[Chapter 560: The Tiless Classic Chicago]
While Run Lola Run was blazing through theaters, Amazon was also experiencing a rollercoaster of pain and joy, as it saw explosive growth in internet traffic.
After Amazon and Universal Records jointly announced ticket sales for Linton's concert via their online platform, Amazon gained over 12 million new registered users in just half a month, pushing total users close to 15 million -- a more than fourfold increase. To handle this surge and ensure a smooth shopping experience, Amazon urgently expanded its servers and hired new custor service and technical support teams. This rapid expansion consud all the funds from their Series A financing and pushed them into launching Series B fundraising.
Thanks to the leap in users, the Series B round ballooned to $40 million, valuing the company at $200 million.
On December 6 at 8 p.m. Los Angeles ti -- the exact mont tickets for Linton's concert went on sale -- Amazon's platform had already listed 15,000 tickets in multiple price tiers. A countdown clock was pinned on the hopage twelve hours before sales began. As soon as the tir hit zero, tens of millions of Aricans flooded Amazon's site to grab tickets.
The astonishing happened: in under a minute -- just 53 seconds -- the entire batch of 15,000 tickets sold out, setting a new record. This feat stunned the nation and drew Wall Street's attention. Financial capitalists lined up with checks to invest in Bezos.
The Series B funding proposal quickly ballooned, though Amazon still offered 20% equity. The deal rose to $60 million, pushing the company's valuation to $300 million. Bezos, besides eyeing further expansion in North Arica, ambitiously planned to enter European and Japanese markets as well.
While Amazon stord ahead, dozens of startup plans for online shopping sprouted up in Silicon Valley, all rushing into the burgeoning e-comrce market.
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By December, another significant project featuring Linton's harem mbers Madonna and Catherine Zeta-Jones was moving into full promotional gear: the heavyweight film Chicago.
Chicago had been a definitive Broadway classic musical since the late '70s and '80s, boasting a wide fan base across the U.S. It was still regularly perford on Broadway today.
Post-WWI Arica, with its booming economy, was also a ti of decadent excess, famously dubbed the Jazz Age. Wealthy elites spent lavishly, indulging in debauchery, as cri, deceit, and scandal perated society, turning entertainnt into an escape from reality. In such wild and reckless days, bizarre stories were hardly surprising.
The Chicago musical was adapted from a real story from the 1920s. In 1975, the legendary choreographer Bob Fosse brought it to the stage. The plot followed two nightclub dancers, Roxie Hart and Velma Kelly, who found themselves behind bars. With the help of their slick lawyer Billy Flynn, they escaped the death penalty and beca notorious celebrities of their ti. The story's twists, the sultry, icy style, and seductive dance numbers held audiences spellbound.
When Chicago premiered on Broadway in '75, it was an imdiate hit, becoming a staple throughout the golden era of musicals. Since then, Chicago had earned more than 50 major awards, including six Tonys, two Olivier Awards, a Grammy, and two British Academy Film Awards.
Linton distinctly rembered that in his previous life, the film adaptation had been a massive success -- not only a box office smash but also a multiple Oscar winner.
Since acquiring the rights early on, Linton saw not only comrcial potential but also an opportunity to win awards for the won in his harem.
...
Madonna had played a significant role in his early rise. After eting him in '91, she abandoned her previously wild lifestyle and dedicated herself to him. She was the first of his harem to bear his child. Unlike the others, Madonna's own career was booming -- she was at the height of her fa and never relied on his resources.
There was an odd paradox in the Arican entertainnt industry: top singers earned far more than top Hollywood stars, yet their status just didn't match that of actors with equivalent fa. Advertisers naturally valued movie stars more -- except for Madonna, a unique exception.
She was arguably the most comrcially valuable star the entertainnt world had ever seen, bar none.
Yet ironically, she never managed to make a truly acclaid Hollywood film, which beca a common source of ridicule among her peers, though that criticism only revealed their jealousy.
Consequently, many top-tier singers had launched repeated attempts to conquer Hollywood, often investing money into their acting careers themselves. The four great divas -- Madonna, Janet Jackson, Whitney Houston, and Mariah Carey -- all relentlessly pursued Hollywood stardom after dominating the music charts.
Last year, newcor Shania Twain ascended as a new queen of pop and expressed her desire to break into Hollywood to Linton. As a mber of his harem, her entry into acting was relatively easy, requiring no personal financial investnt or worries over costly training.
This year, Julia Roberts' film My Best Friend's Wedding found investnt from Linton's film company. The substantial role of the second female lead went to Shania. Although not the top star, starting out alongside Julia Roberts was an incredible opportunity.
Julia's insistence on Linton's company backing the film was a tactic to get closer to him. During filming, Julia and Shania took turns inviting Linton to visit the set, and he happily joined them twice for all-night sessions playing three-player gas.
Before eting Linton, Madonna had tried repeatedly to crack the Hollywood scene but never made a splash, leading her to shelve those ambitions. However, Linton knew deep down she was fiercely proud and still craved a defining Hollywood role. Chicago was his gift to Madonna, and the lead female role fit her perfectly.
The film offered more than a standout lead -- it also featured a spectacular second female lead. Catherine Zeta-Jones had earned an Oscar for Best Supporting Actress for this very role in the previous version.
To ensure the film's success, Linton hired Anne Fletcher, a perfect fit for directing a musical, and cast Pierce Brosnan as the male lead. After editing the film, Linton even made suggestions to improve it, ensuring it surpassed the original.
...
Of course, in Hollywood, a great film doesn't guarantee box office success or awards. You need the right marketing and campaign strategies, especially during award season.
Musicals were considered outdated and often mocked in Hollywood. Even Linton's breakthrough dance film Step Up had succeeded only by reinventing the genre with its fast-paced, youthful vibe.
But the success was short-lived. After Step Up 2 scored big the following year, the market flooded with similar youth dance films, saturating and tiring audiences. As a result, Step Up 3's production was on indefinite hold.
Given this backdrop, a traditional marketing campaign for Chicago likely wouldn't yield good box office results.
Back in April, as the film was announced, Linton worked with Harvey from distribution to devise an innovative release plan.
First, the distribution team re-engaged the Broadway cast to restage the classic Chicago musical for the year-end performance season, creating a dual promotional synergy between stage and screen. To support this, the company sponsored the Broadway troupe with $500,000.
Second, prior to the film's release, there would be no traditional screenings for theater representatives or red-carpet premieres. Instead, exclusive audience previews, press screenings, and critic viewings would be held in Los Angeles and New York. dia and critics were offered generous six-figure incentives to ensure positive coverage.
Worries about critics' historic friction with Linton? Not with that kind of cash -- greenbacks smoothed all bitterness.
Third, the film was slated for release during awards season with a conventional Oscar campaign strategy. It would debut in about 100 theaters across major cities -- New York, LA, Chicago, and San Francisco. This limited release targeted nostalgic viewers to build word-of-mouth buzz, amplified by dia and critics' praise.
Once buzz reached a fever pitch and the audience was sufficiently hungry for more, the release would expand gradually but would never surpass 500 theaters, preserving exclusivity and positive montum.
Alongside theatrical rollout, a targeted awards season PR campaign aid to secure major wins at the Golden Globes and key Oscar nominations.
Once nominations were announced, the release would expand fully, leveraging awards clout to maximize the box office.
Chicago's limited release was set for December 13 in 100 theaters.
...
As December arrived, promotional efforts intensified. Preview events for audiences, dia, and critics proceeded thodically. Unsurprisingly, early viewers responded enthusiastically, and their glowing reviews spread rapidly.
Under careful distribution lobbying, the dia and critics launched a praise campaign. Even the Broadway cast chid in with positive remarks.
"The Chicago film is a dazzling evolution of the musical genre," wrote The New York Tis. "The seamless fusion and interaction between musical and real scenes far surpass the clunky interruptions typical of traditional musicals. The film masterfully harnesses the heightened drama and theatricality of musicals to satirize societal decadence, hypocrisy, and chaos."
The Los Angeles Tis raved, "An unprecedented musical film experience that keeps you so captivated, you forget about everything else. Madonna, Catherine Zeta-Jones, and Pierce Brosnan deliver stunning performances, with sexy, alluring dance numbers that are utterly irresistible."
Roger Ebert of the Chicago Sun-Tis observed, "On its surface, the film's tone seems complintary, but it ruthlessly exposes the restless spirit of the 1920s Chicago, which remains remarkably relevant today. The classic lyric 'Murder is an art' sums it up -- no less true is 'Shalessness is an art form.'"
...
anwhile, on internet forums, young viewers who attended screenings began sharing their impressions online. Of course, Bella led a well-organized online fan army, and Chicago's buzz spread rapidly through the web.
"Madonna and Catherine are stunning, Pierce is so handso, their acting blew away. Totally Oscar-worthy."
"The pacing was tight, no dull monts. Definitely worth seeing in theaters. If you don't watch it, you'll regret it forever."
"This is unlike any traditional musical -- Chicago gave a blockbuster thrill I never expected from a musical."
"Even outside the musical genre, it's a fantastic film. The cara work is amazing; the puppet show scene is next-level satire, sharply criticizing reality."
...
On Broadway, the fad stretch along 42nd Street from Battery Park through Manhattan was lined with countless theaters -- the heart of Arican theater and musicals -- making Broadway synonymous with the art form itself.
At night, Broadway's lights sparkled brightly even if its golden age had faded, still drawing large crowds.
Especially this year's holiday season, the newly restaged Chicago musical, painstakingly reworked for over half a year, drew nostalgic theatergoers back to the stage.
Near the iconic Tis Square, dozens of theaters ford the comrcial hub of Arican theater entertainnt. The massive billboard at its center, traditionally devoted to hit musicals, now proudly showcased Chicago's na in bold, dazzling colors and magnificent design.
With Chicago the film's ads hanging outside the Chicago musical theater, it was impossible for passersby to resist glancing.
The three lead actors dominated the billboard: Pierce Brosnan stood center stage in a sharp vintage suit, flanked by Madonna and Catherine in contrasting black and white, short, sultry dance costus. The visual polish completely outshone all the stage perforrs.
Though neither the film nor the musical judged by looks alone, no one could deny that a stunning pairing of charismatic beauty and charm captured greater attention.
And don't dismiss nostalgic audiences as indifferent to this -- the marketing team conducted extensive targeted research. In fact, the Broadway musical version was even more risque than the film, full of provocative scenes. The actresses' dance skirts were as short as possible, with just the barest amount covering their tops.
Artistically, this was highbrow theater; but everyone knew the real motive was to titillate.
This billboard wasn't unique -- similar ones appeared on Broadway, London's West End, and every major staging of the musical. The film's marketing cleverly borrowed the musical's popularity, a bold attempt at a cross-promotion between stage and screen.
*****
spatreon/Sayonara816.
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