In this editorial, Jennifer Lopez provides an explanation for the failure of her most recent album.

In spite of the fact that Jennifer Lopez’s new album, which was released 10 years after her previous album, ought to have been a momentous occasion, it has turned out to be a massive failure.

Despite the fact that it was released 10 years after the last album, Jennifer Lopez’s most recent album is a massive failure. Despite the fact that it was the worst four of his career, it may have been considered an event.

With the title “This is me now,” the record was released. Every day, we see it around us in every place. It has been from morning till night, on the networks, in the press, they kiss, we see everything, it’s dripping… This has been going on ever since she reconciled with her former boyfriend, the actor Ben Affleck.

Jennifer Lopez spent twenty million dollars out of her own money to produce a record and two documentaries on the subject of their love tale. This is due to the fact that we did not know anything about their love story and that we did not see anything about their love story. The love narrative that they have shared with us is one that they sell to us. There is still a need for us to cease thinking of ourselves as idiots. The term “J-Lo” has been replaced with “JL’overdose.”

People are under the notion that she is their neighbor because she is so persistently present in their lives. It is no longer even a possibility for them to go see her perform on stage. Just one month after the ticket office for the American tour opened for the first time in five years, there are more seats that have not been purchased than there are seats that are still available for purchase. A total of seven shows have already been postponed. A severe and severe beating.

Documentary filmmaker Jason Bergh, in his unexpectedly intimate documentary of Lopez’s $20 million passion project “This Is Me…Now: A Love Story,” chisel away at the foundations that Lopez’s rise to fame as a pop superstar was constructed upon.

With her ninth studio album, “This Is Me…Now,” Jennifer Lopez made a commitment to be more open and vulnerable than she ever has been before. This album serves as a bookend to her previous album, “This Is Me…Then,” which was released in 2002. In that album, Lopez promised to “tell her side” of the romances that have been one-dimensionally splashed over the pages of tabloids all over the world for decades. I was doubtful about how far back she would draw the curtain, even though I have been a fan of hers for my whole life. This is because she has exercised such precise control over her career.

Between the record and “This Is Me…Now: A Love Story,” the hour-long accompaniment that was released concurrently with it and was not a film but was not a music video, Lopez was able to convey pop emotionality more effectively than she was able to convey genuine relationships. However, “The Greatest Love Story Never Told,” which is the third half of her album-cycle media offensive, provides precisely the revelatory perspective that its predecessors do not have.

The documentary, which was directed by Jason Bergh, delves into the intricate production of “A Love Story,” so revealing the aspirations, obligations, and insecurities of a global superstar in a manner that is both harsh and profoundly satisfying.

In approximately five minutes, Bergh provides a cover of the album itself: Lopez conceived of “This Is Me…Now” as a history of the romances that lead her to the love of her life. The song was inspired by her reunion with Ben Affleck, who she eventually married. In order to match that musical expression, she penned “A Love Story,” which is a collection of short stories that are similar to music videos and may be viewed separately for your convenience. However, they will be presented together as a cohesive narrative if someone is willing to pay for it.

As a result of Lopez’s signing a deal with a particular studio, she finds out that the unidentified shingle will be the sole recipient of financial support for the production of musical content. This includes the production of music by one of the most famous pop stars in the world. She admits that “it’s not like anybody was clamoring over the next J.Lo record,” which is a statement that she herself makes.

A remarkable amount of candor is displayed in the production details themselves, beginning with the initial price tag of $30 million, which was later reduced to $20 million after she was compelled to finance it herself. Candidates for the role of co-stars come and go, such as Anthony Ramos (“In the Heights”), who chooses to maintain his loyalty to his friend Marc Anthony, who was previously her husband.

Her response is, “I’m not playing me,” she says. All three of the actors, Taylor Swift, Jason Momoa, and Khloe Kardashian, were invited to play different members of a Zodiac-sign roundtable or her fictional social circle; however, they all declined the invitation or were otherwise unavailable. After Lopez reaches out to Jane Fonda, who became her friend after they worked together on the film “Monster In Law” in 2005, the veteran headline magnet is concerned first about releasing this album into the world at all, and then about whether or not it would be seen as serious. “I was so worried about Ben after the Grammys,” Fonda recalls, referencing to Affleck’s apparent grumpiness at the 2023 event. Lopez then reassures her that she is not completely concerned about Ben.

Lopez unexpectedly lets all of her fears hang out, and it is strong stuff. When she is not otherwise selecting between different viscosities of mud or agonizing over an inoperable conveyor belt, Lopez does this.

While she is thinking about her reunion with Affleck, she admits that throughout the time that they were separated, she did not think very highly of herself, and as a result, the world did not think very highly of her. She investigates the connections with her mother, who was a narcissist, and her father, who was a workaholic, which drove her to feel so frantic to show her worth, both in her personal life and in her professional life for that matter. After the conclusion of the scene known as “Rebound,” in which her character is linked — sometimes forcibly — with one of the on-screen lovers, she lets out a cathartic sigh of relief, saying, “I’ve definitely been manhandled… and a few other things that are not particularly pleasant,” she admits.

The encouragement that Affleck provides to her, such as when she is convinced that the project will be a catastrophe, highlights both their common affection for one another as well as her lack of experience with the possibility of experiencing truly catastrophic failure. It is clear that she had never before thrown herself out into the world with such a significant amount of risk, but you also see that it is precisely because of his support — which is thoughtful and unflagging — that she found the confidence to undertake it in the first place.

The fact that Bergh is able to define their characters in such a distinct manner (there is something wonderful and lovely about her complete indifference to his delight about Meyers’ truck load of camera lenses), while at the same time highlighting how well they complement one another, provides a sense of profundity to his portrayal of their relationship.

Furthermore, when compared to the showmanship of its movie predecessor, the success of this nonfiction endeavor is so impressive that it nearly makes you wish that Lopez had made the decision to integrate the two into a single work. Despite the fact that “A Love Story” and “Never Told” were intended to be companion pieces, the emotional weight of the later makes the former more entertaining than it would have been otherwise.

The documentary directed by Bergh, on the other hand, provides a singular depiction of the creative process, as well as the dynamics of celebrity relationships, which a succession of “meta” musical interludes may only serve to dilute.

However, even if it were not the objective of the author, “The Greatest Love Story Never Told” manages to accomplish the level of greatness that the other two components of this triad strive to achieve themselves.

In addition to being the immediate beneficiary of a career-spanning documentary just two years ago with “Halftime,” Jennifer Lopez started her “This Is Me…Now” era with the obvious risk of overexposure. She has been the recipient of widespread and too-often negative media coverage throughout her entire career. By utilizing not just the drive that made her a superstar but also the fragility (especially personal) that is inherent in its preservation, the film directed by Jason Bergh achieves something that was not anticipated: it provides viewers with a really fresh perspective on her.

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