#20th Century Fox Consumer Products

[inkykeiji]

hihi! your rb with the tags about your profession had me intrigued and I wanted to ask, what DID kill the Hollywood system? if you don't mind me asking >u<

HI HI HI HEHEHE first of all i hope you’re doing well!!! seCONDLY OMGGG thank you for indulging me waaaaah i love talking about golden age/classical hollywood and the studio system!!!

beware: i rambled on and on below the cut >.< apologies for the mini essay in advance waaah

OKAY SO. first, a little context. the classical hollywood studio system originally utilized a practice called ‘vertical integration’, which basically means they owned and operated ALL channels of production, distribution, AND exhibition—aka, they controlled literally everything in regards to the films they made, which was like 90% of american filmmaking at the time. this, naturally, made it quite difficult for any film that wasn’t a film made by the Big Five (warner bros, paramount, 20th century fox, RKO, and MGM) or the Little Three (columbia pictures, united artists, and universal) to be screened at a theatre, because the studios owned a decent chunk of the theatres.

furthermore, the theatres the big studios DID own always got first run of their films, meaning that their movies were exclusively screened at the theatres they owned first, then were passed off to second run, third run and fourth run theatres. it’s important to note here that the film prints being distributed and passed around theatres were the same all throughout a film’s run—so by the time a print reached a fourth run theatre, the film stock was all scratched up and low quality. who wants to go watch that? (no one! audiences flocked to the first run theatres owned by the studios!).

the antitrust case between the supreme court and paramount pictures (aka ‘the paramount decrees’) was the first, and heaviest, nail in the coffin of the studio system. the paramount decrees did two things. first, they forced studios to stop a practice known as block booking. block booking was a practice where theatres not owned by the big studios were forced to buy a huge block or batch of films in advance. usually, these films included one A-list film and then a bunch of B-movies and other less desired films. second, they forced studios to cease owning theatre chains, which allowed for indie directors to begin screening their films, AND it allowed for more international films to be shown (which in turn helped break down the production code & replaced it with the ratings system).

this began the end of the system! it was then further impacted by consumer culture, car culture, and suburbia. after world war two, many people moved out of the city and into the suburbs, where they began to start families. car culture was booming and it was hip to have a car that you could use to commute to work (from the suburbs into the city!). disposable income was abundant, and many families were buying fancy new appliances for their new suburban homes—including televisions.

it’s a common misconception that TV killed the studio system. it was, in actually, only one of several nails in the coffin. television at the time was pretty crummy; it was low quality, the screens were small, and it only had about three channels (not to mention studios began allowing television networks to begin screening older films that no longer ran in theatres). but evidence proves that moviegoing attendance had fallen drastically several years before televisions became a fixture in the home. to combat TV and capitalize on car culture, studios began erecting drive-ins, to little avail!

anyway, i could go on and on and on but basically, in a nutshell, those were the handful of things that broke down the classical studio system and gave way to ‘new hollywood’…which then gave way to the blockbuster.

[sloshed-cinema]

Will Success Spoil Rock Hunter? (1957)

SNL really have to up their fake commercial game.  The opening credits of this advertising satire present a cavalcade of malfunctioning and potentially even lethal products designed for the average consumer, all presented with a plastered-on grin and eager tone.  Who are you going to believe, your lying eyes or the person paid to make something sound good?  The world of advertising is a topsy turvy one headed by incompetent fools who put the squeeze on overworked creatives below them.  The things a man wouldn’t do for that ultimate symbol of corporate success: a key to the executive powder room.  When happenstance and a niece he dotes on a liiiiittle too much put Rock Hunter on collision course with Rita Marlowe and her oh-so-kissable lips, all of that and more is within grasp.  But little does he know that this will become something of a Faustian pact, driving a wedge between the man and those he loves as he blindly pursues his conception of success.  The Hollywood publicity machine is just as unrelenting as that of Madison Avenue ad firms, and these two make an almost literal marriage of convenience out of this.  Lies and deceit sold to an adoring crowd.  But the film sells it with a cheery facade, layering in little hints of light slapstick as Rock flees the adoring masses or tries to leave his handprints on a Walk of Fame.  Doing too many push-ups can stiffen your muscles and cause a sort of rigor, and the executive washroom emits an angelic choir.  It’s all insanity, so why take any of it seriously?

A metatextual vein runs through the film as well as its within-universe commentary on advertising.  Opening with Tony Randall playing the 20th Century Fox fanfare as a one-man band before introducing the film.  He drops by midway through to condescend the newfangled television crowd, commenting on how crystal clear and true to life the new medium is even as the image shrinks and becomes staticky and distorted.  Marlowe’s frumpy secretary is played by Joan Blondell, who was a sex symbol in the Pre-Code years before this new bird-noises making Marilyn Monroe type filled the headlines.  Acutely self aware, this is the monkeys running the circus and all Rock can do is just stare down the barrel of the lens and shrug wryly.

THE RULES

SIP

Someone names Rock’s advertising firm.

A brand is named.

Rita makes bird noises.

BIG DRINK

A famous person gets name-dropped.

Someone covers the television speaker.

[enterprisewired]

Tupperware Files for Bankruptcy Amid Mounting Losses

https://enterprisewired.com/wp-content/uploads/2024/09/EW-19-09-2024-1-Tupperware-Files-for-Bankruptcy-Amid-Mounting-Losses-Source-mypunepulse.com_.jpg

Share Post:

LinkedIn

Twitter

Facebook

Reddit

[Source – mypunepulse.com]

Tupperware Brands, the company once synonymous with colorful food storage containers, filed for bankruptcy protection in Delaware on Tuesday. The move comes after years of financial struggles and dwindling consumer demand, marking a significant downturn for the iconic brand that became a household name in the 1950s.

Declining Sales and Distribution Struggles

Tupperware’s popularity surged in the mid-20th century with the rise of “Tupperware parties,” empowering women of the post-war era to sell products from their homes. However, in recent years, the company has faced declining sales. One of the main issues has been its difficulty in adapting to modern retail environments and online platforms, with the company continuing to rely on independent sales representatives. According to Tupperware Chief Restructuring Officer Brian Fox, the brand remains well-known, but customers have struggled to find its products, further contributing to its financial challenges.

Mounting Debt and Bankruptcy Filing

The company has faced increasing financial pressure, reporting $812 million in debt. A portion of this debt was acquired by distressed debt investors in July, who aimed to use their position to seize Tupperware’s assets, including its brand and intellectual property.In response, Tupperware files for bankruptcy protection to shield itself from creditors and explore potential buyers. Despite a recent financial boost and debt restructuring efforts, the company’s high leverage and shrinking profit margins became too burdensome, according to James Gellert, executive chairman of financial analytics firm RapidRatings.

Looking for a Buyer Amid Bankruptcy Process

Tupperware files for bankruptcy and announces plans to continue operations during the process, initiating a 30-day bidding period to find a buyer for the entire company. Despite its financial challenges, Tupperware remains determined to explore strategic options to save the brand. In 2023, the company signed an agreement with investment bank Moelis & Co to help navigate these options.

The company has estimated assets between $500 million and $1 billion, while its liabilities range between $1 billion and $10 billion. As Tupperware navigates its bankruptcy process, its future remains uncertain, yet the brand remains hopeful for a potential turnaround.

[avasopa58324]

Behind the Scenes How Disney Plus is Revolutionizing Streaming Entertainment

In the ever-evolving landscape of digital entertainment, Disney Plus has emerged as a powerhouse, reshaping the way we consume content and redefining the streaming industry. Launched in November 2019, Disney Plus swiftly captured the hearts and screens of millions worldwide, boasting a vast library of beloved classics, blockbuster franchises, and original productions. But what lies beneath the surface of this streaming giant's success? Let's delve into the intricate mechanisms and strategies that have propelled Disney Plus to the forefront of the streaming revolution.

Content is King A Treasure Trove of Classics and New Favorites

At the core of Disney Plus's success lies its unparalleled content library, which spans decades of cherished classics, iconic franchises, and original productions. From timeless animated classics like "The Lion King" and "Beauty and the Beast" to modern blockbusters like the Marvel Cinematic Universe and "Star Wars" saga, Disney Plus offers something for every generation and taste.

One of the key strategies behind Disney Plus's content library is its comprehensive approach to acquisitions and partnerships. By acquiring companies like Pixar, Marvel, Lucas film, and 20th Century Fox, disneyplus.com/begin has consolidated an extensive catalogue of intellectual property under one platform. This not only ensures a diverse range of content but also allows Disney to leverage the immense popularity of these brands to attract subscribers.

Moreover, Disney's strategic investments in original content have further strengthened its position in the streaming market. With high-profile releases like "The Mandalorian," "WandaVision," and "Hamilton," Disney Plus has demonstrated its commitment to delivering premium, exclusive content that drives subscriber growth and retention.

Seamless User Experience: The Magic of Technology

Beyond its content offerings, Disney Plus has garnered praise for its intuitive user interface and seamless viewing experience. From personalized recommendations to user-friendly navigation, every aspect of the platform is designed to enhance the viewer's enjoyment and engagement.

Central to Disney Plus's success in this regard is its investment in cutting-edge technology and data analytics. By harnessing the power of artificial intelligence and machine learning, Disney Plus is able to analyze user preferences, viewing habits, and feedback to tailor the viewing experience to individual tastes. This not only increases user satisfaction but also encourages longer engagement and repeat usage.

Moreover, Disney's integration of its streaming services with other aspects of its entertainment ecosystem, such as theme parks and merchandise, further enhances the overall user experience. By offering exclusive perks and experiences to subscribers, Disney creates a sense of belonging and loyalty that extends beyond the digital realm.

Global Expansion From Local to Global Domination

While Disney Plus initially launched in a handful of countries, its rapid global expansion has been instrumental in solidifying its position as a dominant player in the streaming market. By leveraging its vast network of international distribution channels and strategic partnerships, Disney has successfully penetrated new markets and attracted millions of subscribers worldwide.

Key to Disney Plus's global success is its localization strategy, which involves tailoring content, pricing, and marketing efforts to suit the preferences and cultural nuances of different regions. Whether it's dubbing popular shows and movies into local languages or partnering with local celebrities and influencers, Disney ensures that its content resonates with audiences on a global scale.

Moreover, Disney's acquisition of international streaming platforms like Hotstar in India has provided a crucial foothold in emerging markets with immense growth potential. By offering a diverse range of content at competitive prices, Disney Plus has quickly become a household name in countries like India, where it competes with local and international rivals for market share.

The Power of Brand Leveraging Legacy and Innovation

At the heart of Disney Plus's success lies the enduring power of the Disney brand, which has captivated audiences for generations with its timeless stories, beloved characters, and innovative storytelling techniques. By harnessing the legacy of its iconic brand, Disney Plus not only attracts subscribers but also fosters a sense of nostalgia and emotional connection that keeps them coming back for more.

However, Disney's success is not solely dependent on its legacy; it's also driven by its relentless pursuit of innovation and adaptation to changing consumer preferences. From embracing new technologies like 4K streaming and virtual reality to experimenting with innovative storytelling formats like interactive experiences and episodic releases, Disney Plus is constantly pushing the boundaries of what's possible in the world of streaming entertainment.

Moreover, Disney's willingness to experiment with different business models, such as offering a bundled subscription package with Hulu and ESPN Plus, demonstrates its agility and foresight in navigating the competitive streaming landscape. By diversifying its offerings and revenue streams, Disney ensures its resilience in the face of evolving market dynamics and consumer behaviors.

Challenges and Opportunities Navigating the Road Ahead

Despite its remarkable success, Disney Plus faces a myriad of challenges and opportunities as it continues to evolve and expand in the ever-changing landscape of streaming entertainment. From intensifying competition and content saturation to emerging technologies and shifting consumer preferences, the road ahead is fraught with uncertainties and complexities.

However, Disney's strengths lie in its ability to adapt and innovate in response to these challenges. Whether it's through strategic partnerships, technological advancements, or bold creative endeavors, Disney Plus remains poised to revolutionize the streaming industry and shape the future of entertainment for years to come.

Conclusion

Disney Plus's ascent to streaming supremacy is a testament to the power of content, technology, and brand in shaping the future of entertainment. By offering a compelling mix of beloved classics, blockbuster franchises, and original productions, Disney Plus has captured the hearts and screens of millions worldwide. As it continues to expand its reach, innovate its offerings, and navigate the complexities of the digital landscape, Disney Plus is poised to revolutionize streaming entertainment and redefine the way we consume content for generations to come.

[chelg]

The Sims Movie: The Strength of Game IP and the Future of the Video Game Industry

With strong intellectual property (IP) stemming from video game franchises, video game companies’ decisions to sell goods related to their IP is a common phenomenon. However, to tap further into their games’ IP potential, there is a recent trend of companies adapting their IP from games into movies; just a few years ago, it was more common to see television shows or movies adapted into games. For instance, Disney's renowned franchise, Hannah Montana, which began as a television show, spawned a movie release followed by a game adaptation on multiple consoles in 2009.

This week, it was announced that a live-action movie adaptation of popular game franchise by Electronic Arts (EA), The Sims, is in the production process under the same company that produced the 2023 live-action Barbie movie, LuckyChap  However, this is a recurring occurrence as this isn't the first time such a project has been revealed. In 2007, rights to produce a live-action Sims movie were purchased by 20th Century Fox, but the adaptation was canceled in 2019 after Disney acquired 20th Century Fox. It’s unknown why an adaptation was never released between 2007 and 2019, but it's worth noting that the recent announcement follows the success of other movies based on games’ IP. For example, The Super Mario Bros. Movie from 2023 earned approximately 1.3 billion USD in revenue and has recently had a sequel announced to be released in 2026; it seems that EA is inspired by the movie’s success. 

The video game industry’s current strength lies in the versatility of the IP it creates, but there are still several questions to be asked about companies’ eagerness to jump on the movie trend. Given that production of movies can take anywhere from two to three years, and that it’s impossible to predict what consumers’ tastes will be by the time the The Sims movie is released, will the movie be able to perform as well as EA hopes it will? Additionally, beyond the incentive of a significant source of revenue, is there anything else that is causing this trend to occur? It’s well-known that successful game companies have been laying off thousands of employees: could it be that video game companies want to try their hand in other forms of media due to current uncertainties with game development?

Word count: 383

[disneyplusdisney]

Disney+ A Magical Journey into the World of Entertainment

Unveiling the Wonders of Disney+

In the ever-evolving landscape of digital streaming platforms, one name stands out with a magical allure – Disney+. Launched in November 2019, disneyplus.com login/begin has swiftly become a household favorite, offering a treasure trove of content that spans generations. In this article, we embark on a journey to explore the enchanting world of Disney+, delving into its captivating content, user experience, and the impact it has had on the entertainment industry.

The Disney+ Universe

A Wholesome Haven for Family Entertainment

At the heart of Disney+ lies a commitment to providing wholesome family entertainment. The platform is home to a vast collection of classic and contemporary Disney films, animated and live-action, ensuring that audiences of all ages find something to cherish. From timeless classics like "The Lion King" to modern hits like "Frozen," Disney+ brings together the magic of animation and storytelling in a way that is quintessentially Disney.

Beyond the Classics: Expanding the Content Horizon

While Disney+ pays homage to its timeless classics, it goes beyond nostalgia by offering a diverse range of content. The acquisition of 20th Century Fox has significantly enriched the platform's library, bringing in beloved franchises such as "The Simpsons," "Avatar," and the "X-Men" series. This expansion has broadened Disney+'s appeal, making it more than just a platform for animated fairy tales.

The Disney+ User Experience

Seamless Navigation and Intuitive Design

Disney+ takes pride in its user-friendly interface, designed to cater to audiences of all ages. The platform's clean layout and intuitive navigation make it easy for subscribers to explore and discover content effortlessly. Whether you're a tech-savvy teenager or a parent seeking a hassle-free streaming experience for the whole family, Disney+ has crafted a user interface that simplifies the streaming journey.

Personalized Magic: The Power of Profiles

Recognizing the diverse tastes within families, Disney+ allows users to create personalized profiles. Each profile can have its own watchlist, recommendations, and settings, ensuring that every member of the family enjoys a tailored streaming experience. This personalization feature adds an extra layer of convenience, making Disney+ a frontrunner in catering to the individual preferences of its users.

Impact on the Entertainment Industry

Disney+ and the Streaming Revolution

The launch of Disney+ marked a pivotal moment in the streaming wars. Disney's decision to enter the digital streaming arena was a strategic move that shook the foundations of the industry dominated by giants like Netflix and Amazon Prime. With its rich content library and established brand identity, Disney+ emerged as a formidable competitor, prompting other streaming services to up their game in terms of content creation and user experience.

The Shift in Content Consumption Habits

Disney+ not only entered the streaming market but also played a significant role in shaping how audiences consume content. The platform's success highlighted the shift from traditional cable television to on-demand streaming services. The convenience of accessing a vast library of content anytime, anywhere, has become a norm, and Disney+ played a key role in accelerating this paradigm shift.

Disney+ Originals: A New Frontier

Crafting Original Narratives

While Disney+ is celebrated for its extensive library of existing content, it has also made a mark with its original productions. From exclusive series like "The Mandalorian" set in the "Star Wars" universe to the Marvel Cinematic Universe (MCU) spin-offs like "WandaVision" and "Loki," Disney+ has successfully ventured into creating original narratives that captivate audiences and add a new layer to its offerings.

The Marvel Cinematic Universe on Disney+

One of the most significant draws for subscribers has been the integration of the Marvel Cinematic Universe into Disney+. The platform serves as a hub for Marvel enthusiasts, offering a chronological viewing experience of the entire MCU. This move not only attracts fans of the superhero genre but also showcases Disney's ability to leverage its vast content portfolio across its various subsidiaries.

Challenges and Future Prospects

Balancing Act: Navigating Competition and Expectations

As Disney+ continues to grow, it faces the challenge of maintaining a delicate balance between competition and audience expectations. The streaming landscape is dynamic, with new players entering the scene regularly. To stay ahead, Disney+ must continuously innovate, acquire relevant content, and adapt to evolving consumer preferences.

Global Expansion: Reaching New Frontiers

While Disney+ has seen success in its home market, it is actively pursuing global expansion. The platform aims to tap into international markets, tailoring its content to diverse audiences. Adapting to cultural nuances and preferences is crucial for Disney+ to establish itself as a global streaming giant, and its success in this endeavor will shape the platform's future trajectory.

Conclusion: A Timeless Odyssey

In the realm of digital entertainment, Disney+ stands as a testament to the enduring power of storytelling and imagination. By seamlessly blending nostalgia with innovation, Disney+ has carved a niche for itself in the competitive streaming landscape. As it continues to evolve, expand, and enchant audiences worldwide, Disney+ remains a beacon of magic, inviting viewers to embark on a timeless odyssey through the wonders of storytelling.

[bethestaryouareradio]

Eco-Optimism for 2024

“With gratitude, optimism is sustainable.” Michael J. Fox

Here we go again. Every year the Garden Media Group scouts global consumer trends including fashion and home design plus everything in between via global experts to bring resources, new products, and ideas to help companies and gardeners become trendsetters, gatekeepers, and influencers.

I have never considered myself a trendsetter, gatekeeper, or influencer because I believe in creating a style that reflects one’s individual tastes and aesthetics. My company is StarStyle® Productions, LLC because I believe that we each can design a life that allows us to live in a style as the stars of our own lives. I write articles, books, and produce radio broadcasts that are upbeat, positive, and hopeful to help others live a life they design and create. Every year I look forward to the Garden Trends Report because it is filled with information that anyone can utilize to craft their horticultural year in a positive, affirmative manner.

As an ultra-optimistic person, I find their 2024 trends theme of Eco-Optimism especially critical and thought-provoking. This column is based on their findings, and I hope you find it as fascinating and noteworthy as I do.

First the bad news.

Did you know that 67% of Americans 18-23 years of age experience eco-anxiety which is a chronic fear of environmental cataclysm? With 2023 ranking as the hottest year on record with record-high temperatures since record-keeping began 150 years ago, it is no wonder that eco-anxiety is rising. From January through September, Earth’s average temperature was 2 degrees Fahrenheit higher than the 20th-century average of 57.7 degrees Fahrenheit. 200 million people could be displaced by 2050 due to climate change. 25,000 species are in danger of extinction due to climate (and we better do something so that humans are not among those listed). Climate-related disasters including fires, floods, hurricanes, tornadoes, volcanoes, storms, droughts, landslides, melting glaciers, and extreme temperatures have increased by 50% since the year 2000.

Where’s the optimism in these statistics?

The good news is that 68% of people ages 18-24, more than 1.2 billion individuals are acting to make positive climate impacts. Hurray for our young people! Wind and solar power broke energy use records this past year. If we eliminated greenhouse gases (carbon dioxide, methane, and nitrous oxide), within three years, global temperatures would begin to lessen. In March of 2023, the U.S. Fish and Wildlife Service announced over $1.6 billion in apportionments to support states, commonwealths, and territories in their efforts to connect people with nature and conserve fish, wildlife, and their habitats. When we support wildlife and their habitats, we support ourselves.

As gardeners, scientists, horticulturists, and communicators, we have a responsibility to understand the environmental roadblocks and ease the very real eco-anxiety that permeates our global population. We ALL need to be worried and stressed about climate change yet know that we can create solutions. As the trends study says, “stubborn optimism needs to motivate us daily because the future IS worth fighting for.” We can make a meaningful change.

Twenty-five years ago I founded the 501 c3 charity, Be the Star You Are!® (www.BetheStarYouAre.org) with a mission to empower women, families, and youth through increased literacy and positive media messages. Throughout this quarter of a century, I’ve had the honored opportunity of working with several generations. Gen Z is without a doubt the most climate-aware and the most willing to speak up and out. Because they will inherit the world that older generations have created, they want to make a difference NOW. And 52% of the world believes that Gen Z will find the answers.

How do you see the future and what are you going to do about it? Are you willing to pay more for sustainable products? Garden trends for 2024 will include terrariums and night gardens that shine in the starlight. Plants to pick will be more alien-looking, bright, variegated, and/or neon-hued. We will be encouraged to illuminate our gardens with glowing orbs. If weather permits, cosmic cocktails will be the new trendy concoction.

Will you delight in the darkness? Interestingly, cemeteries are becoming the hip hangouts, some across the United States offering movies, yoga, and horticultural therapy. In modern cemeteries, gravestones are also planters. Not a style that I embrace, this new trend is called Goth Gardening. Planting eerie, dark-hued plants are the norm as well as leaving gardens a bit untidy where withered and dying plants add to this dark, ghostly theme.

I fancy curating garden experiences with up-lit trees and plants. My statuary reflects a preference for angels rather than devils. 

 When I create memorial gardens for my loved ones who have gone to the great gardens beyond, I plant trees, shrubs, and flowers that remind me of them. My gregarious gardener Mom’s memorial garden area is called “Alice in Wonderland” and my farmer Dad’s is “Daddy’s Outstanding in His Field.” Planting memorial gardens filled with plants that they grew and were fond of is a wonderful way to honor and remember their contribution to my life.

Bugging out is another trend. The National Gardening Survey saw a 10% increase in gardener’s planting for bees, butterflies, and birds. More people are planting natives. How can you do your part? Plant early and late-blooming flowers. Bees need all the food they can get. Queens are the only bumblebees that survive winter. Without them, future generations will not exist.

Many weeds provide bees with important food sources. Piles of brush or other “messy” piles of rocks or shrubs add valuable backyard nesting habitat. Let the dandelions flourish in winter.

Don’t disturb any nests that you may stumble upon.

A few winter notices from my garden:

ü  My yellow cherry tomato plants are still putting out flowers and creating delicious tomatoes so I’m letting them grow.

ü  Roses are also still blooming and flourishing. I will do a hard pruning either at the end of the month or the beginning of February.

ü  Potatoes are sprouting.

ü  Every day I cut shoots of my baby arugula to add to salads. Yummy!

ü  Bergenia (elephant ears) is my trusty pink-blooming plant in winter.

ü  Apple trees are feeding humans, birds, and other animals. The most delicious apples ever!

ü  When it rains, my rain chains have been a wonderful addition to my rooftop.

We will investigate more trends and data in the next Digging Deep column. Until then, I wish you, your family, friends, and colleagues, a simply wonderful 2024 with gratitude for your readership and optimism for the future from my immediate family to yours!

Happy Gardening. Happy Growing. Happy New Year!

For more gardening advice for all seasons, check out Growing with the Goddess Gardenerat https://www.CynthiaBrian.com/books. Raised in the vineyards of Napa County, Cynthia Brian is a New York Times best-selling author, actor, radio personality, speaker, media and writing coach as well as the Founder and Executive Director of Be the Star You Are!® 501 c3. Tune into Cynthia’s StarStyle® Radio Broadcast at www.StarStyleRadio.com. 

Her newest children’s picture book, Family Forever, from the series, Stella Bella’s Barnyard Adventures is available now at https://www.CynthiaBrian.com/online-store. Hire Cynthia for writing projects, garden consults, and inspirational lectures. Cynthia@GoddessGardener.com  

Share StarStyle® Empowerment

 Read Lamorinda Weekly: https://lamorindaweekly.com/archive/issue1723/Digging-Deep-with-Goddess-Gardener-Cynthia-Brian-Its-Eco-Optimism-for-the-2024-Garden-Trends-Report.html

Photos and more at Press Pass: https://cynthiabrian.substack.com/p/eco-optimism-in-2024?

Press Pass: https://www.vapresspass.com/2024/01/09/starstyle-and-eco-optimism/

[gemtvusa]

Deadpool 3 (2024) Trailer, Release Date, Cast

The forthcoming film commonly referred to as "Deadpool 3," yet to be officially titled, is a highly anticipated American superhero movie featuring the character Deadpool from Marvel Comics. This venture is produced by Marvel Studios and Maximum Effort, and will be released by Walt Disney Studios Motion Pictures. Slated to be the 34th entry in the Marvel Cinematic Universe (MCU), it follows up on the success of "Deadpool" (2016) and "Deadpool 2" (2018). Shawn Levy directs the film, with a screenplay by the duo Rhett Reese and Paul Wernick, joined by Zeb Wells, Ryan Reynolds, who also stars in the titular role, and Levy himself. The cast includes Hugh Jackman, Morena Baccarin, Brianna Hildebrand, and Jennifer Garner. The development for the third installment of "Deadpool" began at 20th Century Fox in November 2016, but progress stalled following Disney's acquisition of Fox in March 2019. Marvel Studios later took over the project, continuing its development with Ryan Reynolds and planning to integrate Deadpool into the MCU while maintaining the R rating characteristic of the series—a first for an MCU film. The Molyneux sisters, Wendy Molyneux and Lizzie Molyneux-Logelin, were brought on board in November 2020 to pen the script, which was subsequently revised by Reese and Wernick in March 2022. Levy came on as director around that time. Hugh Jackman's return to his role as Wolverine was announced in August 2022, with additional casting following in early 2023. Production kicked off in May in London and Pinewood Studios, Buckinghamshire, with scenes also shot in Norfolk. However, filming was put on hold in July due to the 2023 SAG-AFTRA strike, with further shooting expected in Vancouver, Canada. "Deadpool 3" is scheduled for a United States release on May 3, 2024, as a part of the MCU's Phase Five. Directed byShawn LevyWritten byRhett ReesePaul WernickZeb WellsRyan ReynoldsShawn LevyBased onDeadpool by Fabian NiciezaRob LiefeldProduced byKevin FeigeRyan ReynoldsShawn LevyStarringRyan ReynoldsHugh JackmanMorena BaccarinBrianna HildebrandJennifer GarnerCinematographyGeorge RichmondMusic byRob SimonsenProduction companiesMarvel StudiosMaximum EffortDistributed byWalt Disney Studios Motion PicturesRelease dateMay 3, 2024CountryUnited StatesLanguageEnglish

Deadpool 3 (2024) Cast

In the upcoming "Deadpool 3," Ryan Reynolds returns as the eponymous hero Wade Wilson, also known as Deadpool. He portrays a sharp-tongued mercenary blessed with rapid healing powers but cursed with extensive scarring from a life-saving yet torturous mutation. Rhett Reese, the writer, characterizes the movie as a 'fish out of water' tale, with Deadpool's eccentricities contrasting with the more grounded reality of the MCU. Hugh Jackman steps back into the role of the gruff mutant Wolverine, aka James "Logan" Howlett, known for his regenerative capabilities, bone claws, and adamantium-laced skeleton. Jackman has hinted at a tension-filled dynamic between Logan and Deadpool, which will test Logan's patience. In preparation for his return, Jackman has adopted an intensive workout regime, consuming up to 8,000 calories daily. Morena Baccarin reprises her role as Vanessa, Wilson's betrothed, while Brianna Hildebrand returns as Negasonic Teenage Warhead, the explosive mutant and X-Men member. Jennifer Garner is back as Elektra Natchios, the formidable assassin, a role she embodied in "Daredevil" (2003) and "Elektra" (2005). The film also sees the comeback of familiar faces from the Deadpool franchise: Leslie Uggams as Blind Al, Karan Soni as Dopinder, Stefan Kapičić voicing Colossus, Shioli Kutsuna as Yukio, and Rob Delaney as Peter. New additions to the cast include Emma Corrin in a lead villain role and Matthew Macfadyen in a yet-to-be-disclosed part.

Deadpool 3 (2024) Release Date

The release date for "Deadpool 3" in the United States is set for May 3, 2024. This follows earlier plans for the film to debut on September 6 and then November 8 of the same year. The film will be included in Phase Five of the Marvel Cinematic Universe (MCU).

Deadpool 3 (2024) Production

Following the triumph of "Deadpool" in 2016, 20th Century Fox launched the development of two sequels, with plans for the third film to spotlight the superhero team X-Force. However, creative differences led to director Tim Miller departing, and by November 2016, David Leitch was at the helm for "Deadpool 2." Fox was on the hunt for a director to steer the third installment. Co-writer Rhett Reese envisioned that "Deadpool 2" would introduce X-Force, setting the stage for a separate spin-off film that would diverge from a more intimate third Deadpool movie. Disney's acquisition of 21st Century Fox in December 2017 brought about discussions on integrating Deadpool into the family-friendly MCU while retaining the franchise's R-rated edge. Disney considered creating a "Marvel-R brand" for such characters. Ryan Reynolds at one point speculated that the focus might shift to X-Force instead of a third Deadpool film, but the writing team was confident that a third installment would follow the X-Force film, akin to how "The Avengers" slotted between the "Iron Man" sequels. By 2018, "Deadpool 3" was believed to be under active development, with a tentative production schedule set in Atlanta. The PG-13 cut of "Deadpool 2," titled "Once Upon a Deadpool," released at the year's end, served as an experiment for Disney and Marvel Studios on how to adapt Deadpool to a PG-13 setting. Nevertheless, Reynolds confirmed that a third film was in progress and teased a new direction for it, potentially a road trip concept featuring Wolverine. Following Disney's acquisition of Fox, many Fox-developed Marvel films were paused. Josh Brolin, who played Cable in "Deadpool 2" and Thanos in the MCU, discussed continuing his role with Marvel Studios. By late 2019, Reese and Wernick had joined Reynolds in a hiatus from Deadpool, awaiting direction from Marvel Studios on the franchise's future. They confirmed that an R-rated MCU-integrated Deadpool film was assured. In 2020, Reynolds and Marvel Studios began meeting with writers, eventually choosing Wendy Molyneux and Lizzie Molyneux-Logelin for the screenplay. Despite interest in David Leitch's return as director, his schedule impeded his involvement. Kevin Feige, president of Marvel Studios, stated that the film would maintain its R-rating within the MCU. By 2022, Shawn Levy was announced as the director, with Reese and Wernick returning to rewrite the script. The duo expressed excitement about incorporating MCU elements into Deadpool's narrative. Hugh Jackman's decision in August 2022 to reprise his role as Wolverine catalyzed pre-production, and by September, the film had a set release date. The production navigated around the finality of "Logan" by setting Deadpool's and Wolverine's team-up prior to those events. Filming was anticipated to commence in January 2023 in Vancouver but was later slated for May in London. Jackman's Wolverine costume would draw inspiration from "X-Men: The Animated Series" and "Astonishing X-Men," marking his first comic-accurate suit portrayal. The film promised to include various MCU entities, such as the Time Variance Authority, with a star-studded cast reprising their roles from previous Deadpool films. The updated Deadpool costume would reflect the character's 1990s comic book aesthetic. With production taking place on location, early reveals of the suit designs received an enthusiastic response. Filming "Deadpool 3" began principal photography on May 22, 2023, across London and at Pinewood Studios in Buckinghamshire, England. The film was shot under the working title "Tidal Wave," with George Richmond as cinematographer, reuniting with director Shawn Levy and star Ryan Reynolds after "Free Guy." Although initially slated to start in January, and then projected for April, filming was underway without expected disruptions from the May 2023 Writers Guild of America strike, as the plan was to shoot now and revise later during scheduled reshoots if needed. During filming, Reynolds was unable to contribute to the script due to strike regulations, a departure from his involvement in scripting the previous two Deadpool films. Simultaneously, Levy coordinated with the "Stranger Things" team, on which he serves as an executive producer, to ensure he could direct an episode of its final season despite the schedule clash with "Deadpool 3," which was before the writers' strike delayed "Stranger Things." The film's release was subsequently advanced to May 3, 2024. A notable car crash scene was filmed in London in early July. Around the same time, it was announced that Jennifer Garner would reprise her role as Elektra. Filming also occurred in Norfolk, emphasizing on-location shoots for a more tangible and authentic feel. However, production was halted on July 14 due to the 2023 SAG-AFTRA strike, with filming expected to resume post-strike, and with Levy having the opportunity to edit the already captured footage. Levy acknowledged the whirlwind of casting rumors, some true and some unfounded, such as the buzz around Taylor Swift's cameo as Dazzler. He also filmed a pivotal scene, drawing inspiration from a classic "Star Wars" moment, which he hoped would resonate with audiences. "Deadpool 3" became a high-priority project for the studios to continue after the strike's end. Despite this urgency, Levy expressed concerns about maintaining the May 2024 release due to the ongoing strike, hinting at a possible delay to later in the year. Additionally, filming was expected to take place in Vancouver. Music By mid-July 2023, Rob Simonsen was brought on board to score "Deadpool 3," reuniting with director Shawn Levy following their collaborations on "The Adam Project" and the fourth season of "Stranger Things."

Is There a Trailer For 'Deadpool 3'?

Ryan Reynolds shared an update on his YouTube channel, which opens with him engaging in routine activities, including computer work and exercising, occasionally donning a Deadpool suit that closely resembles the character's black and gray X-Force attire from the comic books. While enjoying his Aviation gin in a Deadpool-themed mug, Reynolds quips about lacking ideas for the new movie, except for one. In a seamless moment, Hugh Jackman casually strolls by, prompting Reynolds to ask if he'd reprise his role as Wolverine. Jackman agrees, and Whitney Houston's "I Will Always Love You" plays to underscore the announcement. The video concludes with the phrase "Coming Hughn" and a graphic teasing the iconic Deadpool emblem marked by Wolverine's distinctive claw slash. Less than a day later, Reynolds uploaded another video featuring himself and Jackman. They attempt to clarify Wolverine's return following his demise in "Logan," but the explanation is playfully cut off by Wham!'s upbeat tune "Wake Me Up Before You Go-Go." While a trailer is not yet available, fans have been treated to a first-look image from "Deadpool 3" that shows Wolverine donning his traditional yellow X-Men costume.

Marvel Studios’ DEADPOOL 3 Teaser Trailer (2024) (HD)

https://www.youtube.com/watch?v=R51lTwnn7MY Is Deadpool 3 coming out soon? "Deadpool 3" is scheduled to be released on September 6, 2024. While this isn't exactly "soon" by typical standards, given that it's more than a year away as of the current date, the anticipation for the film continues to build, especially with the news of Hugh Jackman returning as Wolverine and the updates provided by Ryan Reynolds. Will Deadpool 3 be delayed? As of the last information provided, there were concerns expressed by director Shawn Levy regarding the potential for "Deadpool 3" to retain its May 3, 2024, release date due to the ongoing SAG-AFTRA strike. If the strike persisted into early 2024, it was speculated that the film might not meet its initial release schedule and could be delayed to later in the year. However, without a new official announcement or update on the situation, the status of the film's release date remains as previously scheduled. It's important to keep an eye on official announcements for the most current information. Is Deadpool 3 going to be a 12? "Deadpool 3" is expected to retain the R rating from its previous films, as reaffirmed by Marvel Studios President Kevin Feige. This rating is consistent with the adult humor, language, and violence that the franchise is known for. There has been no indication that the film would be toned down to a PG-13 rating (which would be roughly equivalent to a '12' rating under the British Board of Film Classification). If you're referring to the BBFC's '12' rating, official ratings will be confirmed closer to the film's release date, but the intention has been to keep it R-rated. Is Deadpool 3 a MCU movie? Yes, "Deadpool 3" is set to be part of the Marvel Cinematic Universe (MCU). This integration was confirmed following Disney's acquisition of 21st Century Fox, which previously held the rights to Deadpool. The film is intended to maintain its R-rating while existing within the MCU's broader narrative framework. Kevin Feige, the president of Marvel Studios, has confirmed that Deadpool would be a very different type of character within the MCU, indicating the franchise's unique tone and style will be preserved. Read the full article

[aamnasasmedia]

Big six

In order to get a better understanding of the media industry, I studied the Big Six, they are the largest companies that own the majority of media production and distribution. 

Walt Disney: it is known for its media empire, including Disney Studios, Pixar, and Marvel. It owns a major film studio, film properties, and theme parks. It includes groundbreaking films such as Snow White and many more.

Universal: It is best known for its distribution and production in the media industry. It owns many television networks such as NBC, USA News, animation movies, and cable services. Its highest-grossing film is Jurassic Park.

Warner Bros: It is the best best out of all the six companies. It controls several cable networks, including HBO Studio, film studio, and DC Comics. They set a record for earning 1 billion in 13 years and are also popular for their hits, Harry Porter, Superman, etc.

Paramount: Paramount is the longest-operating studio in Hollywood. It has a century of experience in the finest production services from the development of story ideas to post-production.

Sony: It is a massive Japanese conglomerate with operations ranging from consumer electronics to image sensors to the media and film industry. Sony has produced, distributed, and co-distributed successful film series including Spider-Man, Men in Black, Underworld, and Resident Evil. It also controls popular anime platforms and Sony Music Entertainment, one of the big three record labels.

20th Century Fox: It is the world’s second-largest film industry after Warner Bros. It has earned another million by producing films like Avatar, A Night at the Museum, Fantastic Four, X-Men, etc they won their name in the big six.

[wikiuntamed]

Five steps of Wikipedia for Tuesday, 15th August 2023

Welcome, Willkommen, Bienvenida, أهلا وسهلا 🤗 Five steps of Wikipedia from "Timeless Secret" to "20th Century Fox Consumer Products". 🪜👣

Start page 👣🏁: Timeless Secret "Timeless Secret is a line of anti-aging skin-care products sold by home delivery. They are advertised on infomercials featuring former Entertainment Tonight host Julie Moran.The products were originally created by May and Michelle Wong, whose family had been using one of the ingredients, Pu-erh tea,..."

Step 1️⃣ 👣: Infomercial "An infomercial is a form of television commercial that resembles regular TV programming yet is intended to promote or sell a product, service or idea. It generally includes a toll-free telephone number or website. Most often used as a form of direct response television (DRTV), they are often..."

Step 2️⃣ 👣: ABC News "ABC News is the news division of the American television network ABC. Its flagship program is the daily evening newscast ABC World News Tonight with David Muir; other programs include morning news-talk show Good Morning America, Nightline, Primetime, and 20/20, and Sunday morning political affairs..."

Image by The Walt Disney Company

Step 3️⃣ 👣: A&E Networks "A&E Networks (stylized as A+E NETWORKS) is an American multinational broadcasting company that is a 50–50 joint venture between Hearst Communications and The Walt Disney Company through its General Entertainment Content division. The company owns several non-fiction and entertainment-based..."

Image by A&E Networks / The Walt Disney Company

Step 4️⃣ 👣: 20th Century Studios "20th Century Studios (originally known as 20th Century Fox) is an American film studio currently owned by The Walt Disney Studios, a subsidiary of the Disney Entertainment division of The Walt Disney Company. It is headquartered at the Fox Studio Lot in the Century City area of Los Angeles. Walt..."

Image by The Walt Disney Company

Step 5️⃣ 👣: 20th Century Fox Consumer Products

[aamnaasmedia]

The big six

The big six are a selected number of major film studios that engage in film production and distribution. They realize a substantial number of films every year and earn a major share in the box office revenue. The current big six grew into being larger during the 1990s and 1995 when Hollywood started to grow as a conglomerate.

The big six consists of:

Universal studios

Universal Studios is the world's largest film and television production company, although in late 1997 it spun off much of its television operations. The Universal umbrella covers a multitude of entertainment ventures, including the production and distribution of motion pictures and music.

Warner bros

Warner bros. is a fully integrated, broad-based entertainment company and a global leader in the creation, production, distribution, licensing and marketing of all forms of entertainment and their related businesses. Warner Bros. Pictures Group earned $4.4 billion in worldwide receipts ($1.57 billion domestic, $2.85 billion international), marking the 10th time the Studio crossed the $4 billion mark. 

Sony

As a major technology company, it operates as one of the world's largest consumer and professional electronic product manufacturers, the largest video game console company and the largest video game publisher. Through Sony Entertainment, it is one of the largest music companies, largest music publisher, second-largest record label, and third-largest film studio, making it one of the most comprehensive media companies.

Walt Disney

For more than 85 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. In 2019, Disney posted an industry record of $13.2 billion at the global box office. The studio has released eight of the top ten highest-grossing films of all time worldwide, and the two highest-grossing film franchises of all time.

Paramount

A legendary producer and global distributor of filmed entertainment since 1912, Paramount Pictures' library consists of more than 1,000 film titles with rights to an additional 2,500, featuring films by Hollywood's most respected filmmakers. Paramount Pictures' library consists of more than 1,000 films, including such classics as the “Star Trek,” “Godfather,” and “Indiana Jones” franchises, Academy Award-winners “Braveheart,” “Forrest Gump,” and “Titanic,” and current favourites such as “Mission: Impossible” and “Transformers” franchises.

20th century fox

For over 80 years, beginning with its founding in 1935 and ending in 2019 when it became part of Walt Disney Studios. 20th Century Fox was one of the then "Big six" major American film studios.

[tarunyamorris]

POST 5- THE BIG SIX

Category:- Research and Planning

The big six refers to the main six companies which produce a majority of the media content which we watch and consume today. Added below is a mind map of the six main companies.

1. Walt Disney:

Disney is one of the leading companies in the media world. They produce most of the content we consume and also own streaming platforms like Hulu and Disney plus. They own amusement parks such as Disney Land and Disney world, and contribute to the majority of children’s entertainment.

2. Universal pictures:

Is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios.

3. Warner Brothers:

Another large production company which makes movies such as The Hangover, Oceans Eleven, Sherlock Holmes and more.

4. 20th Century Fox:

Is an American Film Production company. They’ve produced movies like, Ice Age, Avatar, Free guy and more.

5. Columbia:

An American production company. They’ve produced movies like, The Blue Lagoon, Nope, American Hustle, etc.

6. Paramount:

American film and television production and distribution company. Produced films like Top Gun, Mean Girls, King Fu Panda and more.

[disneytva]

Susan Arnold Named Chairman of the Board of The Walt Disney Company, Ahead Of Bob Iger’s Departure On December 31th

The Walt Disney Company Board of Directors announced that it has elected Susan E. Arnold as Chairman of the Board, effective December 31, 2021. Arnold, a 14-year member of the Disney Board who has served as its independent Lead Director since 2018, will succeed Robert A. Iger as Chairman of the Board when he departs the Company at the end of the year.

“Susan is an incredibly esteemed executive whose wealth of experience, unwavering integrity, and expert judgment have been invaluable to the Company since she first joined the Board in 2007,” said Iger, Executive Chairman and Chairman of the Board. “Having most recently served as independent Lead Director, Susan is the perfect choice for Chairman of the Board, and I am confident the Company is well-positioned for continued success under her guidance and leadership. It has been a distinct honor to work with Susan and our many other talented directors, and I am incredibly grateful for the support and wise counsel they have provided during my tenure.”

“On behalf of the Board, I would like to express my deepest gratitude to Bob Iger for his extraordinary leadership over the past decade-and-a-half,” Arnold said. “Bob has led Disney to amazing heights both creatively and financially, with his clear strategic vision for delivering high-quality branded storytelling, embracing cutting-edge technology, and expanding internationally, and he’s left an indelible mark on The Walt Disney Company that will be felt for generations to come. As I step into this new role as Chairman of the Board, I look forward to continuing to serve the long-term interests of Disney’s shareholders and working closely with CEO Bob Chapek as he builds upon the Company’s century-long legacy of creative excellence and innovation.”

[clownkiwi]

remember when roger rabbit and figment were disney mascots and were regularly seen at disneyland and disney world :’)))

[ravenklaw2]

Another clarification post: 

Hulu is Disney’s as in they have full control of it  and fully owned it. As of last year, they’ve been paying comcast for that last 20+% share. 

“Disney has already made clear that Hulu will be a critical part of its streaming strategy. When the company debuted its Disney+ service to investors last month, it also spoke at length about the future of Hulu, which has more adult programming, like The Handmaid's Tale.”

Source:  https://www.cnn.com/2019/05/14/media/disney-buys-comcast-hulu-ownership/index.html

Source: https://www.usatoday.com/story/tech/news/2019/05/14/disney-bought-hulu-whats-mean-cord-cutters-binge-watchers/3665629002/

“Hulu CEO steps down as Disney moves almost everything in house.”

Source: https://www.theverge.com/2020/1/31/21117502/hulu-ceo-randy-freer-disney-plus-kevin-mayer-dtc-espn-marvel-studios

In other words, the Hulu CEO who greenlights shows on Hulu is a Disney employee and represents Disney.

As I predicted last week, if announcement was to be made  for Season 2 of LV, then it’d be during Disney quarterly report. When it did not happen, I thought it would be  during the investors’ day event. However, it turned out I was partially right as the announcement came in that same week. 

I still believe that LV will also be shown on their new international streaming service Star (to be launched in 2021), for the platform will only feature originally produced content by Disney’s other studios like 20th Century Studios (LV is produced by this studio), Searchlight, ABC, FX, and Freeform (hey, shadowhunter fans, do you think there’s a chance for a renewal?). As you’ve all noticed, the platform is ready to be launched in 2021 ( as the streaming service Star is already owned by Disney), yet these studios have announced no new content  other than what it is in their respective libraries. Disney Investor Day is the likely place the announcement of the news shows will be made. 

Source: https://www.broadbandtvnews.com/2020/08/06/new-disney-streaming-service-to-take-star-brand/#:~:text=Disney%20is%20to%20launch%20a,of%20properties%20from%20News%20Corp.

Now!!! Here’s what happened to Love Victor.  Disney+ greenlit Love Simon. Then later became Love Victor. I think at this point they simply called Simon verse because they seemed to be conflicted on which show to make. But Disney told them, ‘the go ahead’ make it. 

'Love, Simon' TV Series a Go at Disney+

Source:  https://www.hollywoodreporter.com/live-feed/love-simon-tv-series-a-go-at-disney-1200668

For those of you who don’t know what Love Simon is, it is an lgbt coming out gay romance movie. 

“Disney+, the forthcoming direct-to-consumer streaming platform, has handed out a straight-to-series order for a series based on author Becky Albertalli's Leah on the Offbeat, her sequel to Simon vs. the Homo Sapiens Agenda, on which Love, Simon was based. The project hails from now Disney-owned 20th Century Fox Television, whose since shuttered sibling film studio Fox 2000 produced and distributed the 2018 movie.”

Source:  https://www.hollywoodreporter.com/live-feed/love-simon-tv-series-a-go-at-disney-1200668

In other words, Disney knows they were greenlighting a gay show. They know it is going to be gay. 

Then they changed their mind after they watched the show on February of 2020. They decided to move it to Hulu. They, Disney, decided to move it to Hulu because again as I’ve already established Hulu is their more adult-oriented streaming platform. 

“Ricky Strauss, Disney+’s president of content and marketing, added: “With Hulu now an integral part of our streaming family, our teams are closely collaborating and we have the unique ability to choose the best home for our original productions. All of us at Disney+ are incredibly proud of ‘Love, Victor’ and know the series will be a perfect addition to Hulu’s strong slate of young adult programming.”

See the emphasis on ‘our production,’ they owned Love Victor. 

Source:  https://www.thewrap.com/love-simon-tv-series-moves-from-disney-plus-to-hulu-love-victor/

Along with their decision to move the show, they also assembled a writer’s room for Season 2 to know what is in there ahead of time.

Question? Why do they want to know what’s going to be in Season 2 when there’s no longer a need for censorship? 

The answer is this: 

The duo (Aptaker and Berger) also told TV's Top 5 that now that they know the series will live on Hulu, it frees the writers up to be "edgier" with its humor in season two. "We lost some jokes that hurt," Berger said. Added Aptaker: "When we pitched out the second season to Hulu, their first question was, 'When are the kids going to start having sex?”

Source: https://www.hollywoodreporter.com/live-feed/love-victor-renewed-season-2-at-hulu-1306357

Homophobic or not, Disney has gone through extra lengths of  finding ways to get a gay sex in LV without pissing off their homophobic subscribers.  See they even included it in their ad. 

And if it is not clear yet, here’s the gist: When Hulu renewed Love Victor Season 2, it also means Disney renewed it. Because Hulu is Disney’s. They’re one big family. 

[burnouts3s3]

A Long Post about Disney Plus

(Disclaimer: The following is a non-profit unprofessional blog post written by an unprofessional blog poster. All purported facts and statement are little more than the subjective, biased opinion of said blog poster. In other words, don’t take anything I say too seriously.)

A Long Post about Disney Plus

UPDATE: Movies such as Dumbo and The Lady and the Tramp have not been altered from their original content but instead include a disclaimer stating the movie may contain "outdated cultural depictions". Toy Story 2 still does not have the Stinky Pete scene. The episode "Stark Raving Dad" of the Simpsons is NOT on the platform.

So, the almighty Disney Corporation, aka, that giant conglomerate that has bought Marvel Studios, 20th Century Fox and Star Wars, is planning to release Disney Plus, a streaming service that has multiple shows, movies and original content under the Disney Banner.

And frankly, I’m a bit… worried.

Let me start off by saying, I’m not here to criticize you, the reader and potential consumer. However you want to spend your money is your business. If you wish to boycott Disney out of some personal philosophy or ideology or whatever reason, that’s your business. I’m not here to dictate how you spend your cash.

I would, however, like offer a humble suggestion before you decide to dive in head first into a potentially disastrous scenario.

So, Disney Plus is a streaming service that promises to provide lots of content to potential subscribers and let them view whatever content for a subscription. Obviously, this is Disney’s response and plan to combat other streaming services such as Netflix, HBOMax, Apple TV Plus and so on and so forth. While Streaming services aren’t nothing new, the addition of the Disney brand as well as the multiple Intellectual Properties under its umbrella.

What worries me is where both Disney and its potential customers go from here.

There’s already early reports of certain franchises being put “behind the Disney Vault” aka “We’re not rereleasing these films”. For example, the Aliens Franchise is apparently being one of those films.

www.alien-covenant.com/news/di…

However, Alien and other Fox properties will still be locked away in an effort to combat independent theaters and chains from profiting by screening those classic films.

Other reports indicate that certain films will be censored or excluded from the platform entirely. For example, the Siamese Cats from “The Lady and the Tramp” or Jim Crow from Dumbo will be cut out of their respective films entirely (and would explain why Disney is so keen on doing a live action remake of the Lady and the Tramp). Another case would be a Toy Story 2 after credits scene where in Stinky Pete is flirting with some Barbie Dolls and promising them parts for Toy Story 3.

boundingintocomics.com/2019/11…

CNBC also reports that Disney will remove its Jim Crow character from Dumbo. “The Jim Crow character from the original “Dumbo” will be edited out of the film version that appears on the streaming service.” This also isn’t new news. Boardwalk Times noted the scene would be changed back in April. They reported at the time: “The Jim Crow scene in 1941’s Dumbo will also be edited out for the digital library that launches November 12.” The scene was also removed for the recent live-action Dumbo remake from director Tim Burton as well. CNBC also reports a post-credit scene from Toy Story 2 featuring Stinky Pete will also be removed from the film on Disney+. The scene sees Stinky Pete appearing to seduce two Barbie dolls and promises he can get them roles in Toy Story 3.

Obviously, this is all legal. Disney owns the rights to the properties and they want to have a clean 21st Progressive Identity to hide behind. Besides, I suspected that “Song of the South” was never going to be on the platform.

But this is part of the same problem that everyone, even the most vocal Anti-Disney people, seem to be overlooking.

In which we, the consumer, are trading a product in favor of a service.

What I mean is that because of the success of things like Netflix, Hulu, Youtube, etc., too many of us have gotten used to the idea that we need to pay a subscription for digital access instead of paying a flat rate for a product. That’s NOT a good sign.

The debate of whether exclusive content such as the Original Series, The Mandalorian, is worth the price of admission or whether streaming services are necessary in the age of digital piracy are one thing, but in the age of dubious ownership and the doing away of physical content, ownership still matters.

It all goes back to one thing; when you subscribe to a service to access your content, the people you pay have the right to revoke your service and keep your money. That’s not a good thing regardless of political ideology. And while it’s tempting for PC gamers to pay for what amounts to a digital license to be onboard the same ship, the fact is having all that content tied to one account risks the danger of losing all that data if you should lose access to your account.

I’m a firm believer of owning physical media. For example, I own a Blu Ray of Assassination Classroom. No matter what I say or do online, I don’t have to be afraid of Chris Sabat kicking down my door and taking my Blu-ray away from me (or, at least, I shouldn’t have to…). Because when I buy a physical product, it’s mine as long as I don’t lose it or it isn’t damaged.

But a subscription (and to a lesser extent, a digital license) can be lost really easily.  Even if I were to take extra good care of my account and prevent people from hacking it, guess what? The people who make the content can revoke access.

Remember Minecraft: The Telltale Series? Interesting story. See, when Telltale when bankrupt, one of the games they had made, Minecraft, would no longer be accessible or downloadable from digital platforms, even to those who held the license.

Can you imagine what kind terrifying precedent that sets? Keep a movie or show permanently downloaded onto your storage or lose access to it forever? We’re dealing with a system that makes it so that you don’t own the stuff you paid for now!  

Owning a product gives me a plethora of options. It allows me to keep it, re-watch it, lend it to someone else or, if I decide to hock it for drinking money, sell it. It’s not perfect, but it’s preferable to having something that I paid for as opposed to having nothing. My loyalty to whatever company makes said product ends with a transaction (a transaction that can be easily outmaneuvered through a 3rd party purchase or sale). With a service, you can’t help but be loyal to said company.

If I start badmouthing Disney and Disney decides to deny me access to my subscription, my account or my digital licenses, guess what? I’m up a particularly smelly creek without a paddle.

I doubt Disney will go that far and will adopt a similar strategy to Funimation, as in they give digital vouchers for their Blu-ray series but it’s only redeemable on Disney Plus the same way digital vouchers from Funimation Blu-rays are only redeemable on its streaming service, FunimationNow. I also understand the economic argument in which lots of lower income families cannot afford specific shows and just want a plethora of options. But I know a step in the wrong direction when I see one and with stuff like Kevin Feige saying true Marvel fans must subscribe to said service or Disney saying Disney Plus subscribers will have early access to Frozen 2 or Captain Marvel, the case is there.

This is what happened to things like Dumbo and Lady and the Tramp and Toy Story 2. When you don’t own a physical content of your media, you’re at the whims of a corporation that can alter it whenever they want. 

We all have different opinions when it comes to taste or entertainment. But whatever your feelings on the Disney corporation, whether you think of Kathleen Kennedy’s leadership of the Star Wars franchise, whether you thought the Last Jedi was a piece of junk, whatever you feel about Disney’s relationship with China, one thing is certain. 

When you buy a product, you own that product. When you buy a service, the service owns you.