Selena Gomez Tilts the Disney Halo With ‘Revival’

24 Sep 2015 | Author: | No comments yet »

Review: ‘Hotel Transylvania 2′ is scarily unfunny.

“Do you have an auxiliary cord?” the grown-up tween idol asked her driver on a recent Monday afternoon, queuing up a Spotify playlist (“It’s kind of all over the place”) and reaching into the front seat to crank the volume on a Christian rock song. LOS ANGELES (AP) — The second feature in as many months to contain animated zombies (and Tim Burton’s “Frankenweenie” lurking just around the corner), “Hotel Transylvania 2″ checks in as an anemic example of pure concept over precious little content. It shows a more serious side to Gomez, as she travels to her concert on a rainy night, sneaking through a busy club to avoid the paparazzi, and observing the cityscape and passers-by as she travels, reports etonline.com.

Despite the proven talents of first-time feature director Genndy Tartakovsky (Dexter’s Laboratory), writers Peter Baynham (Arthur Christmas) and SNL vet Robert Smigel, and a voice cast headed by Adam Sandler and Andy Samberg, the collaboration falls flat virtually from the get-go, serving up half-hearted sight gags that have a habit of landing with an ominous thud. Selena Gomez wore no fewer than four fabulous, fall-perfect ensembles while out promoting her upcoming album, Revival, on Wednesday, Sept. 23, in London. The final onstage number was filmed last week at a secret fan event in Los Angeles, where the 23-year-old surprised her fans with a preview of her new album — and the chance to appear in her video. “The screen will rise towards the end and I’ll surprise them and finish the song,” Gomez explained in a video about the event. “That will be inserted into the actual video.” The “Same Old Love” singer, 23, started the day at London’s KISS FM studios wearing a sparkling plaid Preen minidress, which she teamed with opaque tights, platform peep-toes by Brian Atwood, and a chain purse.

Gomez, like seemingly every other 23-year-old in the country, scrolled inattentively through Instagram and agreed to order sushi via an app as she rapped along to Drake under her breath (“Trigger fingers turn to Twitter fingers …”). Assuming an unsteady Transylvanian accent which, like his bat wings, tends to flit in and out of the picture, Sandler’s overprotective daddy Dracula is having trouble shielding his daughter Mavis (Selena Gomez) from outside elements on the eve of her 118th birthday. When she left the studio, Gomez was already in a fresh ensemble: a skintight black sweater dress with a red turtleneck and white accents on the sleeves—very mod.

Determined to shut himself off from those elements after the death of his wife a century or so earlier at the hands of an angry mob, Dracula had constructed a refuge of an exclusive resort where he and his monstrous ilk could feel free to be themselves. Gomez’s child star bona fides: four seasons of a popular Disney show, “Wizards of Waverly Place”; four studio albums under the company’s music arm, Hollywood Records; and a soul-draining teen romance saga with Justin Bieber. But when a party crasher turns up in the form of Jonathan (Samberg), a slacker human backpacker who catches Mavis’ eye, the Count finds it increasingly difficult to keep her under his wing. While visiting Capital Studios, the Disney Channel alum rocked a dove-gray coat dress with an oversized collar and two statement buttons, paired with shades and her tried-and-true accessories of the day. While director Tartakovsky’s retro pop sensibilities served Cartoon Network well with the likes of “Dexter’s Laboratory,” ”The Powerpuff Girls” and “Samurai Jack,” and Hotel Transylvania has an undeniable visually zippy style, the ghost of a script by Baynham and Smigel provides him with very little of substance.

After that, Gomez casually strolled the streets of London clad in a hat, a moto-style jacket, skinny jeans, and stiletto heels, rounding out a day of to-die-for looks. Oh, and did we mention that Gomez’s hair looked flawless—silky, smooth, and perfectly flipped out at the ends—throughout? (The life of a Pantene Pro-V ambassador!) Ironically, the scattered enterprise exhibits signs of life when the characters leave the confines of the hotel, but that hint of something more arrives too late in the game. Yet while the music’s thematic awakenings (personal, professional, sexual) are meant to supplant her previous personas — tidily packaged goody-goody in her work, baby bird with broken wings in the tabloids — the songs are also savvily exploiting those same public stories and preconceptions.

Bieber or Taylor Swift, her longtime industry BFF who also sought in recent years to own the ugly chatter about her relationships with a new sense of agency and emphasis on female friendship. The run-up to the album had to be carefully considered: The lead single, “Good for You,” featuring a sly verse from ASAP Rocky, is a statement of self-worth and sexual power as breathy come-on, conjuring none of Ms. Only after its unexpected summer success — the mid-tempo song recently hit No. 1 on Billboard’s pop chart and landed at No. 5 on the Hot 100 — did Interscope release the more obvious single “Same Old Love,” a defiant but wounded kiss-off about a trampled heart.

I was in a relationship, and I was being managed by my parents, and I was still under Hollywood and Disney, and I was being held to this expectation of being the good girl.” She continued: “I knew deep down that this wasn’t what I wanted to do — being exhausted of forcing something that wasn’t right, even in my personal life. Gomez said, was letting her mother go as a manager last year, an experience she called “very awkward” and likened to “a kid going to college.” But suddenly decisions like posing almost naked on the cover of “Revival” became easier, she said. She said she is prone to overthinking, endures episodes of “angst” and is extra-sensitive to uncomfortable situations. (“Had major anxiety at the airport,” she tweeted recently to more than 32 million followers. “Not feeling good at all.”) Years of paparazzi attention and interest in her barely pubescent love life contributed to the guarded uneasiness just under her shimmery surface. Gomez recalled thinking: “I need my work to just outshine all of this because the noise is driving me crazy, and it’s preventing me from leaving my home.

In 2013, she starred in Harmony Korine’s “Spring Breakers,” a neon Florida fever dream of guns, sex and binge drinking, but she played Faith, the corrupted church girl with cherub cheeks and quivering lips, who runs away before things get truly deranged. Her mother brought her the raunchy script. “She was like, ‘It’s the last season of ‘Wizards,’ and no one will hear about it — it’ll be underground and give you a lot of street cred,’ Ms. She laughed. “That’s not what happened.” Hang-wringing over her role in the film erupted instantly. “I had this weird moment where I was at the Toronto Film Festival, and during the day I premiered ‘Hotel Transylvania’ ” — an animated film, rated PG — “then at night I premiered ‘Spring Breakers,’ ” she said. “Of course there was controversy: ‘Oh, she’s in a bikini, and she’s a role model.” But the adult part played just enough against type, putting Ms. Gomez on new industry radars, including that of John Janick, now the chairman and chief executive of Interscope. “I thought it was the perfect thing for her to do,” he said of “Spring Breakers” — “a natural progression” without “completely abandoning what she came from.” After Mr.

Gomez in 2013, the pair started a year of discussions about taking her music career in a similar direction. “It was always about empowering her the right way, but making sure you’re not jumping 10 steps ahead,” he said. Gomez’s album “Stars Dance,” released the same year by Hollywood, was another baby step toward an adult career and featured the Top 10 hit “Come & Get It,” her biggest song to date. Gomez took a bigger stride toward independence with a final, contract-fulfilling single for Disney. “The Heart Wants What It Wants” begins with a tearful monologue and addresses her relationship with Mr.

While the gossip press “made it their mission to make me seem meek and small,” she added, “I translated that into my music.” Her openness carried over to sessions for “Revival.” Along with producers and songwriters of the moment (the Max Martin acolytes Mattman & Robin, Hit-Boy, Benny Blanco), Ms. Gomez, who is listed as executive producer and has writing credits on six songs, worked with a slew of young women, including Charli XCX (“Same Old Love”), Julia Michaels (“Revival,” “Good for You”) and Chloe Angelides (the is-it-Bieber anthem “Sober”). Gomez said she was heartened by their parallel successes. “While people were writing that I was stupid for being in it, this is what I always saw in him,” she said. “I’m like, duh!” Ms. Swift’s girl gang of models and actresses at the MTV Video Music Awards. “Taylor is a lot more trusting than I am,” she said. “I have trust issues, given my situation.

Gomez returned home to the celebrity suburb of Calabasas, to eat cookies with her two roommates (a realtor and a nonprofit employee.) “In the last two years, I’ve seen Selena start to make her career her own,” Ms.

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