EgoRod

I mean I can see about 6 lanes there. I don't think having a whole troupe of people looking to your right and to your left while crossing makes sense. Imagine her sneaking out from the Hotel into the street to the stage back door like some seedy nightclub. She will be mugged or run over before she reach the middle aisle.

Maybe Junior can make a remix of their song for the tour: 'If Jesus calls..' Hello Madonna this is Jesus are you there? Call me in Copacabana!

Do they toned down the Brazil carnival every year ?

I agree

Also, consider that the song was released 35 years ago. It holds the same iconic impact on pop culture as the use of "Running Up the Hill" in "Stranger Things." Older generations vibe with it, while younger generations recognize or discover it, helping to keep it alive. The song fits well in the movie trailer because Deadpool plays with irreverence and the breaking of social norms, much like a big meme. It heavily relies on pop culture references, similar to past uses like the Flashdance's chair scene. The idea of it being a gospel romance song, combined with the lyrics, works with the on-screen reunion of Wolverine and Deadpool—renowned enemies who became besties in the comics. It's smart and funny and aligns with the character lore's sense of humor and storytelling.

Great lessons when the lessons don't mean what they suppose to mean! :D We are gonna do math today but not what Math are but what Math means to me

it's an album that I appreciate more picking the songs out of it and now from a distance. Mind you I never care much about Bedtime Stories until quite late. As others comment I think the big crash was due to be after the electronic evolution from ROL onwards. She was playing with dance-pop sounds and bringing something different with each album, then she landed into generic 00's sound. But I never like 4 minutes and I can't listen to the album straight. I like 2 songs then I don't care about the next and so on.

"Yo soy loco" means "You drive me crazy" ...more like I'm a madman with bad grammar. Now if you want to say You drive me crazy you'll say- ' Me vuelves loco'

I disagree , while Hard Candy the concept is as corny as a dad joke. With CODF the whole concept is dated and so 2000 amateur graphic designer job. I remember discussing it in the forum before and went down investigating and is the same guy that did I believe rebel Heart and MDNA design. Bedtime stories is far more interesting and better put together. The typefonts are an interesting choice, using a modern style font, with an attempt of neon effect (just go into layer styles and add glow) matching with a cursive handwritten. Adding a 3D element of a globe that suppose to look like a disco ball. But is not a disco ball is a globe. None of the typefonts represent 70s or disco. Background: an overlay gradient with pattern of circles that suppose to represent the disco ball reflecting, but they don't. They look like a weird circle pattern from the 50s Madonna cutout like a paper-doll and buttered up with a soft filter removing any shadows or lines and adding color over layers that make her hair and skin look like the coloured photos from the 20s. She even has a shadow over , from the title, because nothing cast more shadow than a neon light (?) It's a mess from a visual graphic point of view. The photoshoot with Klein has lots of great photos and they used the lights and reflection so good. Just to get them all wiped out and do that cover. One of the photos with some profesional editing, keeping the disco lights contrast and add some simple but retro typeface. Like from Studio 54. And you have a great, classy effective cover.

Dissing Hard Candy for looking like a blotched photshop job and putting CODF on the top. along the best, better designed and more photographic cover. That cover is whack. looks like a parody

That was'nt the question the question was if the interludes were opening or closing parts to the different sections. And if that was the case how. Let's say one was Interlude: Madonna NY or Madonna Club scene. Another Sex/Religion and so on and I don't believe there are such an interludes in this tour. The first interlude is : 'The Sacrifice' with the dancers doing Living For Love, after the LAP part and having Bob talking about the 90s. It makes sense after the first part being the 80s and the next part being the Erotica/Justitfy My love. After Bad Girl they go into the Ballroom without interlude. The next one is the Beast Within that is just a revisit to the ReInvention tour one. She started this after setting the stage on fire so that's the link and it goes into the Die another Day considering the bellic (American Life) concept of the previous part I guess it works but again its not an intro nor a closing from what we saw before.. Next interlude is the one with the screens showing the 'controversy' of Madonna during the decades, this again is about Madonna, not a theme, and cuts to Bedtime stories. The last one is the LAV/Billy Jean

I did. I don't think the interludes can be use as opening or closing acts to the rest of the show but only as segues that incorporate more elements to the whole collage.

You should note that the interludes in this tour serve to enrich the narrative about Madonna's history. They include songs she doesn't perform live, tributes to iconic moments in her career, and more. These interludes are integral to the show, seamlessly bridging different eras of her music during the transitions between the singing parts. In contrast to previous tours, where interludes varied in theme matching the different themes within a show. But the theme in this show is Madonna.

I actually like them