andrew_gelman_stats andrew_gelman_stats-2010 andrew_gelman_stats-2010-489 knowledge-graph by maker-knowledge-mining
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Introduction: In an article headlined, “Hollywood moves away from middlebrow,” Brooks Barnes writes : As Hollywood plowed into 2010, there was plenty of clinging to the tried and true: humdrum remakes like “The Wolfman” and “The A-Team”; star vehicles like “Killers” with Ashton Kutcher and “The Tourist” with Angelina Jolie and Johnny Depp; and shoddy sequels like “Sex and the City 2.” All arrived at theaters with marketing thunder intended to fill multiplexes on opening weekend, no matter the quality of the film. . . . But the audience pushed back. One by one, these expensive yet middle-of-the-road pictures delivered disappointing results or flat-out flopped. Meanwhile, gambles on original concepts paid off. “Inception,” a complicated thriller about dream invaders, racked up more than $825 million in global ticket sales; “The Social Network” has so far delivered $192 million, a stellar result for a highbrow drama. . . . the message that the year sent about quality and originality is real enoug
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1 ” All arrived at theaters with marketing thunder intended to fill multiplexes on opening weekend, no matter the quality of the film. [sent-2, score-0.269]
2 One by one, these expensive yet middle-of-the-road pictures delivered disappointing results or flat-out flopped. [sent-7, score-0.221]
3 “Inception,” a complicated thriller about dream invaders, racked up more than $825 million in global ticket sales; “The Social Network” has so far delivered $192 million, a stellar result for a highbrow drama. [sent-9, score-0.57]
4 the message that the year sent about quality and originality is real enough that studios are tweaking their operating strategies. [sent-13, score-0.2]
5 To reboot its “Spider-Man” franchise, for instance, Sony hired Marc Webb, whose only previous film was the indie comedy “(500) Days of Summer. [sent-17, score-0.533]
6 ” The studio has also entrusted a big-screen remake of “21 Jump Street” to Phil Lord and Chris Miller, a pair whose only previous film was the animated “Cloudy With a Chance of Meatballs. [sent-18, score-0.722]
7 Guillermo del Toro, the “Pan’s Labyrinth” auteur, is developing a new movie around Disneyland’s Haunted Mansion ride. [sent-22, score-0.087]
8 “In years past,” said Sean Bailey, Disney’s president for production, “most live-action films seemed like they had to be either one thing or the other: commercial or quality. [sent-26, score-0.072]
9 The industry had little expectation of a film being both. [sent-27, score-0.211]
10 Of course, Lynes and Macdonald would’ve identified the New York Times as Middlebrow Central and so wouldn’t have been surprised at all to see uber-middlebrow items labeled as highbrow. [sent-33, score-0.106]
11 That’s the whole essence of middlebrow: to want the “qualiity” label without putting in the work. [sent-34, score-0.067]
12 I agree with (the ghosts of) Lynes and Macdonald that these middlebrow movies are just fine if that’s what people want. [sent-38, score-0.412]
13 It’s just funny to see them labeled as “highbrow,” in what almost seems like a parody of middlebrow aspiration. [sent-39, score-0.592]
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Introduction: In an article headlined, “Hollywood moves away from middlebrow,” Brooks Barnes writes : As Hollywood plowed into 2010, there was plenty of clinging to the tried and true: humdrum remakes like “The Wolfman” and “The A-Team”; star vehicles like “Killers” with Ashton Kutcher and “The Tourist” with Angelina Jolie and Johnny Depp; and shoddy sequels like “Sex and the City 2.” All arrived at theaters with marketing thunder intended to fill multiplexes on opening weekend, no matter the quality of the film. . . . But the audience pushed back. One by one, these expensive yet middle-of-the-road pictures delivered disappointing results or flat-out flopped. Meanwhile, gambles on original concepts paid off. “Inception,” a complicated thriller about dream invaders, racked up more than $825 million in global ticket sales; “The Social Network” has so far delivered $192 million, a stellar result for a highbrow drama. . . . the message that the year sent about quality and originality is real enoug
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Introduction: Dave Berri posted the following at the Freakonomics blog: The “best” picture of 2012 was Argo. At least that’s the film that won the Oscar for best picture. According to the Oscars, the decision to give this award to Argo was made by the nearly 6,000 voting members of the Academy of Motion Picture Arts and Sciences. . . . In other words, this choice is made by the “experts.” There is, though, another group that we could have listened to on Sunday night. That group would be the people who actually spend money to go to the movies. . . . According to that group, Marvel’s the Avengers was the “best” picture in 2012. With domestic revenues in excess of $600 million, this filmed earned nearly $200 million more than any other picture. And when we look at world-wide revenues, this film brought in more than $1.5 billion. . . . Despite what seems like a clear endorsement by the customers of this industry, the Avengers was ignored by the Oscars. Perhaps this is just because I am an econo
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Introduction: Tyler Cowen links approvingly to this review by B. R. Myers of a book that I haven’t read. Unlike Cowen, I haven’t seen the book in question–so far, I’ve only read the excerpt that appeared in the New Yorker–but I can say that I found Myers’s review very annoying. Myers writes: The same narrator who gives us “sucked” and “very into” also deploys compound adjectives, bursts of journalese, and long if syntactically crude sentences. An idiosyncratic mix? Far from it. We find the same insecure style on The Daily Show and in the blogosphere; we overhear it on the subway. It is the style of all who think highly enough of their own brains to worry about being thought “elitist,” not one of the gang. . . . But if Freedom is middlebrow, it is so in the sacrosanct Don DeLillo tradition, which our critical establishment considers central to literature today. . . . Are we to chuckle at the adult woman for writing this in seriousness, or is she mocking her younger self, the teenage ra
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Introduction: In an article headlined, “Hollywood moves away from middlebrow,” Brooks Barnes writes : As Hollywood plowed into 2010, there was plenty of clinging to the tried and true: humdrum remakes like “The Wolfman” and “The A-Team”; star vehicles like “Killers” with Ashton Kutcher and “The Tourist” with Angelina Jolie and Johnny Depp; and shoddy sequels like “Sex and the City 2.” All arrived at theaters with marketing thunder intended to fill multiplexes on opening weekend, no matter the quality of the film. . . . But the audience pushed back. One by one, these expensive yet middle-of-the-road pictures delivered disappointing results or flat-out flopped. Meanwhile, gambles on original concepts paid off. “Inception,” a complicated thriller about dream invaders, racked up more than $825 million in global ticket sales; “The Social Network” has so far delivered $192 million, a stellar result for a highbrow drama. . . . the message that the year sent about quality and originality is real enoug
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Introduction: Your taxes pay for the research funding that supports the work we do here, some of which appears on this blog and almost all of which is public, free, and open-source. So, to all of the taxpayers out there in the audience: thank you.
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