Essentially, in the United States, you cannot create within somebody else’s story-world, unless it is in the public domain, that is, published before 1923, or otherwise lapsed in copyright. This is a big, sticky area that I’m not an expert in and don’t want to be an expert in, but it’s worth addressing here. But just how many works are there that can tap into a rabid fan base or inspire purchases on the “sunk cost fallacy” in entertainment? Unless you work some IP-magical-deal like Time Run did, not many. Taking up an established brand’s very tempting. It was total crap, but lo, it even toured. Did anyone really want Ghost: the Musical? Perhaps not, but once it opened, it became a safe ticket for summer-time tourists. Hollywood and Broadway have been onto this secret for a while now, from the Marvel Cinematic Universe to Sponge Bob: the Musical. It’s not entirely dissimilar to the sunk-cost fallacy. While I could theoretically find a better or equal Thai restaurant in Houston, why risk the dollars, the calories, and the time on a new place, over the place I know is good? In the same way, we buy tickets for story-worlds we already know something about, rather than starting from ground zero. Risks sometimes pay off, but more often than not, they don’t. That looks incredibly risky in any other context, but given the established fan base, it makes sense.Įven if you’re not a super-fan of the work, people tend to like things they’re familiar with over something totally new. Instance: in anticipation of demand, The Game Is Now will open with no fewer than FIVE COPIES of the game. People who’ve never heard of immersive theatre or haven’t ventured into an escape room yet are now snatching up your tickets. Media and social media suddenly appear and drool. Your story is unknown, your company is unknown, hell, even your very genre confuses people when you try to explain it.īut if you create a show from an established brand, you immediately tap into an established fan base. With such a wide-open frontier in the immersive industry, it’s hard to get any attention on your own. We all ultimately want to sell our art, get rich quick, quit our day jobs. Adaptations give the writer creative parameters.Adaptations give the audience grounding.
Adaptations can potentially sell more tickets.We boiled adaptation’s advantages down to three… This topic came up again in development as we started work on S how #2, so here’s my dispatch from those front lines.
It’s a particularly interesting question for the immersive industry-a lot of shows and games are inspired by source material. In developing our immersive theatre escape rooms, Strange Bird has talked a lot about whether to adapt a work or to make something original. Whether you’re excited or not by the Sherlock fusion, you have to admit: damn, this move is SMART.
The news got me thinking again about the decision all storytellers make to adapt something existing or to compose something original. Here are the seven best moments of Taylor Swift’s second night at MetLife Stadium.Big news hit the escape room community this week: Time Run announced their collaboration with BBC’s Sherlock in an all-new experience, The Game Is Now. It didn’t hurt that Ice Spice made her second consecutive appearance on the tour for the show-ending “Karma,” a sly pop bop that afforded the Bronx-based rapper the opportunity to flex in front of a 74,000-strong crowd of New York and New Jersey folks following the breakout success of “Munch (Feelin’ U)” and the Nicki Minaj collab “Princess Diana.” And after a three-and-a-half-hour tour through the catalog of one of the 21st century’s biggest artists – one whose discography has shown a lyrical breadth and growth that few of her peers can lay claim to – attendees were more than satisfied, if not ecstatic, after night two of the MetLife dates. So on Saturday, the crowd was prepared for a show. After all, the previous night’s Eras Tour stop in Jersey saw a surprise appearance from Ice Spice on their newly released “Karma” remix Jack Antonoff joined his frequent collaborator for “Getaway Car” on one of two surprise songs and Swift debuted three flashy new outfits. Congress), people showed up with fairly high expectations for the evening. Taylor Swift brought her Eras Tour – which, so far, has seen arguably the biggest pop star on the planet playing to sold-out crowds on a trek that’s on track to net at least $590 million in ticket sales – to East Rutherford, New Jersey for a second night on Saturday (May 27).Īside from the hoops everyone at MetLife Stadium went through to be present (Swift’s tour ticket sales proved too much for Ticketmaster to handle, a situation that escalated to the U.S.
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