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film-classics · 7 months ago

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Janet Gaynor - The First Oscar Winner

Janet Gaynor (born Laura Augusta Gainor in Philadelphia, Pennsylvania on October 6, 1906) was an American actress whose image was that of a sweet, wholesome and pretty young woman. She was notable for playing her roles with depth and sensitivity. She is "The First Oscar Winner" of the Best Actress award. Gaynor was not only the first actress to win the award, but at 22, was the youngest until 1986, when actress Marlee Matlin, 21, won for her role in Children of a Lesser God.

As a child, she began acting in school plays. Her family moved to Los Angeles, where her parents wanted her to pursue an acting career. She was initially hesitant to do so and enrolled at Hollywood Secretarial School. Her parents continued to encourage her to become an actress, and she began making the rounds to the studios to find film work. Her first professional acting job was as an extra in a Hal Roach comedy short in 1924, which led to more work in feature films and shorts.

Fox Film Corporation eventually signed Gaynor to a five-year contract and began to cast her in leading roles. By 1927, Gaynor was one of Hollywood's leading ladies. In fact, during the early 1930s, Gaynor was one of Fox's most popular actresses and one of Hollywood's biggest box-office draws. She continued to garner top billing for roles in State Fair (1933) and A Star Is Born (1937).

Despite being at the top of the industry, Gaynor retired from acting at age 33. However, she did return to acting from time to time with guest appearances on TV and films.

Aside from acting, Gaynor also became an accomplished oil painter of vegetable and flower still lifes. She sold over 200 paintings and had four showings under the Wally Findlay Galleries banner in New York, Chicago, and Palm Beach from 1975 to February 1982.

Gaynor had been in failing health and required frequent hospitalizations since a 1982 traffic accident critically injured her. At 77 years of age, two years after the car accident, she passed away in Palm Springs, California, her injuries being officially ruled to have caused her death

Legacy:

Was the first recipient of the Academy Award for Best Actress in 1929 for her performances in three films: 7th Heaven (1927), Sunrise: A Song of Two Humans (1927) and Street Angel (1928), the only occasion an actress won one Oscar for multiple film roles; and nominated for another for A Star Is Born (1937)

Named as one of the WAMPAS Baby Stars in 1926

Listed by the Motion Picture Herald as one of America’s top-10 box office draws from 1930 to 1934

Awarded the Order of the Southern Cross for her cultural contributions to Brazil in 1979

Given a tribute by the American Cinema Awards for her outstanding contribution to the Arts 1983

Honored by the San Diego Festival of the Arts in 1984 for her contributions to the movies at the Spreckels Theatre

Was the subject of "Janet Gaynor: A Centennial Celebration" exhibit at the Museum of Modern Art and Berkeley Art Museum and Pacific Film Archive in 2006

Inducted in the Online Film and Television Association Film Hall of Fame in 2012

Has a star on the Hollywood Walk of Fame at 6284 Hollywood Blvd for motion picture

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ptbf2002 · 1 year ago

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My Top 30 Favorite Jetix Characters

#30 Eizan Kaburagi (Shuriken School)

#29 Josh (Team Galaxy)

#28 Yoko (Team Galaxy)

#27 Brett (Team Galaxy)

#26 Chiro (Super Robot Monkey Team Hyperforce Go!)

#25 Serio (Combo Niños)

#24 Paco (Combo Niños)

#23 Azul (Combo Niños)

#22 Pilar (Combo Niños)

#21 Miss Soledad (Combo Niños)

#20 Sonic The Hedgehog (Sonic X)

#19 Will Vandom (W.I.T.C.H.)

#18 Irma Lair (W.I.T.C.H.)

#17 Taranee Cook (W.I.T.C.H.)

#16 Cornelia Hale (W.I.T.C.H.)

#15 Hay Lin (W.I.T.C.H.)

#14 Iggy Arbuckle (Iggy Arbuckle)

#13 Andy Larkin (What's With Andy)

#12 Nancy (The Kids from Room 402)

#11 Yin (Yin Yang Yo!)

#10 Yang (Yin Yang Yo!)

#9 Master Yo (Yin Yang Yo!)

#8 Timmy Turner (The Fairly OddParents!)

#7 Cosmo (The Fairly OddParents!)

#6 Wanda (The Fairly OddParents!)

#5 Hulk

#4 Peter Parker/Spider-Man (Spider-Man 1994)

#3 Bronze Medal: Pucca (Pucca)

#2 Silver Medal: Jimmy Two-Shoes (Jimmy Two-Shoes)

#1 Gold Medal: Jay (Jetix)

Shuriken School Belongs To Emilio Gallego, Jesùs Gallego, 2 Minutes Animation, Big Star Enterprise, Xilam Animation S.A. Zinkia Entertainment S.A. France 3, France Télévisions S.A. Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Paramount Global, Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Team Galaxy Belongs To Vincent Chalvon-Demersay, David Michel, Michelle Lamoreaux, Robert Lamoreaux, Digital eMation Inc. Marathon Animation, Marathon Media Group, Zodiak Kids Studios, Banijay S.A. Image Entertainment Corporation, Mystery Animation, Quebec Productions, RAI Fiction, Une Coproduction, RAI 2, RAI S.P.A. Jetix Europe N.V. YTV Canada, Inc. Corus Entertainment Inc. France 3, France Télévisions S.A. VRAK.TV Bell Media Inc. And Bell Canada Enterprises Inc.

Super Robot Monkey Team Hyperforce Go! Belongs To Ciro Nieli, The Answer Studio, Jetix Animation Concepts, Disney Television Animation, Jetix, Toon Disney, ABC Family, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Combo Niños Belongs To Carlo de Boutiny, Caroline Pierce, Fabienne Gambrelle, SIP Animation, TF1, Groupe TF1 S.A. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Sonic X Belongs To Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, TMS Entertainment Co., Ltd. Sonic Team, SEGA Corporation, SEGA Sammy Holdings Inc. FOX Kids Europe N.V. Jetix Europe N.V. The Walt Disney Company, 4Kids Entertainment, Inc. Saban Brands, Hasbro Entertainment, Hasbro, Inc. Discotek Media, TV Tokyo, TV Tokyo Holdings Corporation, Nikkei, Inc. 4Kids TV, FOX Broadcasting Company, FOX Entertainment, And FOX Corporation

W.I.T.C.H. Belongs To Elisabetta Gnone, Alessandro Barbucci, Barbara Canepa, Claire Paoletti, Hong Ying Animation Co., Ltd. Wang Film Productions Co. Ltd. SIP Animation, France 3, France Télévisions S.A. ABC Kids, ABC, ABC Family, Jetix, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Iggy Arbuckle Belongs To Guy Vasilovich, Myra Fried, Steve Wright, Shelley Hoffman, Robert Pincombe, Mercury Filmworks, C.O.R.E. Toons, C.O.R.E. Digital Pictures, National Geographic Kids, National Geographic, National Geographic Global Networks, National Geographic Partners, LLC. National Geographic Society, Blueprint Entertainment, Entertainment One Ltd. Hasbro, Inc. TELETOON Original Production, TELETOON Canada Inc. Corus Entertainment Inc. Oasis International, Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company

What's With Andy Belongs To Andy Griffiths, Chile Animación, Jireh Animation, Les Dessins Animés Zoetrope, NIC Entertainment, CinéGroupe, Lionsgate Entertainment Corporation, SIP Animation, Saban Entertainment, Inc. FOX KIDS, FOX Family Worldwide Inc. TELETOON Original Production, TELETOON Canada Inc. Corus Entertainment Inc. RTL Super, RTL Deutschland GmbH, RTL Group S.A. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company

The Kids from Room 402 Belongs To Betty Paraskevas, Michael Paraskevas, Lesa Kite, Cindy Begel, Chile Animación, New Vision International, Storyopolis, CinéGroupe, Saban Entertainment, Inc. FOX Family Channel, FOX Family Worldwide Inc. TELETOON, TELETOON Canada Inc. Corus Entertainment Inc. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company

Yin Yang Yo! Belongs To Bob Boyle Elliott Animation Inc. Jetix Animation Concepts, Disney Television Animation, Jetix, Toon Disney, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Fairly Oddparents Belongs To Butch Hartman, Yeson Entertainment, Sunwoo Entertainment, Co., Ltd. Elliott Animation Inc., Billionfold Inc. Frederator Studios, Frederator Networks, Inc. Wow Unlimited Media Inc. Nelvana Enterprises Inc. Corus Entertainment Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

The Incredible Hulk (1996 TV series) Belongs To Stan Lee, Jack Kirby, Saerom Animation, Inc. MARVEL Films Animation, MARVEL Studios, LLC, MARVEL Entertainment, LLC, New World Animation Ltd. New World Entertainment, Saban Entertainment, Inc. FOX Kids Network, FOX Family Worldwide Inc. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company

Spider-Man (1994 TV series) Belongs To Avi Arad, Stan Lee, Steve Ditko, TMS Entertainment Co., Ltd. SEGA Sammy Holdings Inc. MARVEL Films Animation, MARVEL Studios, LLC, MARVEL Entertainment, LLC, New World Entertainment, Saban Entertainment, Inc. FOX Kids Network, FOX Family Worldwide Inc. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company

Pucca (TV series) Belongs To Boo Kyoung Kim, Calvin Kim, VOOZ Character System, Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, WildBrain Ltd. MBC TV (South Korean TV channel), Munhwa Broadcasting Corporation, Toon Disney, Jetix, Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Jimmy Two-Shoes Belongs To Sean Scott, Edward Kay, Alex Galatis, Kevin Gillis, Mark Evastaff, Mercury Filmworks, Elliott Animation Inc. TELETOON Original Production TELETOON Canada Inc. Corus Entertainment Inc. Corus Entertainment Inc. Jetix Europe N.V. Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company

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lovecolibri · 2 years ago

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No need to answer this now (or even ever, lol) because I know that you were losing yourself in Buddie fanfic to take a break from the messy reality that is currently Buddie on the show. However, I've noticed that you mentioned a few times that "people above" Tim might have said no to romantic Buddie, resulting in him putting someone with a matching vision (Kristen) in charge and giving more attention to LS.

Is there anything in particular that makes you think that could be the case? Or are you just speculating? Because I'll be honest, I always kind of suspected that myself, but I have no proof. Just a weird feeling. There was a comment on the 911 subreddit during the ridiculous mess of season 5 about how Disney was actually a lot more conservative than they seem, and it could be a case of them interfering and people on the show trying to "push back" behind the scenes, resulting in it feeling so disjointed. And when I looked at the timeline, even though Disney finalized the acquisition of 21st Century Fox in 2019, they didn't start implementing a lot of changes to the TV business until late 2020 and ahead of season 4 (which is when Ana and Taylor were brought back as love interests and Buddie started to become more distant). From the Wikipedia article: "On August 10, 2020, Disney announced a reorganization and rebranding of its television studios, with 20th Century Fox Television being subsumed by 20th Century, distributor 20th Television being folded into Disney-ABC Domestic Television, and Fox 21 Television Studios being rebranded as Touchstone Television)."

Some people say it's purely about Disney ownership and they had no creative influence, but I just don't buy that, especially with a show that had ratings as big as 9-1-1 and that it streams on multiple platforms. I don't know, I noticed that the show's quality started to nosedive A LOT in late season 4 after the acquisition and the timing just seems too coincidental to me!!

And before people point out the other LGBTQ relationships/characters on other shows as proof of Disney being cool, I'll just say that doesn't mean that they're okay with all types of LGBTQ relationships/characters on all shows. I've seen fans point out that LS was created to be "more diverse" and I don't think that's an unrealistic idea (and while I don't think that they did a great job with that representation in season 1, I do think they've gotten better).

I have no industry knowledge, but I'd be curious to hear from anyone who does if this is even remotely possible or not.

Hey nonnie! I know absolutely ZERO things and you actually have quite a bit more knowledge than I do! I always attributed season 4 being a bit wonky to covid restrictions affecting everything, but the later part of the season pushing Tay Kay was odd and then I got go the finale and was like oh 😒 But we know that's about when KR took over and she's shit at pacing or creating interesting arcs, or understanding what people loved about the show and what made them want to watch (and I don't just mean Buddie, I mean the balanced focus, the hopefulness, the tough conversations happening on screen, the growth and healing for the characters, the pacing, and the fun and interesting and sometimes intense emergencies).

My comments about Tim are pure speculation but it's the vibe I got is that after season 3 solidifyed the Buckley-Diaz family as a unit and Buck and Eddie not dating all season and then covid leaving the show on longer hiatus with fans going wild for Buddie after all that, that *someone* wanted to shut it down. But of course they can't come out and SAY that or they would lose the loudest part of the fanbase and they are the ones giving hype to the show to bring in new viewers. How many times have you seen someone here or on other online spaces say they're finally starting the show to see what all they hype is about? Casual viewers don't usually come in to a show so late and they can't risk the backlash and bad press of saying Buddie isn't happening. Because then also, they would have to make sure they didn't have Buck and Eddie still being the only perfect fit for each other and would get more backlash for continuing to write them as close as they were. Which we saw in s5 with Buck not really talking to Eddie (or anyone but Tay Kay) most of the time until the breakdown stuff, and even MORE in s6 where Buck STILL hasn't talked to anyone but Hen about his feelings on the sperm donor thing and then they cut anything interesting or deep or meaningful for Buck about that arc because people hated it, and every crumb we HAVE gotten feels very much like an appeasement because the GA loves Buck and Chris scenes and enjoy Buck and Eddie's friendship and their scenes even if they don't ship them together. So we got some scenes that don't affect anything else really so they can pretend they're not "trying" to separate them, while still keeping them very much out of each other's spaces when it would have really counted.

So yeah, I know nothing but it would suprise me zero amounts to find out someone higher up made a call and Tim didn't want to deal with it so he left to go get praise for Tarlos and his diversity picks on LS (while still making it about Owen all the time 🙄), and left OG with someone who wouldn't mind keeping Buddie just close enough as friends to appease the GA and give fandom curmbs to avoid backlash, while never moving forward. 🤷🏻‍♀️ I could be wrong and/or things could change/this was just a stop-gap measure while Tim did the big Tarlos wedding, and we could end up with a s7 Buddie confirmation. But I don't think it happening this season.

Also, to be clear, when I say I'm not giving up on Buddie, I mean that I don't know if the show is going to go there, but I'm gonna bang pans and yell about it until the show ends. I get if you need to nope out of the show for your own peace of mind! But right now, I'm not going to let KR win by giving up when a new LI enters the picture. I'm also not going to praise those LIs or the writing as being "good actually" because it's not 🤷🏻‍♀️ Ana and Tay Kay served a purpose (though Tay Kays could have ended much sooner and actually been about Buck being unhappy instead of doing it because others got hurt but I digress). Ana was Eddie realizing he can't be in a relationship for someone else but it has to be for him too. Tay Kay was Buck (somewhat) realizing that someone being willing to stay doesn't mean HE has to stay if he's unhappy and unfulfilled in the relationship. We don't need them using any more women for peraonal revelations, that's what therapy and talking to your friends is for. So I plan to be just as loud as before because I'm not going to let KR and her shitty arcs slide in the name of making things make sense for Buddie to happen.

#my sweet nonnie friends #911 #911 spoilers #buddie

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cyarskj52 · 2 years ago

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View this post on Instagram

A post shared by Black Information Network (@blackinformationnetwork)

instagram

blackinformationnetwork A viral TikTok video appears to show a white woman storming through her Black neighbor's home over an alleged noise complaint.

In the caption of his TikTok, deschwanden explained that he notified all of his surrounding neighbors that he would be hosting the rooftop gathering until 10 p.m. "It was not 10. Yet, she thought it was acceptable to trespass on our property, and walk through our whole house to get to our rooftop, and began to threaten us."

Social media users identified the Karen as Vibiana Molina, the former EVP of Business and Legal Affairs for Fox 21 Television Studios. Molina now reportedly works as the Executive Vice President of Business Affairs at Chernin Entertainment.

Click LINK IN BIO to watch the full video.

(TikTok: deschwanden)

#Instagram

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sophiaz59 · 10 months ago

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Research

Inner West Film Festival

For 2024 IWFF is bringing over 50 films across 70 sessions in venues like Dendy Newtown, Palace Norton, Marrickville Golf Club, Actors Centre Australia and town halls. There will be pitching and short film competitions, parties, Q&As, location tours, special events and much much more.

2 short film programs and 1 music program

Location: Headquarters

Time: Before or / and during 11-21 April

Copy-writing, Administration, Graphic design, On-site assistant, Social media, Photography, Video shooting and Editing

Advantage:

Experience of operating social media and graphic design

Experience of photo and video shooting, and editing

Internship experience of administration assistant

Why:

Interested in film festival and comedy

Great chance to know about film festival and meet many talent creators and artists

Great experience that may be helpful for working in other film festivals or big events, even in other nations

Spectrum

Do the post-production for many famous films, documentaries and TV series

Time: After early April

Location: Moore Park

Client service, provide administrative support...

Advantage:

Experience of operating social media and graphic design

Internship experience of administration assistant for a lawyer team: knows about client service, supporting a team and keeping secrets

Good computer skill: Word document, PowerPoint, Excel...

Why:

Interested in post-production

Big company with mature internship system

Great chance to learn about script

Studio 13

Francis Cai: Fine art photographer, Visual Artist and XR film director with unique perspective in psycho-geography, focus on surreal landscapes and rising self-awareness in the post-pandemic era

The Daylight Moon (2022)

Time: Every Monday or Thursday

Location: Paddington

Production and post-production, PR, PS...

Advantage:

Bachelor of Visual Arts, Major in Screen Arts

Knows photography and video shooting, PS and PR

Taking course, Mixed Reality this semester

Held a small installation exhibition in 2023

Language: Chinese & English

Why:

Interested in how to prepare an art exhibition in this industry

Eden Collective

Time: March 5th -

Location: Surry Hills

Production management, Audio, Camera, Lighting...

Audio/ video editing, logging and workflow management

Advantage:

Have studied Lighting / Photo-media

Experience of audio recording, video shooting and editing

Why:

Great chance to learn a lot

Catalyst ABC

Australian science journalism television program broadcast by the Australian Broadcasting Corporation

Time: May 13th - 24th for 6-8 days

Location: Ultimo

Working on the new series of Catalyst in May

Full-time / 3-4 days a week for 2 weeks

Meeting with Penny in late March for a general introduction after signing the Schedule

Need to be very organised as the essay is due soon after the placement

Advantage:

Watched some science TV program

Why:

Great chance to learn how TV program work

Visakesa Chandrasekaram

Sri Lankan film director, community law practitioner, human rights lawyer, activist, writer, novelist, dramatist, songwriter, artist, stage performer and academic

Forbidden Area (1999)

Time: March 30th (16 hours) / May 30th (24 hours)

Proposed activities/ time-frame and dates for 40 hours of placement

Approx 7-8 x 5 hours sessions or 6 x 6 hours sessions

Research for screenplay development & develop a preliminary shooting schedule

Advantage:

Internship experience with a lawyer team

Why:

Great chance to learn about research for screenplay development and develop a preliminary shooting schedule

Links

Inner West FF

https://www.linkedin.com/company/inner-west-film-fest/

Studio 13

https://www.linkedin.com/in/cai-francis99/

Catalyst ABC

https://www.linkedin.com/in/dr-penny-palmer-8b934828/?originalSubdomain=au

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lenbryant · 1 year ago

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Why would Disney want to sell ABC? By Stephen Battaglio, Meg James Sept. 21, 2023

After Walt Disney Co. completed its landmark acquisition of ABC in 1996, the entertainment conglomerate did not waste any time integrating the TV network into its corporate culture.

Every top ABC executive was required to spend the day at a Disney theme park dressed as Goofy, Pluto and other characters in the company’s universe. It was a way to get them to march in formation, as promoting the Disney brand became part of their jobs.

Having a TV network that reached nearly every household in the country helped the company launch hit movies, park attractions and Broadway shows. An episode set in Disneyland or Disney World was a given for every family-centered ABC sitcom, from “Roseanne” to “black-ish.”

ABC has long been part of the entertainment behemoth’s DNA, which is why it came as a shock when Disney Chief Executive Bob Iger said earlier this summer that he is open to spinning off the network and its eight TV stations based in such major markets as Los Angeles, New York, San Francisco and Chicago.

Iger’s comments have already generated interest from potential suitors, including Nexstar Media Group, the largest TV station owner in the country. Byron Allen’s Allen Media Group said it would offer $10 billion for the network and stations along with several of Disney’s entertainment cable channels.

Disney tamped down expectations that any deal is imminent, saying it has not made any decision to part with the assets. But just raising the potential of a deal shows how media companies that are struggling to adapt to changes in technology and consumer behavior are forced to ponder moves once considered inconceivable.

A landmark deal

To be sure, the opportunity to acquire an asset such as a major broadcast network does not come around often. ABC has only changed hands three times since it was spun off from NBC as a radio network in 1943. It was merged in 1953 with United Paramount Theaters, a chain led by Leonard Goldenson, who guided the company into the television age.

In 1985, ABC was acquired by Capital Cities Communication, a low-key owner of TV and radio stations and print publications based in Albany, N.Y., hardly an entertainment industry hub, for $3.5 billion.

Capital Cities turned out to be a transitional owner. In the early 1990s, a change in FCC rules lifted a prohibition on networks owning their prime-time shows, which opened the doors to mergers with movie and TV studios.

Enticed by ABC’s 80% stake in sports media giant ESPN, Disney stepped up, paying $19 billion.

In the ensuing years, Disney grew and diversified, but the TV business matured. Consumers under the age of 50 have largely abandoned traditional TV for streaming video platforms when they want to watch scripted shows and movies.

“This is a smart company that has unique and compelling assets that customers care about, but it is being buffeted by the same kind of disruptive trends that we’ve seen in a lot of industries now,” said David Rogers, author of “The Digital Transformation Roadmap” and an instructor at Columbia Business School. “How do you thread this needle and transition from one set of business models to another?”

In July, Nielsen data showed that the total share of viewers watching broadcast and cable networks dropped below 50% for the first time. Streaming accounted for nearly 39%, up from 28% in July 2021. Broadcast TV’s share fell from 24% to 20% over that time, while cable’s share was 29.6%, down from 38%.

“These are not distressed assets, these are distressed business models,” Rogers said. “The business is shrinking.”

The shift has accelerated at a time when the company’s balance sheet is stretched.

Disney piled on debt four years ago to buy much of Rupert Murdoch’s entertainment assets, including the Fox movie and television studios and cable channels FX and National Geographic.

In the early days of the pandemic in 2020, after theme parks and movie theaters closed, the company took on more debt. It also suspended its stock dividend to investors. (Iger has said that he wants to reinstate the dividend by year’s end.)

The company is facing a series of notes coming due, including $1.4 billion that is maturing this year, according to Moody’s Investors Service.

Disney’s debt, minus cash and cash equivalents, is $36.7 billion, according to regulatory filings.

Moody’s gave Disney a strong A2 credit rating. The company generated $1.5 billion in free cash flow during the last fiscal quarter, and the ratings agency noted Disney has made progress whittling down its debt.

The coming months could be crucial to the company’s financial picture. Four years ago, Disney agreed to pay Comcast Corp. at least $9 billion for the Philadelphia cable company’s 33% stake in streaming service Hulu. (Disney owns 67% after the Fox purchase).

The two companies, at that time, established a floor for Hulu’s valuation at about $27.5 billion, but Comcast Chief Executive Brian Roberts insists the streaming service is worth considerably more. Analysts have speculated that appraisals could put the value at $40 billion or more.

This means that Disney might need to come up with more than $10 billion to pay Comcast to acquire 100% of Hulu.

Such demands are putting pressure on Iger, who on the surface seems like an unlikely agent for an ABC sale, which analysts say could fetch as much as $8 billion.

Iger started his career as a studio supervisor for the network in 1974, working his way up to chief executive of what was then Capital Cities/ABC in 1994.

After Disney took over, Iger’s leadership bridged the disparate cultures of the merged companies and he eventually succeeded the mercurial Michael Eisner as chief executive.

But in recent years, he has been a harsh realist about the future of the traditional TV as it struggles to survive as streaming thrives.

“Linear television — cable and satellite — is marching in a constant direction toward a great precipice and it is going to be pushed off,” Iger said a year ago at the Code industry conference in Beverly Hills — two months before his surprise return as Disney’s CEO.

The steady loss of pay TV customers cutting the cord — about 7% a year — also threatens the retransmission fees ABC receives from cable and satellite companies that carry its stations. The network has been relying on fee increases to keep the pay-TV revenue growing, but the decline in customers will eventually cut into that pie.

“He knows the legacy linear TV business is over,” said one former network executive familiar with Iger’s thinking regarding an ABC spinoff. “He wants to do it.”

The shift to streaming

It’s not just convenience that has drawn consumers to streaming.

Big money and creative freedom offered by streaming companies has lured away name brand producers away such as Shonda Rhimes. She tuned out such hits as “Grey’s Anatomy” and “Scandal” for ABC before leaving in 2017 for an exclusive deal with Netflix.

Disney has participated in the industry-wide shift of financial resources into streaming as well, as it tries to rapidly build up the programming offerings of its subscriber-based streaming service Disney+.

The company reportedly spent $15 million per episode to make the “Star Wars”-based series “The Mandalorian,” a budget that would be unheard of for an ABC show, even during the network’s glory days.

A man in a metal helmet sits in a cockpit with a little green guy in his lap Din Djarin (Pedro Pascal) holding Grogu (aka Baby Yoda) in “The Mandalorian.” (Lucasfilm Ltd./Disney/TNS) (Lucasfilm Ltd.) Disney executives have also said the future of ESPN is as a direct-to-consumer streaming channel once the universe of pay-TV subscribers falls below a certain point. The company has tapped former top executives Tom Staggs and Kevin Mayer as consultants to look into strategic partners that can help in the process.

So why would another company want ABC if the future is bleak?

Unlike Disney’s direct-to-consumer business — which posted a $500 million loss in the third quarter — the traditional TV business is still profitable.

Steven Cahall, an analyst Wells Fargo, projects the combination of ABC network and stations will take in $5 billion in advertising sales and revenues from pay TV carriage fees in the 2024-25 fiscal year. That’s down from $8.3 billion reported for 2018-19.

But TV stations have high profit margins — Cahall puts ABC’s at 30-35% — thanks to political ad spending in presidential and mid-term election years. The audience for traditional TV is older, but more likely to vote, and stations located in states with contested races are flooded with candidate spots.

In 2024, spending on political ads is expected to hit $10.2 billion, up from $9 billion in the 2020 presidential cycle, with about half going to local TV stations, according to AdImpact, a firm that tracks election spending data.

On the network side, ABC has the durable reality franchise “The Bachelor” Emmy-winning sitcom “Abbott Elementary” and the annual Oscar telecast through 2028. While it ranks fourth in overall viewers among the four major broadcast networks, it had the most-watched non-sports programs among 18- to 49-year-olds in the 2022-23 season.

But its strongest assets are major sporting events such as college football, the NBA Finals and the NFL, including two Super Bowls over the next 10 years.

Those rights deals are shared with ESPN, so any new ABC owner will have to negotiate to keep those high-rated events as part of a sale, analysts have noted.

An ABC sale would not immediately provide Disney with a financial windfall. Any deal would have to be approved by the FCC and face other regulatory scrutiny.

The earliest that ABC might change hands would be late 2024 or 2025, according to one knowledgeable industry insider who was not authorized to speak publicly.

The company will likely face blowback from Washington lawmakers over what would happen to ABC News in the event of a sale. Politicians, who like to be seen on TV by constituents back home, are expected to express concern that the division remains viable.

The division is filled with high-paid stars such as “Good Morning America” co-hosts Robin Roberts and George Stephanopoulos. A new owner — especially if it were the highly cost-conscious Nexstar or a private equity group — will want to bring those salaries down.

ABC News employees are said to be in a panic over the prospects of a new budget-slashing owner, according to a former executive for the division, especially after seeing the cutbacks at CNN that occurred after Warner Bros. Discovery took over the channel.

PHOTO Disney Chief Executive Bob Iger with Mickey Mouse at "Mickey's 90th Spectacular" at L.A.'s Shrine Auditorium in 2018. Walt Disney Co. Chief Executive Bob Iger poses with Mickey Mouse at “Mickey’s 90th Spectacular” in 2018 at the Shrine Auditorium. (Valerie Macon / AFP via Getty Images)

#RefrigeratorMagnet

#abc #disney #refrigerator magnet #los angeles times #mickey mouse #bob iger #long post

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denimbex1986 · 1 year ago

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'In the third act of Oppenheimer, the father of the atomic bomb sits in a darkened hall and watches a slide show of what his gadget hath wrought at ground zero. From offscreen space, the lecturer clinically describes what we in the audience are spared from looking at.

The decision by director Christopher Nolan not to show the Japanese victims that should be in Oppenheimer’s field of vision has been both roundly criticized (Brandon Shimoda, curator of the Hiroshima Library, called it a “demoralizing” absence that “makes unreal the experience of Asian people”) and stoutly defended (in The Los Angeles Times, film critic Justin Chang responded, “omission is not erasure”).

Whatever your take, Nolan’s political/aesthetic choice presumes viewers are unspooling the pictures in their own mind. Compared to the newsreel record of the Holocaust, the visual imprint of the victims of Hiroshima and Nagasaki has not been seared as indelibly into the popular imagination. For most of the Cold War, the motion picture evidence of the impact of atomic weaponry on humanity was memory-holed by squeamish media gatekeepers and restricted by the U.S. government. Only a few glimpses slipped through the cracks.

In 1945, Americans should have seen the victims of the atomic bombings in the newsreels, the screen journalism of the pre-television, pre-digital age. Throughout the classical Hollywood era, the newsreels were an integral part of what exhibitors called “the balanced program,” playing at the top of a film menu that included a cartoon, a comedy short, and a feature-length attraction. Five studio-affiliated newsreels released two issues per week, each running about eight to 10 minutes in length: MGM’s News of the Day, RKO’s Pathé News, Fox Movietone, Universal Newsreel and Paramount News.

When the atomic bombs were detonated over Hiroshima (Aug. 6, 1945) and Nagasaki (Aug. 9), newsreel editors were caught flatfooted. Of course, they were given no prior notice of the use of the top-secret weapon, but the military had prepared elaborate press releases for newspapers and radio (CBS broke in with a bulletin at 11:15 a.m. on Aug. 6, NBC two minutes later). The newsreels scrambled to play catch up. Camera crews descended on the sites revealed to have played the key roles in the Manhattan Project — Oak Ridge, Tennessee; Richland, Washington; and Los Alamos, New Mexico — but they were forbidden access by still-wary authorities. Not until Aug. 21, 1945, did the military provide some 80 feet of film (close to a minute) of the atomic bomb blast at Trinity on July 16. “The explosion, the greatest to be caused by mankind in all history — up to the time the two atomic bombs were dropped on Japan — makes one of the most spectacular screen scenes ever filmed,” said Showman’s Trade Review.

On Sept. 15, the first films of what News of the Day called “atom-bombed Japan” finally reached newsreel screens. The footage showed the flattened landscape of Hiroshima, more obliterated even than Berlin and Tokyo, first from the aerial perspective of a B-29 and then from the ground, where a few Japanese civilians walk dazed through the ruins. The narration is blunt about the scale of the devastation and the number of causalities, but no images of the dead and wounded are screened. “Latest reports from the Japanese say 126,000 died as a result of the damage done by the single bomb that blasted the city,” reported Universal Newsreel announcer Ed Herlihy. “For many days after the actual bombing, thousands continued to die of burns and shock.”

Universal credited the footage to commercial newsreel and Army Air Force cameramen, but Japanese camera people were also on the scene in the immediate aftermath of the blasts documenting the backfire on their countrymen. They took some two hours and 40 minutes of motion picture footage, all of which was confiscated by U.S. Occupation forces. According to Edith Lindeman, film critic for the Richmond Times-Dispatch, writing in 1946, “the pictures were developed and readied for general consumption,” but government and military authorities soon had second thoughts. “Shots of dismembered bodies, piles of dead animals, and [of] a man whose body had been blown flat into a concrete road where it was imbedded by the blast” were so appalling that officials feared that American public might withdraw support for the testing of future atomic bombs.

A year later, however, on the first anniversary of the blasts, the U.S. government had third thoughts and released the footage to the newsreels. The newsreel editors were not unanimously receptive. Three of the outfits — News of the Day, Pathé and Fox Movietone — deemed the footage “too gruesome” to show to moviegoers settling in for an evening’s entertainment. Only Universal Newsreel and Paramount News opted to use the footage.

That same week, the military also released footage of the underwater atomic test near Bikini Atoll in the Marshall Islands, conducted on July 25, 1946, an awesome spectacle documented by 300 cameras (and later repurposed by Stanley Kubrick at the end of 1964’s Dr. Strangelove). The back-to-back coupling of the two segments — Bikini and Hiroshima, the shape of things to come followed by the human fallout — made for a grim all-atomic episode. Usually, the newsreels tried to soften even the harshest news at the top of the issue with a back-end clip of fashion or sports. Not this week.

The Universal Newsreel segment incorporated scant seconds of the Hiroshima victims, but Paramount lived up to its slogan as “the eyes and ears of the world.” The nine-minute issue (“Atom Bombs!” is the exclamatory title) devotes about half its running time to an unblinking look at the Japanese victims. (The news reel of Paramount News issue 99 is not currently available online; I viewed it with the help of multiple archivists...)

“One year has passed since the first atomic bomb changed the course of civilization,” reads the introductory title card. “This film report — of pictures just released from Hiroshima and the underwater Bikini test — highlights the new world crisis unleashed by the most terrible destructive force in history.” Offscreen narrator Maurice Joyce, the voice of Paramount News, takes over with an awed after-action report on the Bikini blast, noteworthy not just for the frame-filling, ballooning mushroom cloud (shown twice, from two different camera angles) but because the clip allots a full 30 seconds of tension to counting down the moment of detonation. Sailors aboard ships anchored near ground zero would have met “a terrible atomic death,” he says, a remark that serves as a transition to what “one year ago swept down on Hiroshima.”

The shift to “Hiroshima, August 6, 1945” is signaled by the clang of a Shinto temple gong on the soundtrack. First, we see a peaceful modern city before the blast and then a postapocalyptic vista of rubble. “This is how Hiroshima looked after the blast. Four and a half square miles almost completely burned out.”

The final title card asks the question of the moment: “In light of these shocking films, the world faces a life-and-death question: CAN WE CONTROL ATOMIC POWER?”

Engaging in the kind of overt editorializing that the newsreels almost always avoided, Joyce demands an answer. Yet even with the stakes being nothing less than the future of mankind, politicians remain “deadlocked” and “the same old balance of power maneuvering continues.” At the close, the clip reprises the images from the Bikini explosion and Joyce signs off with a warning, “Unless there is complete agreement on the bomb, we may as well build our cities under the Earth and get ready for armageddon.”

The commentary was written by Paramount editor and future Time magazine film critic Weldon Kees, who felt he had done a good job of work that day. The newsreel “with the Bikini test and the Japanese films turned out amazingly well,” he wrote his parents back in Beatrice, Nebraska. “It is no doubt one of the best newsreels ever released.”

Senior management at Paramount News agreed. On Aug. 9, 1946, the outfit invited newspaper and trade press critics to a special screening of the issue at its New York headquarters. “The screen is the only real medium that adequately brings home the horrors of the bomb and it has done so indeed in this reel,” said Curtis Mitchell, Paramount’s director of advertising and publicity. “I hope it is shown in every theater in the world.”

That kind of saturation was unlikely. Most motion picture exhibitors were locked into contracts with one of the five newsreel companies. Though not a hard and fast rule, Fox-owned and-affiliated theaters tended to show Fox Movietone newsreels and so on. Thus, Paramount’s newsreel was screened in Paramount houses and by some independent exhibitors who had the freedom to mix and match. Paramount’s unique hard news scoop was also welcomed in all-newsreel houses, a circuit of venues in the major cities that played a one-hour program composed entirely of newsreels and short documentaries. “See Casualties and Damage by 1st A-Bomb!” urged the Tele News Theater in San Francisco. The Trans-Lux Theater in New York highlighted the Paramount clips in a similarly gruesome way. Still, even if you were an avid moviegoer in 1946, chances are less than even that you would have seen the Paramount News footage.

Viewers who did see the Paramount footage were stunned and sickened. “This clip becomes a real shocker because of the previously unseen shots of the devastation wrought on human beings by the atom bomb on Hiroshima,” wrote Jack D. Grant in The Hollywood Reporter in August 1946. (Tellingly, critics often resorted to the biblical verb “wrought” to describe the atomic visitation.) “Radioactive rays burned the pattern of one woman’s dress on her skin. Others were scarred and blinded in the most hideous manner. No punches are pulled in showing any part of the devastation. There are closing shots of school children, still disfigured a full year after Hiroshima.”

At Motion Picture Daily, critic Herb Loeb was especially distraught. “The scarred, burned, and maimed people caught by the Japanese camera at the height of their anguish forms a burning indictment against the use of the atomic bomb by any civilized country,” Loeb wrote. All agreed, in the words of Chester B. Bahn, editor of the Film Daily, that the Japanese “clips belong on every screen not only in the U.S. but throughout the world as a solemn warning to all peoples that it is indeed later than they think.”

That same month, with the exhilaration of V-J Day no longer at fever pitch, other media were also reckoning with the human cost of the bombs that ended World War II. On Aug. 9, the monthly screen magazine the March of Time released a timely issue titled “Atomic Power,” a science lesson that was more cautionary than celebratory. It opened with the mushroom cloud from Trinity and shots of what remained of Hiroshima, though no victims were in sight. In a testament to the unmatched cultural cachet conferred by the March of Time series, the scientists and bureaucrats instrumental in the Manhattan Project — including Albert Einstein and J. Robert Oppenheimer — obligingly reenacted their roles for the cameras, “We’ll know in 40 seconds,” says [the real] Oppenheimer, playacting the countdown on that fateful morning. Also in August 1946, The New Yorker published John Hersey’s issue-long essay “Hiroshima,” which evoked in prose what Paramount News projected on film.

After the surge of attention in August 1946, the footage lay dormant for more than two decades. Unlike the Holocaust footage, which was unspooled incessantly in documentaries on Nazism and in feature films such as Orson Welles’ The Stranger (1946), Sam Fuller’s Verboten! (1959) and Stanley Kramer’s Judgment at Nuremberg (1962), the newsreel footage from Hiroshima and Nagasaki was not resurrected by Hollywood initially. Cultural historian Greg Mitchell, author of The Beginning of the End: How Hollywood — and America — Learned to Stop Worrying and Love the Bomb, argues that the absence was not happenstance. “The United States engaged in airtight suppression of all film shot in Hiroshima and Nagasaki after the bombings,” in a concerted campaign he calls “The Great Hiroshima Cover-Up.”

Photographs in the print press were not as easily shut down. On Sept. 29, 1952, Life magazine, under the headline “When Atom Bomb Stuck — Uncensored,” published a six-page spread of “scratched and dusty photographs” that, after being “suppressed by jittery U.S. military censors,” had recently “struck Japan with the impact of a delayed fuse bomb.” Letters poured in from shocked readers thanking the magazine for publishing “those terrible pictures.” With a readership at the time of around 25 million, the Life magazine spread probably attracted more eyes than the Paramount News issue.

The cinematic embargo was largely broken with Alain Resnais’ French-made, Hiroshima-set Hiroshima Mon Amour (1959, U.S. release May 1960). To wit: Hideo Sekigawa’s Hiroshima (1953, U.S. release May 1955), a harrowing docudrama about the aftermath of the bombing, received only limited art house distribution in the U.S.

At the top of Hiroshima Mon Amour, before the action veers off into more familiar nouvelle vague territory, the art house crowd was escorted through the displays in the Hiroshima Museum and saw (many doubtless for the first time) clips from the Japanese-shot newsreels. The contrast between the forefronted romance and the newsreel background, wrote Richard Gertner in Motion Picture Daily, “makes plain the horror of Hiroshima as no film on the subject has done before.”

In 1968, the existence of the long-buried footage came to the attention of Columbia University professor and pioneering media scholar Erik Barnouw. He contacted the Department of Defense and asked about the films. He was told the cache had recently been turned over to the National Archives, which furnished Barnouw with copies. Finally, U.S. officials “agreed with the intention to display to the general public the horrors of nuclear warfare,” reported Variety in 1970.

Working with Columbia University colleague Paul Ronder, Barnouw winnowed down the Japanese footage into a 16-minute short titled Hiroshima Nagasaki August, 1945. Hunched over a Steenbeck editing bed, Barnouw was stricken by what he saw, but confessed that it would be dishonest of him to say that in 1945 he greeted the news of the atomic bombings with anything other than relief. “It seemed to end the war very quickly,” he said.

Hiroshima Nagasaki August, 1945 is low-key, bare-bones and devastating. “Eyes turned up to the bomb melted within nine seconds,” narrator Ronder intones, his voice flat and matter of fact. ”One hundred thousand people were killed or doomed and 100,000 more injured.” On Feb. 19, 1970, Hiroshima Nagasaki August 1945 was first screened publicly in the United States at the Museum of Modern Art before what UPI called “a group of horrified spectators.” Seeking a wider audience, Barnouw and Ronder approached the transmission belt that had replaced the newsreels.

However, like three of the newsreel outfits in 1946, the three U.S. television networks refused to interrupt prime time programming with wartime horror. ABC and CBS declined to comment on the decision; NBC said the network was “waiting for a news peg.” The sudden skittishness — from network executives currently broadcasting the Vietnam war into American living rooms — did not go unremarked. “The most important documentary film of this, and perhaps any previous century, is being seen only by a select few,” complained the Boston Globe. “Surely [the networks] can find 16 minutes of prime time to show Americans what the first A-bombs, puny by [comparison to] today’s weapons, did to people and property 25 years ago!”

National Educational Television (NET), the ancestor of the Public Broadcasting System, seemed the next best forum for the film, but NET also claimed the footage contained “little that is new about it” and said it “doesn’t plan to show it.” However, under pressure from its outraged demographic, NET quickly reversed course. On Aug. 3, 1970, it telecast Hiroshima Nagasaki August, 1945 as part of an hourlong special. An ad in The New York Times described the footage as “never before shown on nationwide TV.”

Thereafter, Hiroshima Nagasaki August 1945 circulated widely. Within the year, Columbia had sold over 500 prints in 16mm, mostly to universities, libraries and peace groups. Sometimes writer-narrator Paul Ronder would attend a public screening. The response from audiences was always the same. “There is never any applause, always a sort of hush,” he said. “Then people stand up, find it hard to talk to one another, then sort of drift away.”'

#Hiroshima Nagasaki August 1945 #Oppenheimer #National Educational Television #Christopher Nolan #The Manhattan Project #Los Alamos #Hiroshima Mon Amour #Albert Einstein

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kcyars189 · 2 years ago

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blackinformationnetwork A viral TikTok video appears to show a white woman storming through her Black neighbor's home over an alleged noise complaint.

Click LINK IN BIO to watch the full video.

(TikTok: deschwanden)

#Instagram

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creativecuquilu · 2 years ago

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Today is my birthday. And for this year, here is something I've been thinking about for quite a long time: A good bunch of my favorite male characters - including those I recently knew or I like but not enough as to fanart, but taking away everyone I've abandoned or just felt like they shouldn't be here - all gathered up in a boxing ring, the majority wounded and weary, but some a bit dirty and confused. Serious and sad faces, a dark story to tell behind their piercing bleary looks but for some, way worse. And of course - the simplycity, cartoonism and bouncyness of my circled neckless heads, bubble eyes and long rectangly trapece bodies. Dedication and pressure to myself cannot be forgotten on this process...as well as telling you this is based off the Whatcha Say meme. And now the copyrights, which tells you the characters, their series, their actors and their rights, starting from the first row. Hope you like it! But first...Artwork (c) @CreativeCuquiLu Peter Venkman - Ghostbusters - Bill Murray (c) Columbia Pictures and Sony Pictures Paul Atreides - Dune - Kyle Maclachlan (c) Universal Pictures, David Lynch and Frank Herbert James Tiberius Kirk - Star Trek - William Shatner (c) Desilu Productions, CBS Paramount Television and Gene Roddenberry Larry Daley - Night in the Museum - Ben Stiller (c) 20th Century Fox, 1492 Pictures and 21 Laps Entertainment Agent K - Men in Black - Tommy Lee Jones (c) Columbia Pictures and Barry Sonnefield Horatio Caine - CSI Miami - David Caruso (c) Anthone E. Zuicker, Ann Danahue, Carol Mendelsohn, Jerry Bruckheimer Television and CBS Television Studios Jaime Lannister - Game of Thrones - Nikolaj Coster Waldau (c) HBO Entertainment and George R.R. Martin Guy Montag - Fahrenheit 451 - Oskar Werner (c) and Ray Bradbury Rick Deckard - Blade Runner - Harrison Ford (c) The Ladd Company and Ridley Scott Roj Blake - Blake's 7 - Gareth Thomas (c) BBC and Terry Nation Luke Skywalker - Star Wars - Mark Hamill (c) 20th Century Fox, LucasArts Films and George Lucas Dave Lister - Red Dwarf - Craig Charles (c) BBC Marty McFly - Back to the Future - Michael J. Fox (c) Universal Pictures and Steven Spielberg Sherlock Holmes - The Hound of the Baskervilles - Tom Baker (c) BBC James Bond - Goldeneye - Pierce Brosnan (c) United Artists Pictures Inc. Michael Knight - Knight Rider - David Hasselhoff (c) Universal Pictures Aragorn - Lord of the Rings - Viggo Mortensen (c) Warner Bros. Entertainment, United Artists Pictures Inc, Peter Jackson and J.R.R. Tolkien The Doctor - Doctor Who - David Tennant (c) BBC Arthur Dent - The Hitchhiker's Guide to the Galaxy - Simon Jones (c) BBC and Douglas Adams John Hannibal Smith - The A Team - George Peppard (c) Universal Pictures Lucky Luke - Lucky Luke - Jacques Thébault (c) United Artists Pictures Inc, Réne Goscinny and Morris Peeta Mellark - The Hunger Games - Josh Hutcherson (c) Lionsgate Films and Suzanne Collins Alan Grant - Jurassic Park - Sam Neill (c) Universal Pictures, Steven Spielberg and Michael Crichton Asterix - Asterix and Obelix - Roger Carel (c) Extrafilm Produktion GMBH Berlin, René Goscinny and Albert Uderzo Shaggy Rogers - Scooby Doo - Casey Kasem (c) Hanna Barbera Neo - The Matrix - Keanu Reeves (c) Warner Bros. Entertainment, Village Roadshow Pictures and The Watchoski Brothers Gomez Addams - The Addams Family - John Astin (c) Hanna Barbera Inspector Gadget - Inspector Gadget - Don Adams (c) DIC Entertainment Corp. Harry Potter - Harry Potter - Daniel Radcliffe (c) Warner Bros. Entertainment and J. K. Rowling Rocky Balboa - Rocky - Sylvester Stallone (c) Metro-Goldwyn-Mayer and United Artists Pictures Inc And for anyone who wants to watch its process...

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demifiendrsa · 5 years ago

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Amazon will adapt The Promised Neverland manga into an English-language live-action series. Rodney Rothman (Spider-Man: Into The Spiderverse) is directing the adaptation, and Meghan Malloy (Spider-Man: Into the Spiderverse) is writing the script.

Rothman is an executive producer with Masi Oka (Heroes, Netflix's live-action Death Note film, Hollywood Attack on Titan film), and Vertigo Entertainment's Roy Lee and Miri Yoon. Fox 21 Television Studios and Amazon Studios are producing the adaptation.

#The Promised Neverland #The Promised Neverland TV series #Yakusoku no Neverland #TPN #YNN #Amazon Studios #Fox 21 Television Studios #The Promised Neverland Amazon #television

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tv-moments · 5 years ago

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Homeland

Season 8, “Designated Driver“

Director: Michael Offer

DoP: David Klein

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disneytva · 5 years ago

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Disney To Rename 20th Century Fox & Fox Searchlight Pictures To 20th Century Studios & Searchlight Pictures To Avoid Confusion With Rupert Murdoch’s FOX Corporation.

A month ago when Fox Searchlight emails had dropped the Fox, there was a sense that the full integration of the former Rupert Murdoch-owned studio was in full effect at Disney. Well, it’s official today: in the wake of the 20th Century Fox film division updating their emails last night to @20thCenturyStudios, both labels are dropping Fox from their logos. Going forward, you’ll see the Searchlight Pictures logo on their specialty fare, and 20th Century Studios on the big, wide release titles.

A the moment no word if the other animation studio of 20th Century Studios : 20th Century Fox Animation Studios will change its name.

Those logos won’t be dramatically altered, just updated. The most notable change is that the word “Fox” has been removed from the logo marks. Otherwise, the signature elements — swirling klieg lights, monolith, triumphal fanfare — will remain the same.

The choice of removing the FOX name was to avoid confusion from the new company from FOX Corporation of Rupert Murdoch, That automatically injected a level of brand confusion at odds with the highly differentiated divisions within Disney’s ranks, and Fox Corp.

There has been no name change yet for the Fox-branded production entities acquired by Disney, 20th Century Fox Television,Fox Television Animation and Fox 21 Television Studios, but one is coming, sources said. the three units are now part of Disney Television Studios, along with ABC Studios/ABC Signature. All of Disney and Fox’s TV operations except ESPN fall under Walt Disney Television, led by Peter Rice.

#20th Century Fox #Fox Searchlight Pictures #20th Century Fox Television #Fox 21 Television Studios #20th Century Pictures #Searchlight Pictures #20th Century Television #20th Century Fox Television Animation #FOX Television Animation #20th Century Fox Animation #20th Century Television Animation #20th Century Studios #Walt Disney Studios #Disney

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ptbf2002 · 2 months ago

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My Top 30 Favorite Universal Pictures Movies

30. Back to the future

29. back to the future 2.

28. Casper

27. An American Tail

26. An American Tail: Fievel Goes West

25. An American Tail: The Mystery of the night monster

24. An American Tail: the treasure of Manhattan island

23. Despicable Me

22. Despicable Me 2

21. Despicable Me 3

20. Despicable Me 4

19. Minions

18. Minions: The Rise Of Gru

17. Hop

16. The Lorax

15. The Secret Life Of Pets

14. The Secret Life Of Pets 2

13. Sing

12. Sing 2

11. The Grinch

10. The Super Mario Bros. Movie

9. Migration

8. Abominable

7. Ruby Gillman: Teenage Kraken

6. The Bad Guys

5. Alvin and the Chipmunks Meet Frankenstein

4. Alvin and the Chipmunks Meet the Wolfman

3. Ratchet And Clank (2016)

2. Woody Woodpecker Goes to Camp

And 1. Woody Woodpecker (2017)

Original Template: https://www.deviantart.com/princessflamefigher/art/My-Top-30-Favorite-Meme-763485673

Back to the Future Belongs To Robert Zemeckis, Bob Gale, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Back to the Future Part II Belongs To Robert Zemeckis, Bob Gale, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Casper (1995 Film) Seymour Reit, Joe Oriolo, Vincent E. Valentine II, Sherri Stoner, Deanna Oliver, Harvey Films, Harvey Entertainment, The Harvey Entertainment Company, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation LLC, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

An American Tail Belongs To David Kirschner, Judy Freudberg, Tony Geiss, Sullivan Bluth Studios Ireland Limited, Don Bluth Ireland Limited, Screen Animation Ireland Limited, Don Bluth Entertainment, FOX Family Films, FOX Animation Studios, 20th Century Animation, Inc. 20th Century Studios, Inc. The Walt Disney Studios, Disney Entertainment, The Walt Disney Company, Amblimation, Universal Cartoon Studios, Universal Animation Studios LLC, DreamWorks Animation LLC, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

An American Tail: Fievel Goes West Belongs To David Kirschner, Judy Freudberg, Tony Geiss, Charles Swenson, Flint Dille, Amblimation, Universal Cartoon Studios, Universal Animation Studios LLC, DreamWorks Animation LLC, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

An American Tail: The Treasure of Manhattan Island Belongs To David Kirschner, Len Uhley, TMS Entertainment Co., Ltd. Universal Family & Home Entertainment Production, Universal Cartoon Studios, Universal Animation Studios LLC, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

An American Tail: The Mystery of the Night Monster Belongs to David Kirschner, Len Uhley, Tama Production, Universal Family & Home Entertainment Production, Universal Cartoon Studios, Universal Animation Studios LLC, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Despicable Me Belongs To Cinco Paul, Ken Daurio, Sergio Pablos, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Despicable Me 2 Belongs To Cinco Paul, Ken Daurio, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Despicable Me 3 Belongs To Cinco Paul, Ken Daurio, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Despicable Me 4 Belongs To Mike White, Ken Daurio, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Minions Belongs To Brian Lynch, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Minions: The Rise of Gru Belongs to Brian Lynch, Matthew Fogel, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Hop Belongs To Cinco Paul, Ken Daurio, Brian Lynch, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Lorax Belongs To Cinco Paul, Ken Daurio, Dr. Seuss Enterprises L.P. Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Secret Life of Pets Belongs To Cinco Paul, Ken Daurio, Brian Lynch, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Secret Life of Pets 2 Belongs To Brian Lynch, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Sing Belongs to Garth Jennings, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Sing 2 Belongs to Garth Jennings, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Grinch Belongs to Michael LeSieur, Tommy Swerdlow, Dr. Seuss Enterprises L.P. Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Super Mario Bros. Movie Belongs To Shigeru Miyamoto, Matthew Fogel, Aaron Horvath, Michael Jelenic, Disney Digital Studio Services, Illumination Studios Paris, i-ZERO Entertainment and Media Global, Dentsu Inc. Fuji Television Network, Inc. Nintendo CultureWorks Film Pictures, Nintendo Pictures, Nintendo Co., Ltd. Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Migration Belongs To Mike White, Benjamin Renner, Illumination, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Abominable Belongs To Jill Culton, Zhong Ming You Ying Film, Shanghai Pearl Studio Film and Television Technology Co., Ltd. China Media Capital Holdings, Dentsu Group Inc. DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Ruby Gillman, Teenage Kraken Belongs To Pam Brady, Brian C. Brown, Elliott DiGuiseppi, Dentsu Group Inc. DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Bad Guys Belongs To Aaron Blabey, Etan Cohen, Scholastic Corporation, Dentsu Group Inc. DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Alvin and the Chipmunks Meet Frankenstein Belongs To Ross Bagdasarian Sr. John Loy, Tama Production, Jade Animation, Bagdasarian Productions LLC, Universal Cartoon Studios, Universal Animation Studios LLC, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Alvin and the Chipmunks Meet the Wolfman Belongs To Ross Bagdasarian Sr. John Loy, Tama Production, Jade Animation, Bagdasarian Productions LLC, Universal Cartoon Studios, Universal Animation Studios LLC, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Ratchet And Clank (2016) Belongs To T.J. Fixman, Kevin Munroe, Gerry Swallow, Rainmaker Entertainment, Rainmaker Studios, Mainframe Studios, WOW! Unlimited Media Inc. Kartoon Studios, Inc. Blockade Entertainment, PlayStation Productions, LLC, Insomniac Games, Inc. PlayStation Studios, Sony Interactive Entertainment LLC, Sony Group Corporation, Peak Distribution Partners, LLC, CNHK Media China, Film Financial Services, Original Force Ltd. Cinema Management Group, Lionsgate Entertainment Corporation, Gramercy Pictures, Focus Features LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Woody Woodpecker (2017) Belongs To Walter Lantz, William Robertson, Alex Zamm, Daniel Altiere, Steven Altiere, Cinemotion, Walter Lantz Productions, Universal Animation Studios LLC, Universal 1440 Entertainment, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Woody Woodpecker Goes to Camp Belongs To Walter Lantz, Cory Edwards, Jim Martin, Stephen Mazur, Cinemotion, Walter Lantz Productions, Universal Animation Studios LLC, Universal 1440 Entertainment, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix, Inc.

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paintedhandsdirtiedsoul · 7 years ago

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Look I like Disney as much as the next idiot

But it's slowly and surely becoming a monopoly

Like thats not a good fucking thing

It's scary as fuck

#disney #monopoly #corporation #text post #not good at all #woke #stay woke #movies #fox 21 television studios #marvel #star wars #comics

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peterlorrefanpage · 3 years ago

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Peter Lorre Television Show List

Did you know Peter Lorre filmed a TV pilot with Vincent Price? Here’s 1958′s Collector's Item: The Left Fist of David (3 parts on YouTube).

This collection is by no means exhaustive. It’s also not easy to find recordings, but I’ve linked to what I can find in the list below.

1950s

March 31, 1952: Taste, Lux Video Theater (Dramatic Anthology); CBS

Sept 16, 1952: The Tortured Hand, Suspense (Dramatic Anthology); CBS

Dec 22, 1953: The Vanishing Point, The U.S. Steel Hour (Dramatic Anthology)

Sept 24, 1954: The Pipe, Schlitz Playhouse of Stars (Dramatic Anthology); CBS

Oct 27, 1954: The Disneyland Story, The Wonderful World of Disney. (timestamp 2:13). Or just go to this very brief behind-the-scenes shot for 20,000 Leagues Under the Sea.

Dec 29, 1954: I've Got a Secret (comedy game show w/ Garry Moore.)

Oct 21, 1954: Casino Royale, Climax! - Peter Lorre plays Le Chiffre. This is the first screen adaptation of a James Bond novel!

Jan 5, 1955: Arsenic and Old Lace, Best of Broadway (Anthology); CBS

Jan 18, 1955. “Honeymooners Spoof,” The Red Skelton Hour. Peter Lorre is amazing throughout the entire show.

April 4, 1955: Reunion in Vienna, Producer's Showcase (Anthology); NBC

May 2, 1955: The Sure Cure, Eddie Cantor Comedy Theater (Comedy-Variety); ABC

Sept 3, 1955: Young Couples Only, Studio 57 s2e1

Nov 17, 1955: A Promise to Murder, Climax!; CBS

Nov 29, 1955. “The Phantom of the Ballet,” The Red Skelton Hour.

Dec 10, 1955: The Blue Landscape, The Star and the Story (3 parts on YouTube) Rhinegold Theater; NBC

Jan 18, 1956: No. 5 Checked Out, Screen Directors Playhouse (Anthology); NBC

Jan 29, 1956: The Finishers, Studio 57 (Dramatic Anthology)

Feb 9, 1956: Fifth Wheel, Climax!; CBS

July 26, 1956: The Man Who Lost his Head, Climax!; CBS

Oct 18, 1956: Sizeman and Son, Playhouse 90; CBS

Dec 26, 1956: Operation Cicero, “Five Fingers,” 20th Century Fox Hour (Dramatic Anthology); CBS. (With Ricardo Montalban.)

March 5, 1957. “Clem Strikes Oil,” The Red Skelton Show. Peter’s walk-on role.

March 14, 1957: The Last Tycoon, Playhouse 90 [archive.org] or on YouTube; CBS

June 20, 1957: A Taste for Crime, Climax!; CBS

June 27, 1957: The Fabulous Irishman, Playhouse 90. Here’s Peter.

Nov 14, 1957: The Jet Propelled Couch, Playhouse 90; CBS

Dec 8, 1957: The Diplomatic Corpse, Alfred Hitchcock Presents (Suspense Anthology); CBS

1958: Collector's Item: The Left Fist of David (3 parts on YouTube). TV pilot with Vincent Price.

May 12, 1959, “Rapid Growth," The Red Skelton Show.

Nov 17, 1959. “Appleby the Weatherman,” The Red Skelton Show. Tiny clip!

Dec 19, 1959: Thin Ice, Five Fingers (Spy Drama); NBC

1960s

Feb 14, 1960: What's My Line? Peter Lorre as Mystery Guest, plugging The Scent of Mystery.

Feb 17, 1960: I’ve Got a Secret (comedy game show w/Garry Moore). Peter is plugging The Scent of Mystery.

Feb 24, 1960: The Cruel Day, Playhouse 90; CBS

March 13, 1960: Man from the South, Alfred Hitchcock Presents; CBS. (With Steve McQueen.)

March 16, 1960: The Alexander Portlass Story, Wagon Train (Western); NBC

May 24, 1960: “Clem and the Beanstalk,” The Red Skelton Show. Alas, just a blooper clip is out there and without Peter in it.

Oct 11, 1960: The Incident of the Slavemaster, Rawhide (Western); CBS

Jan 21, 1961: The Baron Loved His Wife, Best of the Post; ABC

Jan 14, 1961: The Human Touch, Checkmate (Detective Drama); CBS

Oct 11, 1961: First Test, Mrs. G Goes To College (Sitcom); CBS

Dec 6, 1961: The Trouble with Crayton, Mrs. G Goes To College; CBS

Oct 26, 1962: “Lizards Leg and Owlets Wing,” Route 66 (Adventure); CBS

Jan 22, 1963: The Jack Benny Show with Peter Lorre and Joannie Sommers; CBS

March 24, 1963: Diamond Fever, The Du Pont Show of the Week; NBC

Sept 20, 1963: “5: Part I,” 77 Sunset Strip (first of new format); ABC

Oct 24, 1963: “The End of the World, Baby,” Kraft Suspense Theater; NBC