Very little of Vivo actually has anything to do with music. I disagree that Vivo is about the power of music. To clarify, I did listen to the podcast you had with Neil and it felt like you were going off of perceived notions you had about LMM rather than actually being engaged with any sort of critique of Vivo or otherwise. IMO, I feel like Miranda’s popularity has caused some to overlook how generally good his work is and that he’s not just popular because he provides “woke” entertainment and I feel like your article William reads as a rebuttal to a person who’s work you haven’t fully engaged with to properly critique. In The Heights likewise is about the importance of culture, dance, and heritage and these things are universal even if you aren’t related to immigrants. The main character’s journey is a cautionary tale of one’s own selfhood much like Macbeth before it. Hamilton is a borderline-esoteric meditation on fame, ambition, human potential, and the value of one’s time on Earth. I feel like even beyond the diversity there’s alot of depth to LMM’s works. And critics bear a lot of responsiblity for this shift because they’re not pushing back against it, despite this being their job. Creatives are valued less for their vision than for their ability to market. Movies are good less because they’re challenging and more because they’re inoffensive. We have increasingly lowered standards for major releases, sometimes quite literally in the form of box office numbers. Really, the article is less about Vivo or LMM directly as it is about broader cultural trends in the twenties. Throw in LMM’s reputation as an advocate for marginalized reputation, and predominantly white critics just get even more nervous. It’s already challenging enough for a critic to challenge the cinematic equivalent of junk food on merit.
LMM has mastered the format of light, fluffy entertainment that feels profound without actually offering much substance.
You’re right- it is necessarily passive-aggressive, in the sense LMM’s ouvre is flawed in such a way a person can’t really go after it without sounding like a psycho. Vivo has had fairly robust numbers on Netflix according to FlixPatrol–but as usual, a lack of detailed data makes the movie’s real streaming success difficult to gauge. The main bright spot for Miranda has been the animated Netflix film Vivo, which features Miranda as the voice of the titular kinkajou.
Press play to hear a narrated version of this story, presented by AudioHopper. Though critics and fans alike received it warmly, In The Heights hasn’t even earned back its budget at the box office.
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Hollywood set the film adaptation of Miranda’s In The Heights to be the big musical tentpole release of the summer, but it fell afoul of a controversy regarding actors with light skin playing its Afro-Latino characters. Hamilton opened up with the rest of Broadway last week, but has suffered poor returns. So it’s not terribly surprising that the Broadway League announced ahead of time they would not publish grosses for any shows this season. The second half of this year was meant to be a triumphant return for Lin-Manuel Miranda, but the results so far have been mixed.
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