America Tycoon: The Wolf of Showbiz

The movie opens with a documentary-style nuclear explosion scene, revealing numerous so-called top-secret documents against the backdrop of yellowing paper.

After the main cast and crew credits flash by, a team of protective suit-clad surveyors is suddenly attacked and wiped out.

Then comes the typical American horror film beginning, where a family goes on a trip, choosing to drive across Nevada.

All dialogue and scenes highlight the profession and personality of the male protagonist, Bob, a physical education teacher coaching baseball among other sports at a school, as well as a young father.

He has a deep love for his family, enduring his conservative, stubborn, and overbearing father-in-law time and again for the sake of his children and wife.

Each time a disagreement occurs and his wife comes to mediate, Bob would take a step back for the sake of his wife.

Conceding for the love of family, the audience at least wouldn't take a disliking to this character.

So, after refueling at the gas station, Bob locks himself in the RV to look after the children, while his father-in-law chooses a side road.

With a tire blown out, the father-in-law opts to head back to the gas station for help, while Bob, as the young male, explores the unknown road ahead.

The road is severed by a gigantic crater, and the deformed murderers officially make their entrance.

Bob is suddenly attacked, taking on two murderers; after losing a finger, he manages to kill one.

As he bandages his wound and picks up a baseball bat to return to the RV, his father-in-law is tied to a tree and set on fire, his mother-in-law and wife are killed, his sister-in-law and brother-in-law are injured, and his child is taken.

In pain and rage, the "one man, one stick, one dog" mode officially begins.

The male protagonist and the deformed murderers torture each other.

With the help of a dog and a deform girl, the male protagonist kills the enemy and rescues the child.

In the third row of the audience, looking at the scarred male protagonist holding the child as he walks out of the abandoned town, film critic Kenneth Turan says, "After all these years, Wes Craven has finally made some progress."

Todd McCarthy nods, "He's incorporated more action elements into the film."

Another film critic, Courtney Howard, adds, "This pattern is quite interesting. One man and a dog, struggling to survive and then fighting for a way out."

McCarthy asks, "What do you guys think of the film?"

"It hasn't strayed from the traditional horror film formula," Turan replies curtly. "But the male lead's acting is good. Did you notice the sorrow and rage of losing his loved ones? He plays it very well."

Courtney chimes in, "Don't you think that, in the final face-off with the murderers, he seems more like a psychotic?"

McCarthy reflects carefully and agrees somewhat.

But Turan doesn't think so, "Put yourselves in his shoes then think about it. At the start of the film, the male lead loves his wife and child to bits. What would he do upon seeing his wife killed and child taken? If you had his abilities, what would you do?"

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As a father, McCarthy admits, "I would be even more psychotic and crazed than him."

Courtney nods in agreement, "So, the male protagonist uses this way to showcase the greatness of fatherly love."

Turan comments, "Martin Davis is a good actor, much better than the idiots in Craven's most successful series Elm Street and Scream."

As the end credits appear, the entire audience stands and applauds, and the film critics join in the standing ovation.

The film may not be extraordinary, but it's definitely not a flop.

Adjacent is Vaughn from Cinema Score, a professional market research firm that specializes in audience perception and has a keen insight into the film market.

Vaughn believes this film is one of Craven's rare gems in recent years, with a particularly impressive performance by the male lead, and the climax featuring a man, a dog, and a stick is nothing short of stunning.

With all the hype in marketing, including Martin's hotly speculated affair with Annie, Vaughn predicts, based on his years of frontline market experience, that the market reaction to this film won't be bad.

Vaughn takes out his phone and sends a mass text; his team is ready.

Amidst the applause, Aga and Martin take the stage with the main cast and crew for a bow.

From the audience section, a sudden burst of chaotic shrieks erupts: "Martin, I love you!"

At first, only two or three people shout, but then more join in calling Martin's name.

Martin's character is indeed remarkable in the film, especially his love for his wife and child.

The deeper the love, the fiercer he gets when facing the murderers.

Not a single spectator feels repulsed by Martin's near-psychotic killings; on the contrary, they feel a thrilling satisfaction.

The character's charm consequently flourishes and spreads to the actor himself.

Fans are momentarily exhilarated, and among them, Jessica and Emily exchange glances; with a great film and character as the foundation, their job is made incredibly easy.

The so-called momentum is all manufactured.

Martin's star status and appeal are currently insufficient, making creating momentum a necessary option.

Facing the fans' enthusiasm, Martin is forced to stand out, wave, bow, and take his leave.

Once human passion is ignited, it's hard to quell it immediately.

Martin can only take his bows over and over again.

The other cast members, quite envious of Martin, are helpless.

An absolute male lead, financing part of the project, serving as a producer manager, one of the three most powerful figures in the crew, and heavily involved in marketing and promotion.

They are not even close to his level.

From the media section, a reporter exclaims in surprise, "Looking at the atmosphere inside the theater, he's like a superstar."

The reporter beside said, "The success of the film is unstoppable, Martin Davis's momentum is sky high!"

The former agreed, "He and Annie-Hathaway have been mocked by many for a 'strong woman, weak man' dynamic, but it may soon become 'strong man, weak woman.'"

Finally, the applause faded away.

The fans' excitement gradually subsided.

After the director and the leading actor made their routine thank-you speeches, the premiere orderly concluded.

Back in the green room, many guests came over to offer their congratulations one by one.

Angelina Jolie embraced Martin gently and said with a smile, "Your performance was crazy good, so charismatic, I'm really looking forward to acting opposite you."

Martin responded with a smile, "I look forward to working with you as well."

The atmosphere in the green room was excellent, with Annie by Martin's side, watching him become one of the central figures.

She had savored such moments herself before, a sign of success.

"Los Angeles Times"'s top film critic Kenneth Turan came over, greeted Martin and Annie, and said to Martin, "I've been in the business for more than 30 years, reviewed thousands of movies, and I find your acting very explosive. However, the character itself has limited you. Perhaps you should try roles with more layers."

Martin respectfully replied, "Thank you for your candid advice. Previously I had no choice but to take whatever roles I could get. If I have a choice in the future, I will definitely opt for more complex characters to hone my acting skills."

Turan, pleased that his words were taken to heart, said, "Martin, you are very talented, don't waste it. I hope you can become the new Daniel Day-Lewis or Sean Penn."

Martin nodded and replied, "I will work hard."

Turan smiled, bid his goodbye, and returned to the circle of media critics.

Todd McCarthy asked, "How is he? He doesn't seem arrogant like most young people."

Turan said, "A very humble young man, he takes advice well. With such talent, I hope he won't be a disappointment like Tom Cruise."

The group of critics left the green room first, preparing to rush back and write their pieces.

The production crew immediately had someone escort them out, handing each a gift bag.

In the meantime, the audience was dispersing from the venue.

Vaughn from Cinema Score gathered a few of his subordinates and boarded the large van.

He asked, "How was the audience's reaction on site?"

The assistant beside him had done a preliminary tally, "Most people rated it A or A-, with relatively fewer A+ or B ratings. On average, it should be around an A."

Vaughn said, "For a horror film, that's very good."

The assistant added, "Today's premiere had many fans of Martin or Craven, so the ratings were naturally a bit higher."

Of course, Vaughn understood this, "According to past trends, after the wide release in North America, the ratings could be around A or A-. The opening weekend box office will be solid."

In the theater, the premiere guests were also leaving one after another.

Mene found Martin, "Boss, I'm heading out." He glanced at Annie, "Need me to draw fire?"

"No need." Being in a period of promoting the movie, Martin now needed high visibility. Seeing Mene alone, he asked curiously, "Where's Paris?"

Mene's face showed complexity, "She wanted to come with me, even offered to pay, but I didn't dare let her."

Martin said, "Being cautious has no downside."

"Here in the theater, I couldn't refuse her money," Mene expressed his concern, "But in a secluded place, what if she has someone go after me? I'm not Old Cloth, and then I'd be done for."

Martin glanced at the time, "Go back early."

Watching Mene leave the theater, Annie asked, "Where are you going tonight?"

Martin said, "I'm a pauper now, can only mooch off the princess's place."

Annie took it as a joke, linking her arm through his as they walked out, "Then you'll be the pauper, and I'll take care of you."

Why did that line sound so familiar? Martin thought back for a moment—wasn't that what he often said to Louise?

The two emerged from the theater's main entrance, and a horde of paparazzi swarmed to take pictures.

Several security personnel held them off as Martin protected Annie and got to the car, opened the door for his companion to get in first, then got in himself and closed the door, saying to Bruce, "Old Cloth, take us to the Hilton Hotel."

Bruce didn't drive too fast, with at least a dozen paparazzi following in cars and on motorcycles. Too much speed posed a risk to them.

Under Martin's influence, Bruce had also learned to be considerate of others.

A swarm of paparazzi followed them to the Hilton Hotel.

The Mercedes stopped at the entrance, and Martin and Annie entered the hotel, their close manner suggesting they wouldn't come out again that evening.

The rest of the paparazzi dispersed, but Jody waited patiently for a while longer.

Before long, someone came over from the parking lot and beckoned her.

Jody walked briskly to the car and saw it was a young girl.

Jessica handed over an envelope, giving it to Jody, "Martin is planning to propose to Annie, here's the plan."

Jody quickly flipped through the envelope, "I know how to write this up."