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Komsomolskaya Ploshchad' - Review

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TripHobo Highlights for Komsomolskaya Ploshchad'

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0.23% of people who visit Moscow include Komsomolskaya Ploshchad' in their plan

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In 2013, Disney set up a meeting with Hasbro, which already had Disney’s Star Wars and Marvel licenses, and its FunLab ran regular tests for the company. Before each Star Wars movie, for example, Hasbro tested kids’ familiarity with the franchise. They discovered that parents—“dads mostly,” says Frascotti—passed down their love of Star Wars to their kids in the same way that they taught them which sports teams to root for. “We have a fancy term for it that we made up,” says Frascotti. “We call it trans-generational emotional resonance.” Disney liked Hasbro’s FunLab reports. “They’d seen them work quite well for Star Wars and Marvel,” says Goldner. “Then they asked us what we knew about girls.”

Hasbro researchers found that girls—young girls, particularly—weren’t nearly as into clothes and boys and happily-ever-after as they thought. “What we found was that girls loved the idea of a brand that embraced friendship and kindness,” Goldner says. Impressed with Hasbro’s analysis, Disney gave it a small license for Descendants , a made-for-TV movie it was developing about the teenage kids of its princesses.

Meanwhile, Mattel made what, in hindsight, seems like a pretty dense move: In 2013 it released its own line of princess-themed dolls, Ever After High. Unless you’re a girl under 10—or the parent of one—you’ve probably never heard of them. Designed to be the teen children of Cinderella, Snow White, Little Red Riding Hood, and other characters, they wear platform shoes, bodices, and short, sometimes see-through skirts: tarted-up versions of Disney’s Princesses. Stephen Sumner, a former Barbie designer now at Hasbro, did early sketches of the line. He says Mattel envisioned a line of witch dolls, then realized another company already had one. “So they had to turn it into princesses, even though there was kind of an overlap,” he says. Because the dolls were based on traditional fairy tales, Mattel didn’t have to pay Disney licensing fees. Disney didn’t like the competition.

Several former Mattel employees point to the 2013 release of Ever After High as the last straw for Disney. Chris Sinclair, a Mattel board member who took over as CEO in January, agrees. “We got too competitive with them on Ever After High,” he says. According to Mattel’s annual report, Ever After High accounted for just $53 million in added sales last year.

Hasbro was busy working on its Descendants line when Disney called in early 2014 with a new proposal. “They said,” Goldner recalls, “ ‘What would you do if we gave you the entire Disney Princess business?’ ”

Disney explained that it was reimagining its princesses. Its license agreement with Mattel was coming up for renewal, and it was shopping for a new dollmaker. The company was starting to hear you’re-sending-the-wrong-message-to-our-daughter complaints from parents. The most biting criticism came from New York Times Magazine writer Peggy Orenstein , author of the 2011 book Cinderella Ate My Daughter . She often opined about the time her daughter’s dentist asked her to sit in his “princess chair” so he could “sparkle” her teeth. “Parents were talking about the ‘princess phase’ as if it were an actual stage of development,” says Orenstein.

The Carters – “APESH*T” – Art Direction by Jan Houlevigue Childish Gambino – “This Is America” – Art Direction by Jason Kisvarday J. Cole – “ATM” – Art Direction by Miles Mullin Janelle Monáe – “Make Me Feel” – Art Direction by Pepper Nguyen SZA – “The Weekend” – Art Direction by SZA and Solange Taylor Swift – “Look What You Made Me Do” – Big Machine Records – Art Direction by Brett Hess

Ariana Grande – “No Tears Left To Cry” – Visual Effects by Vidal and Loris Paillier for Buf Avicii ft. Rita Ora – “Lonely Together” – Visual Effects by KPP Eminem ft. Beyoncé – “Walk On Water” – Visual Effects Supervisor Rich Lee for Drive Studios Kendrick Lamar SZA – “All The Stars” – Visual Effects by Loris Paillier for BUF Paris Maroon 5 – “Wait” – Visual Effects by TIMBER Taylor Swift – “Look What You Made Me Do” – Visual Effects by Ingenuity Studios

Bruno Mars ft. Cardi B – “Finesse (Remix)” – Choreography by Phil Tayag Bruno Mars Camila Cabello ft. Young Thug – “Havana” – Choreography by Calvit Hodge and Sara Bivens The Carters – “APESH*T” – Choreography by Sidi Larbi Cherkaoui and Jaquel Knight Childish Gambino – “This Is America” – Choreography by Sherrie Silver Dua Lipa – “IDGAF” – Choreography by Marion Motin Justin Timberlake – “Filthy” – Choreography by Marty Kudelka, AJ Harpold, Tracy Phillips and Ivan Koumaev

Bruno Mars ft. Cardi B – “Finesse (Remix)”– Editing by Jacquelyn London The Carters – “APESH*T” – Taylor Ward and Sam Ostrove Childish Gambino – “This Is America” – Editing by Ernie Gilbert Janelle Monáe – “Make Me Feel” – Editing by Deji Laray N.E.R.D Rihanna – “Lemon” – Editing by Taylor Ward Taylor Swift – “Look What You Made Me Do” – Editing by Chancler Haynes for Cosmo

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