Entertainment: Starting as a Succubus, Taking Hollywood by Storm Chapter 266 - 263: A Phenomenon, A Trend

The Los Angeles Tis article that graced the entertainnt section's headline lampooned almost all the major Hollywood studios—except yers Films.

Even Warner Bros., one of the film's investors, wasn't spared.

Ironically, the piece was actually commissioned by Warner Bros. itself. It was a calculated publicity strategy—after all, controversy generates buzz!

Following the premiere of The Lord of the Rings: The Fellowship of the Ring, the film received overwhelmingly positive acclaim—not only from audiences but also from critics.

"It's well-known how challenging it is to adapt a fantasy classic into a movie. The Fellowship of the Ring transcends and even subverts the genre—seamlessly blending clever plot construction, epic battle sequences, and thrilling adventures. Peter Jackson has masterfully woven these elents together. Add to this Martin yers' portrayal of Legolas, whose unique charm is simply srizing, and the result is a true cinematic epic."

— Roger Ebert, Chicago Sun-Tis

"The Fellowship of the Ring faithfully recreates Tolkien's Middle-earth. New Zealand's stunning landscapes, paired with magical CGI, bring this otherworldly realm to life. The Fellowship's nine mbers are a delightful surprise. With the exception of Martin, the cast comprises relatively unknown actors, yet each brings their character to life vividly. However, Legolas shines the brightest—Martin's portrayal captures the Elf Prince's allure perfectly. Whenever Legolas is on screen, it's impossible to focus on anyone else."

— Vincent Canby, The New York Tis

"The film's thematic depth surpasses that of similar works, even eclipsing the Star Wars series."

— New York Post

"The movie takes viewers on a fantastical journey, imrsing them in Tolkien's ticulously crafted Middle-earth. And Legolas is the dream within the dream—a beauty unmatched!"

— San Francisco Chronicle

"Words fail . Extraordinary visual effects, audacious artistic vision, and masterful production. This is the dream of a Hobbit and the joy of an Elf. And this is only the beginning—the first installnt of a series. I can't wait for more."

— Chicago Tribune

Of course, so of these critics were influenced by studio PR.

Yet, a movie that could inspire such effusive praise clearly resonated with them. If it had been a disaster, no amount of PR would have persuaded them to risk their credibility and betray the trust of their readers.

The combination of PR efforts and genuine quality earned the film widespread acclaim among critics, with many awarding it four stars or perfect scores.

Naturally, there were outliers.

For instance, The World News seed determined to pick a fight with Martin yers.

"While the film boasts breathtaking scenery and high-quality content, its narrative is rather pedestrian—especially the tedious battle sequences. As for Martin's Legolas, he's little more than a pretty face. His affected performance depicts an Elf Prince perpetually in a beauty contest. It's laughable!"

Such critiques, however, were few and far between.

The glowing reviews from critics and the enthusiastic word-of-mouth from audiences who attended the premiere generated imnse anticipation for the film.

Friday, the day after the premiere.

The Fellowship of the Ring opened in 3,554 theaters across North Arica.

Although Friday isn't a weekend, by evening, long lines had ford outside cinemas nationwide.

"Two tickets for The Lord of the Rings, please."

"Three tickets, thanks."

"What? Sold out until 8:30? What about the next showing?"

"Alright, I'll take the 9:30 screening."

Journalists were on-site to capture the excitent.

"Good evening, viewers. I'm Emily from NBC, reporting live from outside a Los Angeles cinema. As you can see, the ticket counter has a long line. Let's randomly interview so moviegoers."

"Hello, sir! What's your na?"

"Wim Wenders. Call Wim. Is this live?"

"Yes, it is. So, Wim, which movie are you here to see?"

"Is that even a question? The Lord of the Rings, of course. My friends who attended the premiere said the battle scenes were incredible!"

"Hello, miss! What's your na?"

"Jennifer Carstenbohl."

"Jennifer, are you here for The Lord of the Rings too?"

"Oh, absolutely. To be precise, I'm here for Legolas. I noticed him in the trailers—he's so handso! It's a pity he's not the protagonist. What was the director thinking?"

"And you three, are you here together?"

"Yes, we are."

"Why did you choose The Lord of the Rings?"

"This is actually my second viewing. I was at the premiere, but once wasn't enough, so I brought my friends this ti."

"If the movie isn't good, we're blaming you!" one friend shouted.

The interviewee laughed. "Ha! You won't get the chance. This movie will blow your mind!"

By the weekend, the phenonon of long lines for The Fellowship of the Ring screenings was ubiquitous—even at remote cinemas.

The film's reputation among audiences remained stellar despite the surge in viewers, with only a slight dip in satisfaction ratings.

According to surveys, aside from a small group of die-hard Lord of the Rings purists, most viewers were highly satisfied with the movie.

Another survey revealed that the film attracted not only Tolkien fans but also a large number of general moviegoers. Over 85% of the audience were non-book readers.

Peter Jackson's adaptation strategy clearly catered to broader audiences, showcasing the comrcial instincts of a skilled filmmaker.

A blockbuster built solely on fan loyalty is unlikely to achieve widespread success. Winning over general audiences is the key to a true cinematic juggernaut.

And Jackson succeeded.