He/Him
Is the Chromatica Tour Film under a SAG contract though?
Lady Gaga
- Thread starter cherryboomboom
- Start date
he/him
Her resident psychic + orchestra singer at Gatsby’s house parties double-duty storyline eatery!
he/him
Feel like the theory that Gaga isn’t acknowledging it because of this to be kind of weak. Wouldn’t it fall under a documentary? And regardless of Bey and Taylor’s status as actors, they are still members of SAG and would need to respect the picket lines unless they want to be branded a scab. As far as I’m aware, Taylor asked to see if filming her concert film was okay under strike guidelines and was given the okay, and seemingly Beyoncé got the same go-ahead, with both concerts being released mere months after being filmed:
https://www.billboard.com/music/music-news/taylor-swift-eras-tour-movie-hollywood-strike-1235404250/
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I'm just basing it on this quote from Billboard:
https://www.billboard.com/music/mus...rs-actors-strike-music-impact-1235400448/amp/
According to this, she'd have to cut Shallow, Always Remember Us This Way, and Hold My Hand from the film..unless I'm misinterpreting it though.
he/him
I wouldn’t mind her cutting these dd. They can be a DVD exclusive.
Now sis..we're daydreaming about a normal streaming release, let's not even think about a DVD exclusive dd.
he/him
Either way! The film can do without them.
I would love to agree with you but this segment is really one of my favorite parts of the show. I guess if that's what it takes to finally have her release a tour film, then please do it Gags!
As a fan of over 15 years now, I’ve come to learn that expecting nothing and appreciating what you do get is the best route with Stefani. It leads to no disappointment. Just keep the bar low when it comes to expecting to receive promised/new content.
What we do get is usually of good-great. Beggars can’t be choosers!
What we do get is usually of good-great. Beggars can’t be choosers!
he/him
I think she basically said this is why we didn't get the Joanne film, so yeah, it tracks when it comes to her. Guess we'll see or not see what happens, but it's embarrassing to have 4 artists (Lizzo, The Weeknd, Taylor Swift, Beyoncé) who were on tour at the same time as you or after you getting concert films and live albums out within just a few couple months of being recorded when yours has been sitting around in an editing suite for over a year.
he/him
Also just to resurrect the WeirdGa discussion, I would agree she hasn’t genuinely aimed for “weird” in quite a while, but that’s one of the things she’s got spot on for me. Diminishing returns are a real thing, and I can say I’ve been way more interested in her more refined approach to what “Lady Gaga” is moving closer to her third decade, such as the Chromatica Ball. It had the DNA of everything that first attracted me to her (the combination of art, fashion, music etc.) but felt progressive enough.
The whole “fame is prison” theme is a whole other discussion topic, but in terms of her persona, where she takes it next has infinite potential - a lot more than retreading what she’s done before (even if she might think that’s what her fans want). What’s gone is gone and it won’t be back, but evolution is important.
I think she’ll get herself back on track when it’s right for her, and there have been encouraging glimpses of it coming. It doesn’t even feel a massive reach either - I honestly think all it would take is one critically/commercially successful record to kickstart her interest back into music, which isn’t meant to be derogatory at all, but her priorities have clearly shifted to craving industry acclaim and forging a legacy. The makeup maven era? Like all things, this too shall pass.
The whole “fame is prison” theme is a whole other discussion topic, but in terms of her persona, where she takes it next has infinite potential - a lot more than retreading what she’s done before (even if she might think that’s what her fans want). What’s gone is gone and it won’t be back, but evolution is important.
I think she’ll get herself back on track when it’s right for her, and there have been encouraging glimpses of it coming. It doesn’t even feel a massive reach either - I honestly think all it would take is one critically/commercially successful record to kickstart her interest back into music, which isn’t meant to be derogatory at all, but her priorities have clearly shifted to craving industry acclaim and forging a legacy. The makeup maven era? Like all things, this too shall pass.
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Was… that not what the last album was? At least according to the sock puppets in this thread who were personally aggrieved that I didn’t like it. A No.1 single, the typical softball poptimism spread of reviews who were happy that she had reverted to all the hallmarks they had hated her for ten years ago. Was that not inspiring for her?
Sis, you know I’ve got a lot of time for you, but… where were you seeing this apparent redefinition? It was… leather, spikes, blood, misery, Nick Knight. There wasn’t a single new idea in that tour outside of explicitly positioning her old hits as something she resents.
Honestly, the thing that seems to make her the happiest right now is spinning a yarn and making real music at the piano (which, again, was something she stressed every night on tour was robbed from her when she would howl through “1000 Doves”) during the jazz concerts, and being an actress. And honestly? Fine. I’m not sure why anyone would want her back in this sphere to just sourly half-ass it like last time when you have her contemporaries throwing their souls into their current work. Let her throw her soul into a new standards album, a comic book film, and a new foundation palette. It’s clearly where her heart is now.
*cries in Rihanna*
he/him
I think if she had an era as well received as say a Renaissance or anything Taylor does (see Grammys Grammys Grammys), she’d be invested again. Even rampant post-COVID poptimism wasn’t enough to get her back on board.
Redefinition is maybe a stretch, but I do think she at least refined it in a way that wasn’t so obvious as the Tudor Watch commercials or the worst parts of Enigma (which was horrendous enough to make anything that followed it look better which is maybe the case dddd) which were just Halloween costume overhauls. She has played into what she thinks fans want for a while, but TCB felt at least a step forward into something sleeker, even if it’s not especially new ground.
Ultimately, I’m in the same space of being ambivalent to her creative choices now, but I do think there have been hopeful sparks. But there are a lot of other interesting artists to enjoy also in the meantime, so I’m good. The removal from the 2009 parasocial fever isn’t a bad thing.
Also, love you too beast ❤️
The thing is, to get truly effusive, unanimous critical praise, even in the era of poptimism, she would have to create a truly undeniable modern pop classic like foklore or Rennaisance and if the validation she needs is that very critical praise, then it's a vicious circle. She needs to find the motivation and passion within herself and she can't even get the god damn Chromatica film out. I remember when people were once again breathlessly hyping themselves up over her supposedly working with Andrew Watt on her upcoming LG7 masterpiece and then she almost vindictively posted that it was just for her upcoming movie. She's just not interested in pop.
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He/Him/His
It goes without saying, but she'd have to give us something worth that kind of reception! I know you weren't necessarily inviting Renaissance comparisons, but the sheer craft that went into that album is leagues away from what Gaga seems to be capable of putting into (pop) music these days. She has to care first, and if she doesn't, why should I? She'll have to settle for an inflated Metacritic score and fleeting impact.