It’s a Minion world, and we’re all just living in it. The little pill-shaped yellow critters have left an indelible imprint on the cultural mainstream, for better (footage not found) or for worse (try googling “minions memes,” I dare you). Kids and adults alike have latched onto the phenomenon with an uncommon enthusiasm, and now the numbers reflect the totality with which the Despicable Me universe has permeated modern life. In the seven brief years since Illumination Entertainment loosed the original Despicable Me on an innocent populace, the franchise has grown into the largest of its kind — the highest-grossing animated franchise of all time.
Friends and readers, it is with a heavy heart that I must report that our boy Jared Leto is at it again. Though, in another sense, a man who is never not at it cannot truly be at it again, and Leto never seems to let up from being at it. At what, you may ask? Take your pick: he’s gonna play Andy Warhol, he wants to return to the DC cinematic universe as the Joker, he’s allegedly prepping a new 30 Seconds to Mars album, he runs Fandor now for some reason, and he’ll soon make his debut as a feature director with a thriller about Patty Hearst. Indeed, Jared Leto is in a state of perpetual at-it-ness, the only changing factor being the nature of what it means to be “at it,” again or otherwise.
When a big studio tentpole comes out, it’s common practice for the personnel involved to take their next jobs around the same time, riding the crest of publicity generated by the release. Usually, the offers start coming in shortly after the film in question hits theaters and proves successful or less-so, and the news will follow that. But when, say, the director of the upcoming Dark Tower adaptation signs a deal for his next project weeks in advance of his big premiere, it’s a sign foretelling one of two things. It’s either so good that a studio made him an offer too appealing to pass up, or so bad that he just wants to sign a contract before word gets out.
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