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Tosca Musk, Elon’s sister, has a business venture of her own — and it’s all about romance and female sexuality | CNN

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Tosca Musk, Elon’s sister, has a business venture of her own — and it’s all about romance and female sexuality | CNN


Atlanta, Georgia
CNN
 — 

Tosca Musk strides onto the purple carpet at a Regal Cinemas, statuesque in a white pant go well with and glistening burgundy silk prime.

A hush comes over a bunch gathered exterior the theater’s doorways. Some whip out cell telephones and begin recording her each transfer.

It’s a cold October night time in Atlanta, and the followers are right here for the premiere of “Torn,” the second in a trilogy of romantic fantasy films primarily based on books by writer Jennifer Armentrout. The group of largely feminine followers vary in age from their twenties to their seventies, and a few flew in from Boston, Detroit and different cities.

This can be a large night time for Musk and her five-year-old streaming service Passionflix, the backer of the film. It’s their first public movie premiere for the reason that pandemic began.

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She floats from one group to a different, chatting effortlessly with Passionflix’s superfans, referred to as Passionistas. Her older brother, Elon Musk, could be the most well-known sibling within the household, however he’s not the one one who’s based an organization.

Musk, 48, is the drive behind Passionflix, which adapts romance novels into films and streams them to a loyal area of interest viewers. Romance novels are the preferred style of books in the US, and Musk is tapping into that market with tales about sultry, highly effective feminine leads and good-looking males with chiseled abs. She directs a number of the movies herself.

“Passionflix focuses on adapting romance novels precisely because the fan and the writer envision it,” Musk says in a separate CNN interview. “We concentrate on connection, communication and compromise – and take away the disgrace from sexuality, particularly for girls, as a result of it empowers girls to each acknowledge and ask for pleasure.”

Days earlier, on the set of a Passionflix film, “The Secret Lifetime of Amy Bensen,” Musk offers a couple of glimpses into life along with her well-known household.

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Perched on a navy blue sofa in a room tucked inside a warehouse in suburban Atlanta, she chooses her phrases rigorously when requested about her older brother, who was on the verge of his Twitter acquisition.

The Musk youngsters – Elon, Tosca and one other brother, center little one Kimbal – have been born in South Africa and hung out in Canada earlier than coming to the US. Their father, Errol, is an engineer and property developer, whereas their glamorous mom, Maye, is a mannequin.

From left to right: Tosca Musk, Kimbal Musk, mother Maye Musk and Elon Musk at Maye's 50th birthday party in 1998.

Tosca Musk attended movie faculty on the College of British Columbia in Vancouver and moved to California after commencement. For 3 months, she labored for certainly one of Elon Musk’s firms, Zip2.

“I noticed each time I stepped out of the movie world, I used to be simply not comfortable,” she says. “It simply wasn’t my factor.”

After a short stint on the Los Angeles workplace of Canadian media firm Alliance Atlantis, she started directing and producing movies whereas nonetheless in her twenties.

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Musk produced romance movies for the Lifetime and Hallmark channels and in 2005 launched a comic book net collection, Tiki Bar TV, which was hailed by Apple CEO Steve Jobs as forward of its time within the rising area of vodcasts – or video podcasting.

Then got here Passionflix. Its origin story is a basic story of when one door closes, one other one opens.

About 5 years in the past, Musk bought an electronic mail from a lady who needed her to show her script right into a film. Musk cherished the script, however there wasn’t a lot curiosity from manufacturing firms.

“Individuals weren’t actually that as a result of it was too risque … It was an grownup film with a bit of little bit of reincarnation, issues like that,” she says. “It simply wasn’t a type of issues that common community tv needed to do.”

However Musk met the lady, Joany Kane, in Los Angeles, and so they bonded over their shared ardour for love novels. Throughout that dialog, Kane introduced up the concept of turning romance novels into films and making a streaming platform for them.

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And with that, Passionflix was born – with Musk on the helm and Kane as a co-founder.

“We had no traders. We needed to exit and discover each investor. So it was a matter of going out and pitching each single individual,” Musk says. “We pitched each good friend, each member of the family, all people only for that small little bit of angel funding. It was arduous. The primary cash in is all the time the toughest cash.”

Kevin Joy on the red carpet at the premiere of Passionflix's

Musk declines to say whether or not her brother Elon was certainly one of her unique traders. However she says she will all the time rely on her two brothers, together with restaurateur Kimbal Musk, to offer her recommendation on her enterprise ventures. She tries to not ask until she actually must.

“I get recommendation from them to a sure diploma once I ask for it. However no unsolicited recommendation,” she says. “If I ask for recommendation, I’ve little doubt that he (Elon) will give it to me. After which I’ve to take it, as a result of he’s going to be proper. So it’s a must to actually need to know what you need to ask. However more often than not once I’m with my household, we speak about household issues.”

So what does she take into consideration her brother’s new function as CEO of Twitter – and the flurry of headlines surrounding it?

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No remark.

Passionflix’s first movie was “Hollywood Dust,” primarily based on a best-selling novel by Alessandra Torre a couple of Southern girl who finds romance with a Hollywood star when he involves her small city to movie a film.

“Throughout that taking pictures of that film, we have been struggling,” Musk says. “Are we going to get cash? Are we going to have the ability to end it? We have been not likely certain. We mainly have been simply type of piecing the {dollars} collectively.”

In Could 2017, Musk performed a trailer of the film at a romance novel conference and requested attendees to prepay $100, as founding members, for a two-year Passionflix subscription. About 4,000 folks signed up, Musk says, and she or he and Kane used that to indicate potential traders they have been onto one thing.

“Making an attempt to boost cash for a female-driven platform on romance was simply not excessive on anyone’s precedence checklist on the time,” she says. “However as quickly as we confirmed there was that many individuals that will come on board, the traders simply began flying in.”

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Fans take photos of people on the red carpet at the premiere of Passionflix's

Passionflix has since produced greater than two dozen feature-length and brief movies, based on the Web Film Database.

The corporate stays lean – it has a core group of seven individuals who every put on numerous hats. Along with producing its personal content material, Passionflix additionally licenses movies for its platform.

“I believe the most important problem for Passionflix is we are able to’t produce sufficient content material to satiate the followers,” Musk says. “It’s a wrestle with so many streaming platforms, when folks need unique content material on a regular basis.”

With greater than 200 streaming companies now competing for viewers, such area of interest markets face a myriad of challenges, says Dan Rayburn, a streaming media knowledgeable and marketing consultant.

Creating, licensing and advertising content material may be very expensive, he stated. And whereas romance is the biggest-selling style of books within the US, that doesn’t essentially imply its reputation interprets to films.

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“That’s evaluating apples to oranges. Books are completely different,” Rayburn says. “This enterprise is past robust. It’s extremely aggressive and requires an absolute massive sum of cash.”

Passionflix prices a subscription payment of $5.99 a month. The corporate doesn’t disclose its subscriber numbers. Musk says subscribers are within the “six figures,” however declines to supply specifics.

Rayburn says it’s arduous to find out the corporate’s profitability with out understanding its bills, together with manufacturing and licensing prices.

“OK, if you happen to don’t have subscriber numbers, what’s the utilization? What number of hours per 30 days do folks watch it? How a lot are you spending on content material licensing?”

A deep dive into Passionflix’s on-line film catalog reveals a mixture of modern romance, fantasy romance, paranormal romance, erotic fan fiction and associated sub-genres.

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The movies, which stream on the Passionflix web site and on Amazon Prime Video, are rated on an escalating steaminess scale Musk calls a “barometer of naughtiness.”

The 5 classes: Oh So Vanilla, for healthful romcoms; Mildly Titillating; Ardour and Romance; Toe Curling Yumminess; and NSFW (Not Secure for Work). The latter class has risque plot strains and extra intercourse – suppose “Fifty Shades of Gray.”

However Musk says that even the naughtiest Passionflix films don’t attain the soft-core porn threshold.

“After we first began Passionflix, someone requested us if we’re going to fee utilizing MPAA,” she says, referring to the Movement Image Affiliation of America’s film rankings reminiscent of PG-13, R, and so on. “I don’t really like all of these rankings. They’re not particular to girls. I needed one thing that would fee our exhibits and create extra of a tongue-in-cheek dialog.”

Attendees watch the premiere of Passionflix's

Musk says she’s a romantic at coronary heart and is an enormous fan of the style.

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“Love is superb, it’s extremely highly effective. I like to inform tales of affection, all types of affection,” she says. “So parental love, good friend love, household love, and love between any type of couple.”

That broad vary of romantic genres, and its attractive content material, are what units Passionflix other than channels reminiscent of Hallmark and Lifetime Film Community, says romance novelist Tamara Lush. She believes the romance style has been particularly standard through the pandemic as a result of folks search consolation in tales with happy-ever-after endings.

“Hallmark is romance-centered however the tales are very, very candy. Passionflix tells a wider vary of tales, and those romance readers need to watch,” Lush says.

“The recognition of ‘Bridgerton,’ ‘After’ and ’365 Days’ on Netflix ought to inform streaming companies all they should know: that romance is a profitable and certain guess for viewers.”

Passionflix’s unique subscribers, referred to as founding members, get entry to film premieres and filming units.

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Final month in Atlanta, about 4 dozen of them piled into the Regal theater for the premiere of “Torn.” Following the film, Musk hosted a question-and-answer session with the lead actors, adopted by an after-party at a bar throughout the road. Followers and actors mingled over drinks.

Debbie Parziale, 67, says she flew in from Boston for the occasion. One of many founding members, she says she spent the pandemic years curled up on her sofa, watching Passionflix films.

“I like Tosca’s premise of empowering girls and making intercourse not such a taboo topic,” she says. “She’s so true to the romance novels. While you learn a ebook and watch certainly one of her films, it’s the ebook you learn.”

Debbie Parziale, Deborah Thornton and Amanda Cromer, from left, at the premiere of

Amanda Cromer, 32, says she signed up for Passionflix at a romance ebook conference. She loves the camaraderie that comes with being a part of the Passionistas. The group has a digital ebook membership, referred to as Ardour Squad.

As one of many unique members, Cromer can go to units and work together with the actors. Cromer, who lives in a suburb of Atlanta, says that in a go to to the set of “Torn” she turned an additional in a restaurant scene.

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“I like the empowerment the flicks deliver,” says Cromer, who attended final month’s “Torn” premiere along with her mom.

“They select books with robust feminine leads. They’ve completed such an excellent job of portraying the feminine persona as a powerful impartial feminine, and never a timid individual.”

Again on the set of her newest romance film, Tosca Musk strikes from one sparsely furnished room to a different.

Musk lives in suburban Atlanta along with her two youngsters, 9-year-old twins who have been conceived by way of in vitro fertilization utilizing an nameless sperm donor.

She’s on the point of fly to Italy with the twins to movie “Gabriel’s Redemption,” the third ebook in a collection by Sylvain Reynard a couple of Dante scholar and his passionate affair with a youthful graduate pupil. She says they plan to take pleasure in numerous gelato in Florence and go to Oxford, England, so the youngsters can see a number of the areas the place the Harry Potter films have been filmed.

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As a single mom, Musk says she marvels on the path that led her to a job she loves.

Tosca Musk poses for a portrait in Fairburn, Georgia, on October 11, 2022.

She hopes Passionflix will assist persuade the movie business’s large names that adopting romance novels into films is a worthy funding.

“The leisure world is managed largely by males. On the finish of the day, the selections are likely to sway towards the male viewers versus the feminine viewers,” she says. “In addition they are usually extra concerning the victimization of girls than they’re about sexually free or sexually empowered tales about girls.”

And for Musk, there’s additionally a less complicated purpose for her filmmaking ventures.

“I’m a storyteller at coronary heart,” she says. “I simply need to have the ability to inform tales.”

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Movie Reviews

Prasanna Vadanam Movie Review – Gulte

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Prasanna Vadanam Movie Review – Gulte

2.75/5


2 Hr 26 Mins   |   Thriller   |   03-05-2024


Cast – Suhas, Payal Radhakrishna, Rashi Singh, Viva Harsha, Nitin Prasanna and others

Director – Arjun Y K

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Producer – Manikanta J S, Prasad Reddy T R

Banner – Arha Media, Little Thoughts Cinemas

Music – Vijai Bulganin

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Suhas has become one of the bankable actors in Tollywood. He is now out with his latest film, Prasanna Vadanam, based on a man with face blindness. Directed by Arjun YK, let’s review the film here.

Plot

Surya(Suhas), a Radio RJ meets with a terrible accident and ends up with a rare disease named Prosopagnosia. Due to this, he gets face blindness and cannot identify the faces of people around him. One fine day, he witnesses the brutal murder of a young girl. He informs the cops but instead gets embroiled in the case. Left with no choice; he approaches top cop Vaidehi(Rashi Singh) for assistance. But things turn on its head and multiple cases are now filed on Surya. The rest of the story is about how Surya proves his innocence with the help of his girlfriend Adhya(Payal Radhakrishna).

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Performances

Suhas is known for his versatile characters gets a tailor-made role in Prasanna Vadanam. As he has a unique disease, the scope for him to perform uniquely is high in the film, and Suhas lives up to all the expectations. His performance in the second half is highly impressive and arrests you till the end. Nithin Prasanna, who was last seen in Ambajipeta Marriage Band, delivers yet another bankable performance. The various shades he showcased in his performance were impressive. Rashi Singh, who played the top cop, was decent, but she should have worked more on the expressions in the latter part of the film. Viva Harsha was okay, and so was Payal Radhakrishna.

Technicalities

Vijay Bulganin composed the music for the film, and his songs are quite ordinary. None of the songs register with the audience, but the background score is quite impressive. The sound design neatly elevates the proceedings and is composed in a stylish manner. The camera work is so-so and one cannot complain keeping the budget in mind. The production values are also okay, and there is nothing much to rave about. The editing is perfect as the narrative is crisp and to the point.

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Suhas
Interval twist

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Lag in the second half
Songs
Flashback

Analysis

Making thrillers is one of the biggest tasks for any writer-director. But newcomer Arjun YK has chosen a story with face blindness which is something new for Telugu cinema. So, this itself makes things interesting for Prasanna Vadanam. Prasanna Vadanam starts on a very interesting note, and the best part is that director Arjun does not waste any time entering the conflict point in the film.

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Once the heroine is introduced, the love track gets a bit boring, but that too passes, and things become interesting for the audience. Once the crime is committed, the concentration shifts towards the cops and how they will deal with the case. But the way director Arjun brings in the half-time twist is superb and unexpected. As the director reveals the man behind the murder, things become a bit difficult for the director to handle the proceedings.

This is when the proceedings become slow and a bit dull. Also, the reason behind the motive of the murderer is not showcased convincingly. Also, the way Suhas behaves in the second half looks a bit odd. As he has face blindness, the director could have added more drama and played with the effects, but that does not happen, and things move slowly until the pre-climax.

Director Arjun has potential and narrates the film well for the most part. However, way too many cinematic liberties and a lack of hold on emotions are some of the drawbacks. Prasanna Vadanam has decent moments that hold your attention. However, one needs to prepare for the pace and lack of depth in the proceedings as well.

Bottom Line – Passable Thriller

Rating: 2.75/5

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'The Phantom Menace' dominated 1999's box office. History has been kinder to it

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'The Phantom Menace' dominated 1999's box office. History has been kinder to it

May 19, 1999, in a galaxy not so far away …

Excitement for “Star Wars” is at an all-time high. The first new film in the beloved series that originally concluded with 1983’s “Return of the Jedi” is about to be released in 2,970 theaters, with a majority starting their first screenings just after midnight. (Ticket sales opened just the week before.)

Audiences have had 16 long years to dream about what George Lucas has conjured up for this new cinematic adventure. But instead of whatever they’d imagined, “Star Wars: Episode I — The Phantom Menace” involves a nefarious trade dispute, myth-altering midi-chlorians and Jar Jar Binks.

And although it becomes, for a while, the second-highest grossing film of all time, the divisive new chapter gains a reputation as one of the worst “Star Wars” movies ever.

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The 1999 Project animated logo

The 1999 Project

All year we’ll be marking the 25th anniversary of pop culture milestones that remade the world as we knew it then and created the world we live in now. Welcome to The 1999 Project, from the Los Angeles Times.

Today, “The Phantom Menace” returns to theaters in celebration of its 25th anniversary. In the 19 years since 2005‘s “Star Wars: Episode III — Revenge of the Sith,” the much maligned prequel trilogy has, in many ways, been redeemed.

Just look at how its stars — including Ewan McGregor, Hayden Christensen and Ahmed Best — have been re-embraced by fans in their returns to the franchise in television projects such as “Obi-Wan Kenobi” and “Ahsoka.” Even the actors themselves have voiced appreciation that their original films seem to be regarded more positively. Becoming “more aware of the fondness that the generation that we made the prequels for has for those films … [has] meant a lot to me,” McGregor told NBC News in 2022.

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And as the “Star Wars” franchise continues to grow, with upcoming projects including two new series, “The Acolyte” and “Skeleton Crew,” the second seasons of “Andor” and “Ahsoka” and at least two additional films, it has become increasingly apparent just how much of it is built upon a foundation laid down by the prequels. “Star Wars’” most recent successes would not exist if not for “The Phantom Menace.”

“The Phantom Menace” arrived saddled with many expectations. Audiences who grew up on “Star Wars” in theaters or on VHS tapes knew how Darth Vader’s story ended.

“The Phantom Menace” was going to show how it began, something only teased in the original films. Many fans camped outside movie theaters for weeks, just to be among the first to see it. Reports at the time mention that the line outside Westwood’s Village Theatre included about two dozen regulars ages 14 to 40 equipped with couches, recliners, beach chairs, video games and even satellite TV.

“It is only a movie,” The Times reported Lucas insisting during a press event during the lead-up to release. “We have tried hard not to let the film get over-hyped. . . . [It’s] a film for 12-year-olds . . . a Saturday-afternoon serial for children.”

Four people hide in an alley on a desert planet.

From left, Natalie Portman, Liam Neeson, Jake Lloyd and Ewan McGregor in the movie “Star Wars: Episode I — The Phantom Menace.”

(Keith Hamshere / Lucasfilm Ltd.)

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Set roughly 30 years before the events of the original “Star Wars” (which was re-christened “A New Hope” in 1981 after a re-release), “The Phantom Menace” introduced audiences to a 9-year-old Anakin Skywalker (played by Jake Lloyd), a child who would eventually grow up to become Darth Vader.

Anakin’s story begins when a diplomatic mission gone awry brings Jedi Knight Qui-Gon Jinn (Liam Neeson), his apprentice Obi-Wan Kenobi (McGregor), the clumsy and, to some, cringeworthy Jar Jar Binks (Best) and young Queen Amidala (Natalie Portman) to his home planet, Tatooine.

Many critics were underwhelmed. In his review, Times film critic Kenneth Turan described the film as a “considerable letdown” but “certainly adequate.”

It’s “not going to change anyone’s life or method of worship,” wrote Turan. “It’s only a movie, and … a much less impressive one than all the accompanying genuflection would have you believe.” (Lucas, for his part, noted in advance of “Phantom’s” release that the original trilogy got “generally bad reviews” and that he expected the same this time around as well.)

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What “The Phantom Menace” did have were state-of-the-art visual effects: Lucas was uninterested in revisiting “Star Wars” until the technology caught up to his vision. The film boasts the first fully computer-generated supporting character in Jar Jar Binks, and regardless of one’s opinion of the character, that is a landmark, paving the way for “The Lord of the Rings’” Gollum and the “Avatar” films.

“The Phantom Menace” also included such memorable sequences as Anakin’s podrace and a lightsaber showdown (referred to by the John Williams theme that accompanies it, the “Duel of the Fates”) between our Jedi heroes and the film’s fantastically designed villain, Darth Maul.

Three warriors engage in a lightsaber duel.

From left, Liam Neeson, Ray Park and Ewan McGregor in the climactic lightsaber duel of “Star Wars: Episode I — The Phantom Menace.”

(Keith Hamshere / Lucasfilm Ltd.)

Still, audiences were much more vocal about the ways “The Phantom Menace” was a disappointment. Criticism of the film included concerns that certain new aliens like the Neimoidians and Gungans appeared to reflect racist tropes. (Lucasfilm rejected those claims as “absurd.”) Any thoughtful responses were drowned out by more vitriolic pushback on everything from the characters and acting to the story and execution.

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It was an early glimpse into the darker side of the “Star Wars” fandom — and maybe self-entitled fandom in general. Jar Jar Binks actor Best has been candid about how the negative responses to his character led to his receiving online abuse and death threats. Such bad behavior intensified 16 years later, beginning with the release of the sequel trilogy, which saw stars John Boyega and Kelly Marie Tran becoming targets of racist backlash.

And the newer shows are arriving at a time when “anti-woke” superfans who can’t imagine a “Star Wars” galaxy (one already populated with nonhumanoid aliens) as diverse and inclusive have been increasingly emboldened to make racist and sexist remarks.

Luckily, the “Star Wars” fandom is not defined by that vocal minority.

In recent years, appreciation for “The Phantom Menace” has grown. The 2022 arrival of “Obi-Wan Kenobi,” in particular, had even skeptics reassessing the significance of the prequel trilogy.

“The nostalgia for the prequels can’t redeem those movies in full … But they’re quotable, they’re memeable, and they’re fun to rant against and argue about and rally around,” wrote the Ringer’s Justin Charity.

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Part of the reason “The Phantom Menace” has been increasingly embraced is because for a generation of fans, “Episode I” was their first “Star Wars” experience. They‘re now old enough to defend what was to them just as foundational as seeing “Star Wars” in a theater was for kids in 1977.

The prequel films have also been further recontextualized by additional storytelling. Series like the animated “Star Wars: The Clone Wars,” set in the years between the events of “Attack of the Clones” (2002) and “Revenge of the Sith,” have fleshed out the universe. Live-action shows like “The Mandalorian” and “The Book of Boba Fett” have drawn on lore established in the prequel-era stories — with success.

The “Obi-Wan Kenobi” series revisits McGregor’s version of the title character for a glimpse at how the man at the end of “Revenge of the Sith” became the one in “A New Hope” (portrayed by Alec Guinness). Concepts like cloning and even midi-chlorians, the micro-organisms with ties to the Force first mentioned in “The Phantom Menace,” have also endured: The only reason the Mandalorian and Grogu even cross paths is because the remnants of the Empire are so interested in the latter’s midi-chlorian count.

A boy and his mother say goodbye.

Jake Lloyd and Pernilla August in “Star Wars: Episode I — The Phantom Menace.”

(Lucasfilm Ltd.)

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In a larger sense, even shows like “Andor” can trace their DNA to the prequels, by being unafraid to enter into what is considered canon and challenge the assumptions of what is expected of a “Star Wars” story. The franchise has increasingly become one large tapestry where new titles build upon and reframe what came before — not a collection of three classics “owned” by gatekeeping fans. And while subsequent projects do not actually change the quality of past installments, they do sometimes lead to reassessment.

“The Phantom Menace” is also a precursor — for good and ill — of today’s modern media landscape of sprawling IP and interconnected universes like the Marvel Cinematic Universe, DC Universe and even Godzilla’s Monsterverse. Lucas’ enormous box office success not only made an eventual sequel series an inevitability but it also signaled to others that there were possibilities in revisiting dormant worlds to attract new audiences.

The bar for “The Phantom Menace” was set impossibly high — not necessarily by the films of the original trilogy but the audience’s relationship with them. But “Star Wars” movies are special because of their potential to make people fall in love with storytelling just as much as the world itself.

And for a generation that grew up on the prequels, “The Phantom Menace” did just that.

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Sabari Movie Review: Varalaxmi Proves She Can Do Female Centric Roles

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Sabari Movie Review: Varalaxmi Proves She Can Do Female Centric Roles

Sabari, starring Varalaxmi Sarathkumar and directed by Anil Katz. The film hit theatres today.

What is it about?

The film follows Sanjana (Varalaxmi Sarathkumar), a single mother whose world is turned upside down when a horrifying truth comes to light: the child she raised is not her biological daughter.

Plot:

The story begins with a twisted past, revealing a villain, Mime Gopi, who escaped a mental asylum with an obsession—finding the daughter he believes was swapped. This sets him on a violent collision course with Sanjana, who will stop at nothing to protect the child she has loved and raised as her own.

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Sabari showcases the unwavering bond between a mother and child. As a single parent navigating the challenges of a broken marriage, Sanjana embodies strength and determination.

The movie appears like a psychological horror- thriller at first. While watching the first half, the film comes across a female led emotional thriller where the single parent appears to be going through hardships. Everything goes for a toss in the second half. It is in the second half that the film becomes an irreparable mess. The plot turns are created or arranged in a way that seems unrealistic and artificial.

Verdict: The screenplay of Sabari is far-fetched and the climax is so old that you will not believe this is a film made in 2024. However, Varalaxmi Sarathkumar has delivered a terrific performance.

Rating: 2.75/5

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