Rojak is a colloquial Malay word for “eclectic mix,” and is the name for a Javanese dish that typically combines sliced fruit and vegetables with a spicy dressing. Anime music muted Anime music (also known as anisong) took off globally in the 2010s, but new data shows that the output of anime music fell last year to a 25-year low, comprising just 6.5% of new record releases in Japan. Anime music revenues in Japan have fallen about 25% since 2016. Ironically, the mainstreaming of anime music may have caused it to lose momentum, Richardson Handjaja suggests in his newsletter Animenomics. Popular artists began making music “adjacent to anime culture” that plays off the aesthetics of anime in different genres. “As anime music diversifies from specialists to performers who cross genres, fewer releases are specifically categorized as anime-related.” We come to this place for magic Moviegoers tend to enjoy movies more in a theater than at home, according to a two-decade analysis of data, which found that audiences rated movies 2% to 5% higher when they were in theaters vs. after they ended their theatrical run. The effect — which could partly be because fans of a movie or franchise are more likely to see them in theaters — is particularly pronounced with big-budget blockbusters, family films, and comedies: “Perhaps there is added value to laughing as part of a crowd,” Daniel Parris wrote in his data-centric culture newsletter Stat Significant. Simultaneously, entertainment giants have begun rolling out big-budget television shows that are only available to stream at home. “Such convergence has muddied our conception of the cinematic, as it’s become increasingly difficult to comprehend which medium best supports a given piece of content,” Parris wrote. The tiny enjoyment boost of moviegoing might not be worth the extra cost and effort of going to a theater, but for Parris, “this incremental 2% to 5% means the world to me.” The ‘chowmein-ification’ of 3 Body Problem Can 3 Body Problem on Netflix be considered a true “Chinese” cultural export, or primarily a big-budget American series? The show is an adaptation of Chinese author Liu Cixin’s sci-fi trilogy, but “it wasn’t Chinese,” Cindy Yu, the host of The Spectator’s Chinese Whispers Podcast, told Sinica’s Kaiser Kuo. Yu compared the show to Chinese takeout food in the West; “it’s a pale imitation of what you would get inside China.” The Netflix adaptation lacks the “grittiness” of a Chinese adaptation that came out last year and that was much longer, slower paced, and low-budget. It also relocates some of the scenes outside of China. She did grant that in the Netflix version, “the Chinese parts were really, really good,” Yu said. The Mandarin was authentic, and the dialogue correctly incorporated some chengyu, or Chinese idioms.
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