Amidst the glittering chaos of Hollywood's awards season, the North American music industry wasn't to be outdone.
At the Grammy Awards, tensions flared between Taylor Swift and Katy Perry, sparking an unexpected spat as they sat side by side. Their heated exchange led to a swift seat swap with Selena Gomez and Blake Lively.
In the aftermath, Katy Perry took to Twitter, taking a thinly veiled jab at Swift: "Beware of wolves in sheep's clothing!"
Swift retaliated with her own tweet: "I trusted you, but you're hell-bent on destruction! Any semblance of trust is shattered, yet you persist in attacking me?"
As the night wore on, their feud escalated, igniting a frenzy among their respective fan bases, who eagerly took sides across forums and social media platforms.
Media outlets swiftly abandoned coverage of Grammy winners, shifting their focus solely to the feud between the two songstresses.
For the masses, the allure of Grammy accolades paled in comparison to the spectacle of celebrity conflict.
Speculation ran rampant about the root cause of their feud, with some outlets, like "American Rumor," attributing it to Martin, citing a recent tweet by both singers.
Rumors of a romantic entanglement between Martin and Taylor had circulated for years, and Perry's close proximity to Martin at Disney Studios only fueled Swift's ire.
TMZ, renowned for its salacious gossip, prioritized sensationalism over journalistic integrity, fabricating stories rather than reporting facts.
Swift and Perry's social media skirmish raged for three days, stealing the spotlight just before Valentine's Day, before finally simmering down.
As Taylor prepared to leave Los Angeles, she dialed Martin's number, expressing regret for dragging him into the fray.
Martin brushed off the incident, focused on their next move: "When's our next move?"
Swift reminded him of their strategic approach to conflict: "Remember, we can't spar too often. Let's save it for our next releases. I diss her in the single, she mocks me in her song. That way, we keep the buzz alive."
"Best of luck, Taylor," Martin replied, as he neared the theater. "I'll swing by Nashville when I can."
"I'm planning a move," Taylor disclosed. "Leaving Nashville for New York. It's where the heart of pop beats."
Martin's smile widened. "New York suits you."
"I'll be waiting for you," Taylor replied before ending the call.
Martin couldn't shake the feeling that Taylor, once a small-town girl from his past life, had seamlessly transitioned into the hustle and bustle of New York City.
With ambitions surpassing country stardom, Taylor aimed to ascend to the ranks of pop royalty, aspiring to become the next Madonna.
Bruce maneuvered the car towards the Nokia Theater, slowing as they approached the buzzing red carpet.
Napoleon's allure drew crowds, bolstered by Disney's promotional efforts and endorsements from influential figures like Martin.
Tonight marked the premiere of "Napoleon's Beauty," starring Alexandrovich, the visionary behind the future global village.
Though not a grand affair, the premiere attracted media, fans, and interviews aplenty.
As Alexandrovich and Olina graced the red carpet, they engaged warmly with fans, posing for photos and exchanging pleasantries.
Exiting the car near the theater's rear entrance, Martin strode directly inside.
In the waiting room, Alexandrovich's excitement was palpable, his gratitude overflowing as he expressed his disbelief at the film's American release.
Martin clasped his hand warmly. "Congratulations on seeing your dreams realized."
Alexandrovich's gratitude poured forth. "Martin, you've shown me the best of America. I'll repay you even if it costs me my life. 'Servant of the People' will be a masterpiece."
Olina interjected, detailing plans for their next venture in Ukraine.
Martin nodded in agreement. "I'll be eagerly awaiting your updates."
"Napoleon's Beauty," despite its modest budget, lacked star-studded premieres or A-list guests. Its storyline, a quirky retelling of Napoleon's romantic escapades, leaned heavily on comedic satire to appeal to English-speaking audiences.
In essence, it was a collection of irreverent spoofs, aimed at tickling the funny bones of viewers.
Though the theater wasn't packed for the premiere, laughter filled the air throughout the screening.
"This film is a riot, just like 'The Hangover'. As long as it keeps the audience laughing, it's a hit," Martin remarked, giving high-fives to Marius, Olina, the village chief, and Svetlana. "Excellent comedy."
The crew and cast were buoyed by the positive reception.
Martin's praise focused on the technical aspects, as he struggled to find the humor in the film himself, reminiscent of his experience with "The Hangover."
Post-premiere, Martin leveraged his connections to secure an exclusive interview with Entertainment Weekly.
In Atlanta, a $5 million production like "Napoleon" was considered a significant investment, though for Disney, it was merely a minor project.
Opening in just 950 theaters across North America, "Napoleon" grossed a modest $1.35 million on its first day. Yet online, fans embraced its irreverent humor.
"It's a riot spoofing Napoleon."
"Napoleon has never been this adorable!"
"Absolutely outrageous and hilarious!"
The film's box office surged on the second day, raking in $2.16 million.
Word of mouth bolstered its reputation, particularly during the Valentine's Day season.
Over its three-day opening weekend, "Napoleon" amassed $4.82 million in North America, with Valentine's Day alone bringing in nearly $3 million.
By the end of its second weekend, the film had grossed $12.25 million in North America, prompting the crew to shift their focus to promoting it in Europe.
Predictably, the French media lambasted Alexandrovich for his portrayal of the lovable Napoleon.
"Alexandrovich, playing the charming sweetheart Napoleon, faced harsh criticism from the French media," Martin noted, acknowledging the backlash.
However, across the English Channel, the film found a receptive audience.
"A British officer, donning cross-dressing attire, wooing Napoleon—an intriguing premise," Martin remarked. "It resonated well with British viewers."
The film's success in the UK facilitated its recoupment of production and publicity costs through box office earnings.
Martin urged the them to take proactive steps towards success, followed by strategic marketing efforts.
Both Martin and Disney Theater President Alan Horn closely monitored the film's progress.
At the Horns' Brentwood mansion, Cody Horn eyed her father's newspaper curiously before taking it from him.
"What's caught your interest in this comedy?" she inquired.
Alan Horn explained, "It's a production by Martin's company."
"Martin? Since when did he dabble in comedies?" Cody asked, intrigued.
Alan clarified, "He invested in it. The film, made by a team from Ukraine or Russia, has been remarkably successful. With a budget of only $10 million, including publicity expenses, its global box office is estimated to reach $35 to $40 million."
Perplexed, Cody failed to grasp the significance.
Alan, keen on grooming his daughter for film management, imparted his wisdom. "Martin proposed a project to me a while back. He showed great optimism but chose not to star in it. I was apprehensive at first, but it seems my worries were unfounded."
He gestured to the newspaper. "Martin has two ventures he's confident in—a comedy spoofing Napoleon and 'Lone Survivor,' which is currently raking in $146 million at the North American box office."
Cody remained nonchalant. "Isn't Martin's track record always a hit?"
Alan, mindful of Warner Pictures' situation, realized Martin's potential departure from the studio.
"Projects Martin invests in and those he stars in are distinct," Alan explained patiently.
Ignoring her father's insight, Cody quipped, "I prefer the films he stars in."
Alan sighed but refrained from further debate, opting to call Martin instead. "Let's discuss that live-action project whenever you're available."
Later that day, amidst Oscar preparations and dress shopping with Elizabeth, Martin squeezed in a meeting at Disney Studios with Alan Horn to discuss their next collaboration—an adaptation of "Beauty and the Beast." Their partnership for the live-action fairy tale film was nearly finalized.