manga series “Sailor Moon,” calls the neighborhood their “holy land.” More

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      in Television

      The Darker Side of Japan’s Love of Cuteness

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      From Hello Kitty to Pikachu, the country changed what the world considers adorable. But do these characters represent joy — or rage?To accompany this essay, three Japanese artists created (and named) seven mascots exclusively for T, all inspired by or representing The New York Times in some way.HELLO KITTY STANDS on the balcony like Eva Perón, framed by two great stone pillars and a blue-green dome. At least theoretically she is standing: Save for the round, claw-free paws on the balustrade, she is all giant head, white as a lit-up lamp with sun ray whiskers and the slash of a red ribbon at her left ear, mouthless, her eyes wholly pupils. This little girl — she is not a cat, although not not a cat either (more on this in a bit) — presides over an exhibition at the Hyokeikan, part of the Tokyo National Museum complex in the city’s Ueno Park, celebrating her 50 years of existence and global domination. More

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      in Television

      How an Anime Master Perfects the Cool Guy Action Hero

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      When it comes to creators who have defined contemporary anime, Shinichiro Watanabe is no less than a television auteur. His anime series, which include the renowned “Cowboy Bebop” and “Samurai Champloo,” are known for thrilling fight scenes, propulsive musical scores and fun, unpredictable characters.Watanabe’s signature is his magnetic Joe Cool protagonist. He’s a cowboy, bounty hunter, itinerant with some moral gray areas, but he’s ultimately a good guy who’s loyal to his crew. While loafing around at a bar he may give the vibe of an impassive layabout. But during a mission he is a suave, athletic fighter with a hybrid style of tussling that draws from various martial arts forms and alludes to several of the great movers and fighters from history.“Lazarus” is Watanabe’s latest series, about a scientist whose miracle drug may wipe out humanity and the ragtag team of miscreants who must track him down. Recruited to that team is Axel Gilberto, a fresh yet familiar take on Watanabe’s typical hero. Here’s how the latest version of Watanabe’s always athletic, always stylish leading man fits into his history.‘Cowboy Bebop’ (1998)The OriginalSpike Spiegel, the cool guy prototype, is known for his laidback style.Watanabe’s original cool-guy hero is Spike Spiegel, the centerpiece of his popular space Western “Cowboy Bebop.” Spike’s attitude and style are a mix between two well-worn cinematic tropes: the unflappable Old West gunslinger and the cynical down-on-his-luck film noir detective. His body language conveys a sense of nonchalance, even indifference. When he’s relaxed, his gangly frame is often reclined, and when he’s up and about he saunters around, hands in pockets, arms akimbo, with a smooth, uninterrupted gait.His fight style reflects this same fluidity; Spike is a master at evasive movement, great at narrowly dodging hits. Though he excels at both close range fighting and taking shots at a distance, his legs and footwork are really the stars of his combat style: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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      in Movies

      At 30, ‘A Goofy Movie’ Has Made a Serious Impact

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      The 30-year-old animated Disney film has fans across generations. Now, a documentary looks back at its legacy.“If we listen to each other’s heart / We’ll find we’re never too far apart,” sang the fictional pop star Powerline (voiced by Tevin Campbell) during a 2017 screening of “A Goofy Movie” at El Capitan Theater in Hollywood.The ecstatic reaction from those in attendance confirmed to Kevin Lima that the first movie he ever directed, originally released on April 7, 1995, had indeed amassed an adoring fandom.“I sat amongst an audience who was singing along, repeating back dialogue with the characters onscreen, dancing in their seats,” Lima recalled during a recent video interview from his home in Mill Valley, Calif.“A Goofy Movie” observes the often hilarious, and at times thorny relationship between Goofy (voiced by Bill Farmer), the lanky anthropomorphic dog from Disney’s classic cartoons, and his teenage son, Max (Jason Marsden), as they go on a road trip that will bring them closer.A scene from “A Goofy Movie,” which follows a father-son road trip.Buena Vista PicturesUnlike most Disney films made during that time, this heartfelt father-son adventure was a contemporary story entrenched in the 1990s via its upbeat pop music and the characters’ wardrobes. Lima described it as “an animated film that feels like a John Hughes 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

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      in Theater

      ‘Boop!’ Arrives on Broadway, With a Surprising 100-Year Back Story

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      Betty Boop has arrived on Broadway, nearly a century after she first boop-oop-a-dooped her way onto the big screen. “Boop! The Musical,” like the “Barbie” and “Elf” films that preceded it, imagines a transformational encounter between an anthropomorphic character and the real world (well, a fictional world full of people).Betty’s journey to the stage has been an unusual one. The original character didn’t have much of a back story, which has made her an appealing blank slate for storytellers. But her image — and Betty, at her core, is a remarkably long-lived illustration — has managed to straddle media and merchandise, surviving court battles and changing mores.“Her popularity goes on and on,” said Peter Benjaminson, author of “The Life and Times of Betty Boop.” “The musical is the latest in a series of incarnations.”Film DebutThe 1930 animated short “Dizzy Dishes.”Fleischer Studios, Inc.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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      in Movies

      Clive Revill, Original Voice of Emperor Palpatine in ‘Star Wars,’ Dies at 94

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      His voice can be heard for only a minute in “The Empire Strikes Back,” but it provided the first draft of a character that would be a mainstay of the franchise for decades.It was a minute that changed the course of the “Star Wars” franchise. In “The Empire Strikes Back,” the now-celebrated 1980 sequel, audiences were treated to the first on-camera sighting of Emperor Palpatine.After receiving only a glancing mention in the first movie, he could have looked and sounded like anything. A human. A Wookiee. A droid. A turtle. There was, instead, a disfigured, robed face — portrayed by the actress Marjorie Eaton — that terrified fans and etched the character into “Star Wars” lore.But Palpatine’s voice — cool, crisp and commanding — belonged to Clive Revill, who in about 60 seconds set the stage for one of the most feared and infamous characters in science fiction. Mr. Revill died on March 11 in Sherman Oaks, Calif., his daughter, Kate Revill, said on Thursday. The cause, she said, was complications of dementia. He was 94.Palpatine’s appearance, however brief, is pivotal. In the conversation with Darth Vader it is established that Vader, already an iconic villain, has a boss — one whom Vader himself fears. Additionally, Palpatine recognizes Luke Skywalker as a true threat.In just a few lines, Mr. Revill established Palpatine as a cold, dominant figure.When the original trilogy was rereleased in 2004, his voice was replaced by that of Ian McDiarmid, who played Palpatine in subsequent “Star Wars” films, starting with “Return of the Jedi” (1983). But in various iterations of Palpatine since the original — including the franchise films, the video game “Fortnite” and even Lego re-enactments — the character’s voice is built on Mr. Revill’s work.“Those voices are all influenced by this first example,” said Greg Iwinski, a writer on the animated “Star Wars” series “Young Jedi Adventures.” “That was 45 years ago. That’s the importance of that legacy. He was the first guy to do it.”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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      in Movies

      ChatGPT’s Studio Ghibli Style Animations Are Almost Too Good

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      An update to ChatGPT made it easy to simulate Hayao Miyazaki’s style of animation, which has flooded social media with memes.Animated movies, like those from the famed Japanese filmmaker Hayao Miyazaki, are not made in a hurry. The intricate hand drawings and attention paid to every single detail can make for a slow, potentially yearslong process.Or, you could simply ask ChatGPT to turn any old photo into a facsimile of Mr. Miyazaki’s work in just a few seconds.Many people did precisely that this week after OpenAI released an update to ChatGPT on Tuesday that improved its image-generation technology. Now, a user who asks the platform to render an image in the style of Studio Ghibli could be shown a picture that would not look out of place in the films “My Neighbor Totoro” or “Spirited Away.”On social media, users quickly began posting Ghibli-style images. They ranged from selfies and family photos to memes. Some used ChatGPT’s new feature to create renderings of violent or dark images, like the World Trade Center towers falling on Sept. 11 and the murder of George Floyd.Sam Altman, OpenAI’s chief executive, changed his profile picture on X to a Ghiblified image of himself and posted a joke about the filter’s sudden popularity and how it had overtaken his previous, seemingly more important work.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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      in Movies

      Inside the Controversy Surrounding Disney’s ‘Snow White’ Remake

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      Disney knew that remaking “Snow White and the Seven Dwarfs” as a live-action musical would be treacherous.But the studio was feeling cocky.It was 2019, and Disney was minting money at the box office by “reimagining” animated classics like “Aladdin,” “Beauty and the Beast” and “The Jungle Book” as movies with real actors. The remakes also made bedrock characters like Cinderella newly relevant. Heroines defined by ideas from another era — be pretty, and things might work out! — were empowered. Casting emphasized diversity.Why not tackle Snow White?Over the decades, Disney had tried to modernize her story — to make her more than a damsel in distress, one prized as “the fairest of them all” because of her “white as snow” skin. Twice, starting in the early 2000s, screenwriters had been unable to crack it, at least not to the satisfaction of an image-conscious Disney.“Snow White and the Seven Dwarfs,” which premiered in 1937, posed other remake challenges, including how to sensitively handle Happy, Sneezy, Sleepy, Dopey, Bashful, Grumpy and Doc. (One stalled Disney reboot had reimagined the dwarfs as kung fu fighters in China.)Still, Disney executives were determined to figure it out. They had some new ideas. More important, the remake gravy train needed to keep running.“It’s going to be amazing, another big win,” Bob Chapek, then Disney’s chief executive, said of a live-action “Snow White and the Seven Dwarfs” at a 2022 fan convention.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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      in Movies

      In Wes Anderson’s World, It’s All About the Details

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      When Wes Anderson was just starting out and wanted to reshoot some scenes for his 1996 debut “Bottle Rocket,” the rookie director got a shock. Columbia Pictures had sent all the movie’s props off to a store, which had then sold them for next to nothing.So when he made his next movie, “Rushmore” (1998), Anderson decided the same thing would never happen again. He put everything into an S.U.V. when the shoot was over, then drove the hoard away to look after it himself.That decision ended up helping not just Anderson himself. Over the past two-and-a-half years, curators at the Cinémathèque Française in Paris and the Design Museum in London trawled Anderson’s storage facility in Kent, England — which contains thousands of items from his movies — to compile a museum retrospective of the director’s work.The show opened at the Cinémathèque Française this week, where it runs though July 27. It will transfer, expanded, to the Design Museum in the fall.Max Fischer’s Academy uniform from “Rushmore.”The fur coat worn by Margot Tenenbaum in “The Royal Tenenbaums.”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