Hotels, Flights Booked Out as ‘Swift Effect’ Hits Singapore 

US singer-songwriter Taylor Swift performs during the first night of the The Eras Tour in Australia at the Melbourne Cricket Ground in Melbourne, Australia, 16 February 2024. (EPA)
US singer-songwriter Taylor Swift performs during the first night of the The Eras Tour in Australia at the Melbourne Cricket Ground in Melbourne, Australia, 16 February 2024. (EPA)
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Hotels, Flights Booked Out as ‘Swift Effect’ Hits Singapore 

US singer-songwriter Taylor Swift performs during the first night of the The Eras Tour in Australia at the Melbourne Cricket Ground in Melbourne, Australia, 16 February 2024. (EPA)
US singer-songwriter Taylor Swift performs during the first night of the The Eras Tour in Australia at the Melbourne Cricket Ground in Melbourne, Australia, 16 February 2024. (EPA)

The "Swift effect" is about to hit Southeast Asia but Singapore has left some of its neighbors seeing red while it profits from a Taylor-made tourism boom as the star's only stop in the region.

More than 300,000 fans from the city-state and neighboring countries will attend the US superstar's six sold-out Eras Tour shows at the National Stadium from March 2-9.

Ingrid Delgado, a fresh graduate in Manila who is travelling to Singapore for the March 4 show, said she bought a "new shimmering dress" for the occasion but had trouble finding an affordable hotel.

"A lot were booked already, so I had to book a more expensive hotel," she said.

The Fullerton Hotels and Resorts, as well as the Fairmont Hotel, told AFP that demand for rooms during the concert period had risen.

Big spenders have taken up Marina Bay Sands' luxury packages named after Swift's hit songs, such as "Shake it Off" and "Stay Stay Stay".

The hotel's SG$50,000 ($37,230) "Wildest Dreams" package includes VIP tickets, fine dining, a hotel suite, limousine transfers and passes to tourist attractions.

The hotel told AFP all its packages were sold out.

Singapore Airlines and Malaysia Airlines said there had been increased demand for Singapore-bound flights but could not say whether it was solely due to the "Swift Effect".

A large contingent of Malaysian Swifties will be crossing into neighboring Singapore.

"It's a dream come true. I feel excited and nervous," said Harith Arsat, a 20-year-old student who will be making his first overseas trip from Kuala Lumpur.

In the Philippines, budget carrier Cebu Pacific has changed its usual flight number for Singapore-bound planes to "1989" -- the year Swift was born and the title of her fifth album -- for the March 1-9 period.

Red carpet

However, not everyone was happy when Swift's only Southeast Asia stop was announced, including fans and governments in some of Singapore's neighbors.

Travelling to Singapore is expensive for many in the region due to high currency exchanges, to say nothing of ritzy hotel packages.

Some were also unhappy because Singapore provided a grant to help secure Swift's record-breaking tour for the city-state.

Officials from the culture ministry and Singapore Tourism Board, citing business confidentiality, declined to say last week how much was paid, or whether an exclusivity deal had been signed to make Singapore Swift's sole Southeast Asian stop.

That followed reports that Prime Minister Srettha Thavisin had told a business forum in Bangkok that Singapore had indeed made such a deal.

The Singapore officials did not address Srettha's comments directly but said Swift's shows were "likely to generate significant benefits to the Singapore economy".

Singapore has been rolling out the red carpet for many international artists, such as Blackpink, Harry Styles and Ed Sheeran, since ending its Covid-19 pandemic curbs.

Coldplay performed six sold-out shows in January and upcoming acts include Bruno Mars, Sum 41 and Jerry Seinfeld.

"Singapore started to open faster than others after the pandemic and its first-mover advantage and concerted efforts to bring in acts, events and conventions has helped," Song Seng Wun, economic adviser for CGS International, told AFP.

"That momentum has been building up."

'Don't lose money swiftly'

Millions scrambled for tickets when they went on sale last year, which led to a rise in online scams targeting desperate Swifties.

Singapore police even released a social media video with the tagline: "Don't lose money swiftly, buy your tickets safely."

Regardless of the dangers, Ericko Dimas Pamungkas, 25, in Jakarta logged in to three devices to get a ticket queue number.

"I got very lucky. I feel like this concert is one of the most important moments for me," he said.

Swift has evolved from a singer with relatable lyrics into a canny businesswoman and the world's biggest pop star, and fans believe there is plenty to learn from the 34-year-old.

"I appreciate Taylor's candidness and what she stands for such as rights, generosity and compassion," said Spencer Ler, a Singaporean pilot who queued for 22 hours to get tickets for his daughter and her friends.

"It's something the girls can learn from."



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.