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Charting the course of pop music through its number one hits

Stereogum columnist Tom Breihan discusses his book "The Number Ones: Twenty Chart-Topping Hits That Reveal the History of Pop Music."

Tom-breihan , Russ-mcnamara , Motown , Number-ones , Twenty-chart-topping-hits-that-reveal , Pop-music , Number-one , Popcorn-champs , All-things-considered , Npr-detroit , Ublic-radio , Adio-news

The Force Awakens ushered Hollywood into an echo chamber

The Force Awakens ushered Hollywood into an echo chamber
avclub.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from avclub.com Daily Mail and Mail on Sunday newspapers.

Hollywood , California , United-states , United-kingdom , South-korea , Han , America , British , Kylo-ren , Katniss-everdeen , Peter-mayhew , Lawrence-kasdan

American Sniper fought a culture war on the box office battlefield

American Sniper fought a culture war on the box office battlefield
avclub.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from avclub.com Daily Mail and Mail on Sunday newspapers.

Jersey , Hollywood , California , United-states , Tennessee , Iraq , Iraqis , America , Iraqi , American , Clint-eastwood , Frankie-valli

The Hunger Games: Catching Fire is the bleakest of blockbusters

Catching Fire taught the Harry Potter generation to distrust adults

Vietnam , Republic-of , Hollywood , California , United-states , Japan , South-korea , Han , Japanese , America , American , Clint-eastwood

Even the Dark Knight was no match for The Avengers

Four years after losing hard to The Dark Knight at the box office, Iron Man joined The Avengers and evened the score.

Hollywood , California , United-states , America , American , Sherlock-holmes , Daniel-craig , Mark-ruffalo , Zack-snyder , Scarlett-johansson , Christopher-nolan , Robert-downey-jr

The final Harry Potter closed a decade of wizarding hits

looks back at the highest grossing movie in America from every year since 1960. In tracing the evolution of blockbuster cinema, maybe we can answer a question Hollywood has been asking itself for more than a century: What do people want to see?
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The
Harry Potter series was too big to fail, and yet it could’ve failed so easily, again and again. In
Harry Potter, Warner Bros. had a diamond mine: a series of books that had become a massively lucrative global phenomenon, with a built-in and devoted young audience, plus some blockbuster-ready good-and-evil spectacle. It also had a cast full of children, a gigantic budget, a very active author with veto power, and a fanbase that would’ve been happy to riot at all but the most minute changes. The series lasted a decade. Its trio of young stars stayed with the franchise the whole time, handled the brain-crushing media attention with grace, and managed not to become cautionary tales. None of this was inevitable.

Hollywood , California , United-states , United-kingdom , America , British , Burj-khalifa , Jerry-bruckheimer , Johnny-depp , Percy-jackson , Eduardo-serra , Kenneth-branagh

Toy Story 3 wrecked all our hearts—and made a fortune doing it

looks back at the highest grossing movie in America from every year since 1960. In tracing the evolution of blockbuster cinema, maybe we can answer a question Hollywood has been asking itself for more than a century: What do people want to see?
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I must’ve known that all the toys weren’t about to die. I had to know. This was a G-rated kids’ movie, the third entry in a beloved franchise. Movies like that generally don’t end with their heroes being reduced to puddles of toxic-smelling goo. And yet
Toy Story 3 got me. Sitting in the theater, holding a toddler who didn’t yet understand anything except that the big baby was scary, I was completely caught up in the idea that Woody and Buzz and all the others were about to meet their ultimate destinations in a nightmarish molten garbage pit. My rational mind no longer functioned. I was all emotion.

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Superhero cinema reached its mature stage with The Dark Knight

looks back at the highest grossing movie in America from every year since 1960. In tracing the evolution of blockbuster cinema, maybe we can answer a question Hollywood has been asking itself for more than a century: What do people want to see?
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Film culture, especially popular film culture, moves in fits and starts. There’s a lot of money on the line, and the people in charge are responsible for making sure that money stays secure. If something works, Hollywood studios figure that it’ll work again. Audiences get used to seeing the things they like, and they’ll go see the fourth movie in a series even if they thought the third one was only okay. This column has covered a lot of boring, uninspired, formulaic drivel. But every once in a while, the energy changes, and the world feels it, like a sudden drop in barometric pressure. A couple of fresh new things capture the public imagination, and the world rearranges itself around those things.

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Even going dark at the end couldn't save Revenge Of The Sith

looks back at the highest grossing movie in America from every year since 1960. In tracing the evolution of blockbuster cinema, maybe we can answer a question Hollywood has been asking itself for more than a century: What do people want to see?
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In the fall of 2012, the Walt Disney Company dropped a four-billion-dollar bag of money on George Lucas’ desk and took ownership of Lucasfilm Ltd., the company that he’d spent decades building. Disney wasn’t paying all that money for Lucas productions like
Howard The Duck or
Tucker: The Man And His Dream or even
Strange Magic. Instead, the Mouse House flexed its world-domination powers to take full control of the

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