#distributor cat products

[keepingupwithzaynmalik]

Zayn Malik Writing New Music for Animated Feature ’10 Lives,’ Will Duet With ‘Bridgerton’s’ Simone Ashley (EXCLUSIVE)

Zayn Malik is writing new music for upcoming animated feature “10 Lives” and is set to perform a duet with “Bridgerton” star Simone Ashley for the film, Variety can confirm.

Malik and Ashley also both star in the film, with the former One Direction singer playing tough-guy twins Cameron and Kirk while Ashley voices student Rose. Malik, who is currently working on his next studio album with Mercury Records, is also an executive music producer on “10 Lives,” overseeing the film’s musical creative direction.

Directed by Chris Jenkins (“Surf’s Up”), “10 Lives” tells the story of a pampered and selfish cat who takes his many lives for granted. After carelessly losing his ninth live he begs for a second chance — and an opportunity to prove he can learn from his mistakes. When his wish is finally granted, however, he learns that it comes with some caveats.

Also lending their voices to the film are Bill Nighy, Mo Gilligan, Sophie Okonedo, Dylan Llewellyn and Jeremy Swift.

“I always enjoy my time in the studio creating from my perspective,” said Malik. “While creating music for ’10 Lives,’ I was able to immerse myself in a narrative that I hadn’t dictated and able to bring the characters’ emotions into the music rather than my own. I really enjoyed writing specifically to bring them all to life. It’s a film that’s not only fun to watch but has a very beautiful sentiment for people of all ages. I hope people love it, and the music we created really connects and transports them deeper into the ’10 Lives’ world.”

Guy Collins and Sean Feeney produce for 10 Lives Prods. alongside Martin Metz and Adrian Politowski for Align, Yann Zenou for Quad, Valérie d’Auteuil and André Rouleau for Caramel Films and Louis-Philippe Vermette for the Happy Producers. Robyn Klein and Jeremy Ross cast the project while the animation was produced by L’Atelier Animation in Montreal.

“10 Lives,” which will screen for distributors at AFM, is a GFM Animation production; GFM is also handling international sales. WME Independent is repping domestic rights.

Casting directors and music supervisors Robyn Klein and Jeremy Ross said: “We always love bringing the worlds of film and music together and could not be more excited that we got to do this with Zayn on ‘10 Lives.’ A great film and a great song come from the same place. Combining his songwriting, acting and vocal skills, Zayn brought joy, emotion, and depth to the film while connecting and highlighting all of its important themes. This is Zayn at his absolute best.”

Malik is repped by Nicola Carson of Zen Kai Management and Taryn Zimmerman. Ashley is repped by Creative Artists Agency, Identity Agency Group, R&CPMK and Myman Greenspan Fox Rosenberg Mobasser Younger & Light.

VIA VARIETY

[miasiegert]

HUGE Request for CATS cosplayers

Hey folks,

A lot of fans make their own wigs for CATS so I'm hoping you can help out. I'm still in shock. I wanted to signal boost our incredible distributor, although unfortunately it's for for a very sad reason. We've used I Kick Shins since we started in 2010. In our opinion, they have the best kanekalon and braiding/wig supplies for CATS, period. Yesterday I noticed "closeout sale" on instagram. I thought they meant for a few specific colors, discontinued, because I didn't want to believe that the store would be closing. The owner shared they have cancer and will close up by the end of 2024, when they're too sick to continue, or run out of stock, whichever comes first.

I'm requesting that cats costumers check them out and consider purchasing from them. I know not everyone has the budget but there are a lot of sales right now and the money is funding treatment. They only ship to the US (possibly Canada--if you're Int'l, maybe consider having a trusted friend place an order for you). There are some really incredible deals. These include glow in the dark, solar, temperature, and all sorts of other hair. We don't use the silky for CATS wigs but we use that in other wigs. Their supplies for wig making are excellent too.

We made the largest purchase of our life, a huge portion of our pay for the most recent production of CATS going there to get kanekalon so we could stock up because no one will ever be able to compare to this caliber.

I know not everyone can do this but they even have these bargain boxes with different colors for $100 instead of $240.

www.ikickshins.net (remember .net not com)

And, obviously, if anyone's a braider and needs hair for feed ins, they're great.

Thank you so much for any sort of help/signal boosting. This sucks so much. Sending healing energy to the owner. If you do purchase, I'd love to see the wigs/creations you make with your purchase. *Note: I do not know the owner personally. I have left a couple instagram comments here and there. This is not sponsored in any way, shape, or form. Signal boosting them to help them pay for cancer treatment is the right thing to do, full stop. It's very personal to us, especially as David lost his mum to cancer, but even if he didn't, we'd still do the same. Fuck cancer.

[kylesvariouslistsandstuff]

Oh wow, big Warner Bros. release date drop on all the fronts...

Two animated movies have been slated for 2027: The first of which is an untitled Locksmith picture, as they're apparently still working with them. Locksmith previously had announced THE LUNAR CHRONICLES and BAD FAIRIES as pictures in production, so it could be one of those. I'm thinking it's the former. Whatever it may be, it's set to release on March 26, 2027. That is, if the Zas doesn't decide at last minute to nerf it into the tax write-off black hole.

In addition to that is a formerly live-action Melissa McCarthy vehicle called MARGIE CLAUS, etched for November 5, 2027. Kinda neat to see a live-action picture that languished become an animated movie and go full-steam ahead as a result.

Warner Bros. Pictures Animation, goddamn that's a mouthful, plans on having two animated movies out every year starting in 2026. As of now, only the CAT IN THE HAT movie is set for 2026, currently on the same day as an untitled Pixar picture. WBPA is also set to make a new animated Flintstones movie called MEET THE FLINTSTONES, which has two writers - MARIO's Aaron Horvath and Michael Jelenic, so that could be the other 2026 movie? I dunno.

With these announcements, I think it's clear that Warner Bros. has no theatrical plans for COYOTE VS. ACME and FIXED. (A long-finished Sony Animation production, but for whatever reason, WB/New Line is distributing it. Or are supposed to.) They're slating movies well into late 2027, so I think those have been looooong off the boards by now. No matter what some folks online are trying to suggest, that it hasn't been written off, etc. I feel like it's false hope, honestly. I think Warner execs just moved on from both, but I'd love to be wrong.

At least we're still getting THE DAY THE EARTH BLEW UP, albeit from another distributor. Kinda wack that Warner Bros. themselves aren't releasing a goddamn Looney Tunes movie, let alone two, but here we are.

So... We're looking like:

12/13/2024: THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM

03/06/2026: THE CAT IN THE HAT

03/26/2027: UNTITLED LOCKSMITH MOVIE

11/05/2027: MARGIE CLAUS

Going off of previous announcements, I think this could be the result:

12/13/2024: THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM

02/13/2026: THE CAT IN THE HAT

11/06/2026: MEET THE FLINTSTONES

03/26/2027: THE LUNAR CHRONICLES

11/05/2027: MARGIE CLAUS

2028: THING ONE AND THING TWO

2028: MEERKAT MANOR

2029: BAD FAIRIES?

And that's still quite a ways off, and you never know with this iteration of Warner Bros.... Could all be moot within a year, really.

[fearsmagazine]

SCALPER - Review

DISTRIBUTOR: Breaking Glass Pictures

SYNOPSIS: “Psychic Clementine Carter is confronted with a nightmarish reality as everyone around her falls victim to the sadistic reign of terror unleashed by 'The Scalper.' As the body count rises, the burning question remains: Is this the return of the dead psycho Andrew Lubitz, a cunning copycat killer, or something far more horrifying than the human imagination can conceive? In a deadly game of cat and mouse, she must rely on her psychic abilities to stay one step ahead of the maniac's relentless pursuit.” -Press Release

REVIEW: This is my second encounter with filmmaker Chad Ferrin, my previous “Pig Killer,” which also featured actors Jake Busey & Bai Ling. It’s slightly better than “Pig Killer,” but I had issues with the performances, the writing and some of the special effects.

Chad Ferrin is not a bad filmmaker. Technically, SCALPER has solid production designs, cinematography, okay editing and the atmosphere is enhanced by a score by the legendary Richard Band. The special effects are okay, but the mask the killer wears looks plastic at times.

The plot is an amalgamation of ideas we’ve seen in other films of this nature, too many to list here. The plot features thriller, supernatural and slasher elements. Some of it feels a bit unnecessary and could have been streamlined, such as the scenes of Clementine’s father and mother in what is a spiritual plane. The dialogue is okay and the core plot is not half bad, but ultimately SCALPER is say a White Castle slider as compared to a steakhouse burger.

The performances are okay. I liked Susan Priver’s character and it borders on campy, but never steps over the line. He adds a lot of empathy to the role. Jake Busey has several moments where he adds this look or delivery of a line that has you groaning, but it is not bad. Bai Ling’s work here is almost as bad as “Pig Killer.” I’m familiar with several of her older roles and I’ve met her at several conventions, so I’m aware of what she can deliver. I find these stereotypical performances off putting and an impediment to enjoying the film.

Bottom-line, I wouldn’t go out of my way to rent SCALPER on VOD or a digital platform. If it shows up on something you already have a subscription to, you're a diehard genre fan and any of the actors in the film I’d suggest viewing it. However, if you’re a more cultivated consumer of genre entertainment you might be disappointed. I’d be interested in seeing Chad Ferrin directing something he hasn’t written.

CAST: Susan Priver, Jake Busey, Bai Ling, Kate Patel, Scott Vogel, Jon Budinoff, and Robert Miano. CREW: Director/Screenplay/Producer - Chad Ferrin; Producers - Robert Miano & Jeff Olan; Cinematographer - Jeff Billings; Score - Richard Band; Editor - Jahad Frif; Production Designer - Viktoriia Vlasenko; Costume Designer - KerriAnne Savastano; Special Effects Makeup - Joe Castro; Visual Effects - Jeff Billings. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: https://twitter.com/SKATD TRAILER: https://youtu.be/vP6s6LPOdSQ?si=eSBBizVhW7xyi2Ke RELEASE DATE: VOD & Digital Jan 16th, 2024

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[321spongebolt]

"Spider-Man 4: New Home, New Life" MCU movie idea

While "Spider-Man Homecoming 4" is already in development, I have a couple of good ideas for what can be done, even if some of my ideas from this concept do find its way into the film, or in its 5th and/or 6th entry.

TITLE

"Spider-Man 4: New Home, New Life"

PRODUCTION COMPANIES

Columbia Pictures

Marvel Studios

Pascal Pictures

DISTRIBUTOR

Sony Pictures Releasing

RATING

Obviously, PG-13, moving on.

ROUGH STORY IDEA

(Some parts of this story may not be perfect, but this is all I got. If anyone has additional suggestions, feel free to comment.)

PROLOGUE

After the Columbia Pictures logo, we see Mac Gargan released from prison as he plots his revenge against Spider-Man for the ferry incident from the first movie.

OPENING TITLES

"Columbia Pictures presents"

"A Pascal Pictures Production"

"A Marvel Studios Production"

"Spider-Man 4: New Home, New Life"

MAIN STORY

After the title is revealed, we see Peter fighting crime in his new homemade suit from the end of "Spider-Man 3: No Way Home". As Peter restarts his life over as Spider-Man, he’s also struggling to keep up with his rent following his decision to let go of Aunt May, MJ, and Ned. The next morning, Peter starts his new college life at Empire State University. During his orientation, Peter would get a new set of friends like Johnny Storm (who would later go on to be The Human Torch), Felicia Hardy, and the MCU version of Eddie Brock. Peter and Johnny end up becoming roommates, Felicia attends the same science classes as Peter, and we also learn that Peter takes digital photography classes with Eddie. The whole class is given a project which will be due at a certain date, and whoever's project ends up in the Top 5 (or 10) will be displayed for future generations of students who walk down the halls (This will also play an important part in this story).

After J. Jonah Jameson finishes his latest video blog for TheDailyBugle.net, Mac Gargan steps in asking for a proposal to hunt down Spider-Man. JJJ hires Gargan, and they go to a lab run by Dr. Farley Stillwell. Stillwell shows Mac the Scorpion armor he’s been working on and uses Mac as a test subject. The only thing he overlooked is being able to take the suit off. Once Mac Gargan is fused into his Scorpion suit, Gargan goes on a violent rampage through New York, with Jameson fearing how he created a monster.

That night, Peter suits up and tries to take on the Scorpion, but the Scorpion is beating him to a pulp. What makes things more interesting is the fact that Scorpion's suit is bulletproof. Peter could end up getting impaled by Scorpion's tail, and Mac would have Peter pinned in a tight spot where he could kill Peter, but Spidey would be rescued by a woman with silver hair, a black mask, and a black jumpsuit with long white gloves and boots. This is Black Cat. She uses her whip on Scorpion's tail and could defeat him. Spidey would thank Black Cat for saving his life, and we learn that Black Cat knows Peter's identity. She introduces herself as Felicia Hardy, and we learn that sometime either before or after the events of “Spider-Man 3: No Way Home, Felicia is a huge fan of Spider-Man (making her one of the few people to not be affected by Doctor Strange's spell). While Peter questions the get-up, Black Cat gives Peter her contact information, reminding Peter she's a few dorms away (reference to Bo Peep’s line, “I’m just a couple of blocks away” from “Toy Story”).

When Peter gets back to his apartment, Peter gets a nightmare from the poison Scorpion gave him. In it, the dream could have something like MJ being taken from him by someone else. And Ned Leeds being the Hobgoblin, who doesn’t show mercy to Peter. As Peter tries to chase after Ned, Peter's feet are stuck in some big giant tar pit. Peter would slowly sink into the tar like he's standing in quicksand, and Peter wakes up horrified, only to see his homemade suit is now black. Peter would start to hear Venom’s voice and would introduce himself to Peter. Peter learns from the symbiote what abilities he didn’t know that symbiote had like unlimited webbing and the ability to instantly heal Peter whenever he’s scarred and bruised (basically, whatever powers the SSU Venom was capable of to begin with). Over time, Peter starts to become more and more attached to the symbiote, to the point where he merges into Peter's clothes so he'll always have it on him.

(I haven't thought up much here, but I figured I could just skip to the climax.)

On the day digital photography projects are due for the judges and professors to see, the judges and professors observe each digital photography project like panoramas, collages, and even a group of images that make the late Stan Lee’s head. Eddie’s project seems to gain a following among the observers and feel they have a winner on their hands for the #1 spot. However, before the judges make their final decision, Peter speaks up and exposes Eddie’s project for false information about Spider-Man, leaving the judges and digital photography professor mortified. Eddie's project is disqualified, and Eddie fails the semester, forcing him to clean out his dorm room and never return to ESU.

With Scorpion still running amok on the streets, and J. Jonah blaming himself for creating Scorpion, Peter decides to fight Scorpion with his symbiote suit. Peter learned from Scorpion’s last encounter, and thanks to the symbiote, he’s able to overthrow Scorpion, with Scorpion now in Peter’s place. With Peter holding Scorpion’s tail and preparing to kill him with it, the symbiote suddenly shows Peter a memory. Peter can hear (or see, depending on your view) a flashback of Tony Stark telling Peter, “If you’re nothing without this suit, then you shouldn’t have it. What if somebody had died tonight? Different story, right? Because that’s on you!”. Then another flashback would show Aunt May saying “You have a gift. You have power. And with great power, there must also come great responsibility”. Then another flashback where Andrew Garfield's Peter saying "At some point, I just... I stopped pulling my punches. I got rageful. I got bitter. I just don't want you... to end up like... like me.". Depending on the number flashbacks that would be shown, Peter would come around by impaling Scorpion's tail into the ground, leaving him for the police and sparing his life.

As Peter reflects on the selfish choices he made by wearing that symbiote, and the fact that he almost was about to kill Scorpion, Peter decides he needs to take the symbiote off. Instead of the normal route where Peter uses a church's bell tower, I was thinking that instead, Peter could enter a science lab and try mixing random chemicals to get the symbiote off him. Nothing works until Peter accidentally creates a fiery explosion, which scares the symbiote and melts off of Peter. Luckily, Peter was able to remove the symbiote before the sprinklers went off. The symbiote escapes through air vent and Peter makes it back to his dorm room before getting caught by security.

To properly end the movie, Peter would be able to attend Johnny's graduation, with Peter introduced to Johnny's sister, Susan. Susan would give Peter Reed Richards' contact information, as it would be hinted that Reed is Susan's fiancee. As for Peter and Felicia's relationship, now that Peter had learned to let go of the past, Peter would now be dating Felicia.

POST CREDITS SCENE(s)

The first post credits scene would have the symbiote fall through an air duct that leads to MCU Eddie's dorm room. The symbiote would land on MCU Eddie, and we would get a proper MCU introduction to Venom.

Another post credits scene would reveal the establishment of the Fantastic Four before they got their powers. And depending on which sequel for "Spider-Man Homecoming" or "The Fantastic Four" happens, Spider-Man should make an appearance as an additional ally.

CASTING CHOICES

As far as the new characters, I imagined that for Felicia Hardy, Sabrina Carpenter could portray her as herself and as Black Cat. As far as Venom is concerned, Tom Hardy would be able to reprise his voice role given his appearance as SSU Eddie Brock and Venom appear in the first post-credits scene for "Spider-Man 3: No Way Home".

[davidmariottecomics]

A Matter of Time

Surf's up, gang! 

Aloha from the beach! Okay, not really. I'm at home at time of writing, but I've made 2 whole trips out to the ocean this week, so I'm feeling beachy! Which, if you live near the water, is a pretty good way to feel in the summertime! 

In enjoying the season, I started thinking about the complex production timelines of comics, the ways in which some comics feel timely when they were created well ahead of the events they seem related to, and a book I read recently that had one time element that really didn't work for me. So let's take some time to talk about time! 

Story of Seasons 

Where I live in the U.S., summer means a certain thing. At this time of year, we're largely through the June Gloom and into hot, sunny days. The sun rises before I'm usually up, and I wake up early, and sets around 8 p.m. Most nights, in at least some parts of town, there are fireworks. Folks are having barbecues at home and along the beach--which people are flocking too. The college-aged kids only roll up after they've got up, and since they don't have school, you can usually not expect to see them before noon. And while the coastline's popping, closer to us, things are quieter exactly because school's out and the college campus has largely cleared out. And, specific to where we live, it means the trolleys and buses and some buildings and street signs, have assumed their summer wrap, promoting Peacock and Futurama's return and whatever else companies spent boodles of money on to promote ahead of and during San Diego Comic-Con. 

That's what the exterior of my life is like right now. Sweet, hot, summertime fun outdoors--though I spend most of my time in with the cats. And there's still a little bit of that in my work. I'm planning meeting up with folks at San Diego Comic-Con and, while I'm not particularly involved, I'm watching Riley Farmer get the Sonic the Hedgehog: Endless Summer one-shot buttoned up for next month. But most of what I'm working on is already well ahead, working actively on releases across the fall, and switching from planning to the first steps of production on our winter releases with spring 2024 already cresting the horizon. 

It's a funky dichotomy. If you go into a comic shop in the next two months, summer programs will be in full swing, from DC's big summer crossover event, Knight Terrors to IDW's Endless Summer, to Ultimate Invasion and the Hellfire Gala stuff Marvel's got going on, as well as Skybound's kicking off their Energon Universe, and whatever stores have left of the projects kicked off for Pride. 

But because you're seeing those things in stores, it means they're done and as I've talked about a bit before, generally comics have to be done a ways before their release. In an ideal situation, a comic is done between 7 and 10 weeks before the on-sale date. In a less ideal situation, a comic needs to be done at least 3 weeks before the on-sale date for most printers/distributors/final-order-cutoff reasons. But, in the former case, it means this next week, I'd be looking at what needs to go out right around mid-September--the first week of fall. And those are the things that'd be finishing. Let's say you'd need at least 10 weeks before that for finalizing the script; drawing, coloring, lettering, and doing any production on the issue; and getting it approved by all the relevant stakeholders. So the things entering that phase in the next week wouldn't actually see stores until the last week of November. 

In the books world, there are three spans, rather than the four seasons. Those are Spring (Feb-May), Summer (Jun-Aug), and Fall (Sept-Jan). And when you're working purely with single-issue comics, when you're in one span, you're generally working on titles for the next. When it comes to collections and OGNs, you can be working on stuff years ahead of time. (As an aside to all this, it's also super interesting that this is how things are sorted because it really speaks to publishing in the northern hemisphere... sorry to anyone in the southern hemisphere who is looking at IDW's Endless Summer and thinking "but it's winter!") 

I bring all this up as a reminder that comics take a long time to make and when there are comics have a particularly timely element, like a summer event, they're the result of months of work and planning to hit that specific date that falls in that seasonal span. And while tons of planning can go into something like a 5th week event (in months with 5 Wednesdays, some publishers will add extra titles on the 5th week so they have releases for that Wednesday without disrupting the regular monthly schedule of their titles), it also means sometimes something happens that seems very intentional, but is purely coincidental! 

Unintended Timeliness

Wendy Xu has a new book coming out next month, The Infinity Particle. Like all of her books, it looks very good. Straight from the copy, it "explores big questions through the eyes of an aspiring inventor and the lifelike AI she finds herself falling for." And in the build-up to release, advance reader copies have gone out to booksellers, librarians, and reviewers--the folks who should see the book early because it will help the book get more traction in stores, libraries, and more visibility with readers. But because of developments over the past year, it also is now very closely tied to a hot button issue: AI. Through the circumstances of the world around The Infinity Particle's release, early reviews and examination of it are inherently looping it into the larger conversation. Wendy's gone on the record about, as she said, "'AI' (derogatory)" and "AI-in-fiction (complimentary)."  But one of the things she's also been very clear about is that she's been working on this book since 2018 when we weren't talking about AI in the same way. 

I bring this all up because, when taken with my previous point about how long it often takes comics to be made, a lot of the timeliness that you may seen in a work can be coincidental. As another example, I've been asked a few times about whether the Metal Virus arc in IDW's Sonic the Hedgehog was in any way inspired by the early days of the Covid-19 pandemic. That arc is, in many ways, about a global pandemic. That arc, also, was pitched over a dinner at WonderCon 2018, where only the very first issue was on sale a week early and the series had not yet launched widely. The majority of it was written and in production before March 2020 when the U.S. really shut down in the early days of their response. So, no, the timelines don't really work out, it was just happenstance. 

And as a writer/artist/editor/etc, that's one of the things you have to keep in mind. I came from journalism, where timeliness was often an important part of storytelling. "New" is 3/4ths of "News." But outside of strips and editorial/political cartoons, it is much harder to incorporate true timeliness to your comics work. So, often, the default is to look for timelessness--something that isn't pegged to a specific event or set of circumstances, but that can be appreciated whenever because it speaks to something larger. Timelessness doesn't need to be forward-looking necessarily. It can be reacting to or interpreting long-standing history. But the benefit of trying to tell a story that always feels relevant, even if the cultural context around it may change the reader's interpretation from your intention (and there's a longer conversation to be had about interpretation vs. intention), is it usually doesn't feel immediately aged. 

The flip side of things having an unexpected timeliness is when you try to execute something to be timely, but in the interim of writing to execution or just through the flow of time, it just isn't anymore. Somewhat recently, Becca rediscovered "Boyfriend" by Big Time Rush. Obviously, this song is like 13 years old anyway, but boy howdy does the song feel it's age when they call out 2008 Best Picture winner, Slumdog Millionaire. It's not to say you can't or shouldn't put things in the context of the time they're written in, just that being considerate of it is probably to your benefit because specific cultural and contextual touchpoints should feel additive to the work and the intention, not haphazard as a way of showing modernity. (Two quick asides to this: 1. If you don't like "Boyfriend" by BTR musically, you do need to watch the video because it is wild. However, maybe "Boyfriend" by Dove Cameron will be more to your tastes and is incredibly funny if you listen to it as a response to the BTR song. 2. Cultural references aren't the only things that can feel dated or be misused and make your comic worse--see every time AAVE is misused in comics and the creators are immediately dunked on.)

A Timeless Romance... And Leia Organa

Last bit for today, building off what we were just talking about. I recently read Neon Gods by Katee Roberts. It's a smutty retelling of Hades/Persephone set in modern times. (I'm still figuring out some upcoming blogs, but certainly the aforementioned AI and also why SO MANY WORKS are gravitating to Hades/Persephone are on the shortlist). Overall, I liked it. Like many first books in a series, I hear it picks up in later volumes. There's a lot to say about it, but one thing that really stuck out to me was while I understand that it is set in modern day, anytime it made a specific modern reference, it really threw me off. 

Throughout the book, people make calls on their smart phones and have video conferences and there are guns and cars and skyscrapers and other hallmarks of modernity. And it is totally fine. It sets the scene and makes sense for the story being told. But every once in a while--I remember it happening 3 or 4 times--something specific gets called out and it feels weird. One of those times being a reference to the gold bikini Leia wears in Return of the Jedi. It's the sort of touchstone that should feel innocuous. Most folks know it, even if they don't super know Star Wars. But when it happens as like a singular pop culture reference in a work (the other specific callouts I remember feeling odd were a reference to UC Berkley and a brand-name medicine), it weirdly works against the modernity because it feels too concrete in a world of otherwise abstract modern life. It is so solid, so recognizable, that it almost begs the question of why there aren't more references throughout and it vaguely asks questions of the world and of the characters that aren't actually consequential to the plot--or, perhaps, that are consequential to a larger overarching plot that isn't really investigated in depth in the first book. Either way, it was just a little moment that in my reading created a bump that I'm remembering a week and a half later better than some of the actual plot elements or hot smutty scenes, which probably is not the intent of that otherwise kinda throwaway line. 

FRIENDS! 

Okay, shifting away from all that for a moment, I wanna talk about my many cool friends! Who have a new page on my website! Inspired by the webrings of old, I wanted to do a little something to help folks who find their way over to my site find their way over to the sites of other cool folks who are making comics! Right now, you'll notice a lot of family and people who work on Sonic in addition to a few other friends, but always happy to add folks that I've worked with or know and like who might want a bit more web traffic flowing their way. 

While we're on the topic, I know a number of former IDW folks are still looking for work. You'll find links to their LinkedIns there and if you have any opportunities that might be a good fit, please reach out! Also specific shout-out to Yu & Me Books, who could use some help at the moment. 

Patreon!

I'm now on Patreon sharing, wouldja believe, this very blog! As well as some other cool stuff that I've got planned! If you've been enjoying the blog for a while and want a new way to read or support it with a small tip, the Patreon might be for you. I'm also going to be doing Patreon-exclusive blogs that show off stuff like scripts and pitching materials that I can share, WIPs of some of my personal projects, some weird video/audio/streaming content at certain levels, and have a somewhat ambitious group funding goal where subscribers to my top tier mostly help me fund making more short comics by being able to pay cool artists I know! 

Do you not want to read this pitch for my Patreon? Good news: If you subscribe to it, this is cut out from the blog! Ooo aah! 

What I enjoyed this week: Blank Check (Podcast), Craig of the Creek (Cartoon), Dungeons & Daddies (Podcast), Yu-Gi-Oh: Duel Links (Video game), My Adventures with Superman (Cartoon), the beach, Girly Drinks by Mallory O'Meara (Book), the aforementioned Neon Gods (okay, that was last week, but y'know), Stab that Cake (TV show), the only real social media, Clapback, Cruel Summer (TV show), Crime Scene Kitchen (TV show), "Shy Boy" by Carly Rae Jepsen (my queen), the music video for "Water Slide" by Janelle Monae (really loving the aesthetics of their new stuff), Starship Troopers (Movie), thinking about The Love Witch (due for a rewatch). 

New Releases this week (7/5/2023): Sonic the Hedgehog #62 (Editor) Brynmore #1 (Editor) - Actually came out in my last gap week, but go grab it! 

New Releases next week (7/12/2023): Off week for me! Buy something else groovy!

Final Order Cut-Off next week (7/10/2023 - AKA Preorder Deadline) Brynmore #2 (Editor) Godzilla: War for Humanity #1 (Editor)

Announcements:

I'll be at San Diego Comic-Con! My schedule's gotten pretty full, but if you're going to be there, do reach out and let me know. I'll at least try to say hi! IDW announced our panels for the year and I'll see you at Sonic the Hedgehog: Speeding to the 900th Adventure on Sunday at 10, room 25ABC! 

Side note, because con is coming, I may or may not have an update the week of SDCC itself! And Becca's Twitch streams will be off that week, but they'll be streaming throughout the rest of the month. Just anticipate Tuesday streams, rather than Wednesdays, because of some scheduling conflicts. Just through July. 

Oh! And a reminder I am on Bluesky, but don't expect to see me on Threads! That service seems lousy! 

Pic of the Week:

Becca and I at the beach! Beach stuff including some cool shells and part of a crustacean's shell! 

[rawnion]

Ub Iwerks and Walt Disney’s “Steamboat Willie” (1928)

https://youtu.be/BBgghnQF6E4

1) Technique section:

How was it made?

This film featured tightly synchronized music and sound effects to traditional animation. The sounds were recorded at Cinephone studios in New York, using Pat Power’s Cinephone system (closely based on the Phonofilm). This was not the first cartoon to be synchronized with sound, “but it was the first to attract favorable attention”.

How was it captured?

The dialogue, sound effects, and music had to be recorded all on one track. Any unwanted sounds or mistakes would mean that the whole track would have to be recorded again from the start.  The score was conducted by Carl Edouarde, and the orchestra had to play to visual cues inked onto the cartoon’s print, to play on beat. To finance the whole recording process, Disney had to sell his car in order to pay the musicians.

What materials were used?

Disney and a small staff used public domain tunes and sound effects, and kept the timing with the use of a metronome and markings on film, to develop the soundtrack. This score was then recorded in New York with a small orchestra and a theater conductor. Before the soundtrack was produced, there was also a screening to test the accompaniment of sound to the film, shown to the Disney employees and their wives. The team used a mouth organ, pots and pans, slide whistles, and spittoons to produce the sounds.

2) Representation section:

What is the short about?

The short is about Mickey who is the first mate to captain Pete, on a steamboat. Mickey likes to goof off a bit and slacks off to have fun, but Pete does not tolerate this, and constantly reminds Mickey of the chores and duties he must fulfill aboard the boat. Minnie later boards the steamboat, but her ukulele and sheet music are eaten up by a goat on the boat. However, this does not faze the two mice, as they crank the goat’s tail like a phonograph, and the tune “Turkey in the Straw” begins to play from the goat’s mouth. Mickey begins using the different objects and even the livestock on the boat as instruments, to play along to the song, but captain Pete catches him goofing off again, and thus sets him off to work to peel potatoes.

Who does it depict?

This film depicts the main characters: Mickey, Minnie, and Pete.

3) Reception section:

How was it shown?

It was first shown in 1928 at Universal's Colony Theatre, now called The Broadway Theatre,  in New York. It was said to have generated a lot of laughter from the audience in the theatre.

How did you see it?

It was a funny, cute and silly film, featuring Mickey, who seems like a real rapscallion. Though, I didn’t much care for the parts where he harassed the animals on the boat by playing them like instruments, for the sake of music, like when he swung a cat around in the air by its tail.

What was the response at the time? Now? 

The music and sound effects that synced to the animation was hugely successful, and must have amazed and delighted those in the audiences. It was so successful that it led to international fame for Disney and Mickey. Since Steamboat Willie, the film inspired other competitors to not just solely focus on visuals, but to incorporate sound and audio to their productions as well. The only negative response that the film received was the part in the film where Mickey harassed the babies of a nursing sow. It was dubbed inappropriate by television distributors, and in the 1950’s, the scene was removed in later airings of the cartoon. Nowadays, the uncensored versions are accessible online. And while there is still the same negative response, viewers understand that the film was made in the 1920’s and is old-fashioned. 

Sources used:

http://see-this-sound.at/compendium/maintext/73/2.html#textbegin

https://books.google.ca/books?hl=en&lr=&id=5rfRdOMfTqsC&oi=fnd&pg=PA21&dq=steamboat+willie&ots=6Pbf3_8u4s&sig=kd-PM-uAoQl4xWmqeFZGeDRJ31A&redir_esc=y#v=onepage&q=steamboat%20willie&f=false

https://en.wikipedia.org/wiki/Steamboat_Willie

[panoramic-sourcing1]

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With a deep understanding of the materials and designs that bring comfort and peace to pet owners, we offer a wide variety of pet urns that combine tradition with contemporary styles. Whether you’re seeking urns for cats, dogs, or other cherished animals, our artisans meticulously create each piece with high-grade materials, ensuring durability and aesthetic appeal.

Custom Pet Urn Designs

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[harshnews]

Fluid and Lubricant Market for Electric Vehicle Market Size, Share, Trends, Opportunities, Key Drivers and Growth Prospectus

"Global Fluid and Lubricant Market for Electric Vehicle Market Market– Industry Trends and Forecast to 2029

Global Fluid and Lubricant Market for Electric Vehicle, By Product Type (Grease, Heat Transfer Fluids, Drive System Fluids, and Brake Fluids), Vehicle Type (Passenger Vehicles, Commercial Vehicles, and Electric Motor Sports), Propulsion Type (Battery Electric Vehicles (BEV), Plug-In Hybrid Electric Vehicle (PHEV) And Hybrid Electric Vehicles (HEVs)), Distribution Channel (OEM and Aftermarket), Application (E-Motors, Battery Systems, Bearings, Constant Velocity Joints, Power Electronics, Gears, and The Braking System of Electric Vehicles) – Industry Trends and Forecast to 2029.

Access Full 350 Pages PDF Report @

**Segments**

- **Fluid Type:** The fluid and lubricant market can be segmented based on the type of fluid, which includes engine oil, transmission fluid, brake fluid, hydraulic fluid, coolant, gear oil, and others. Engine oil is the most commonly used fluid in the automotive industry to lubricate internal combustion engines and protect them against wear and corrosion. Transmission fluid is essential for automatic transmissions to ensure smooth gear shifting and cooling of the transmission system. Brake fluid is crucial for hydraulic braking systems to transfer force from the brake pedal to the brake calipers. Hydraulic fluid is used in hydraulic systems to transmit power. Coolant regulates engine temperature by transferring heat away from critical components. Gear oil is specifically formulated for manual transmissions and differentials to reduce friction and wear.

- **End-User:** The market can also be segmented based on end-users, including automotive, industrial machinery, aerospace, marine, construction, and others. The automotive sector is the largest end-user of fluids and lubricants, with a high demand for engine oils, transmission fluids, and brake fluids. Industrial machinery relies on lubricants for the smooth operation of equipment and to prolong their lifespan. The aerospace industry requires specialized fluids for aircraft engines and hydraulic systems. Marine applications need fluids to lubricate engines and prevent corrosion in marine environments. The construction sector uses lubricants for heavy machinery to ensure optimal performance and reduce maintenance costs.

- **Distribution Channel:** The fluid and lubricant market can be segmented based on the distribution channel, which includes direct sales and distributor sales. Direct sales refer to the sale of fluids and lubricants directly from manufacturers to end-users, such as automotive workshops, industrial facilities, and construction sites. Distributor sales involve selling products through intermediaries, such as wholesalers, retailers, and online platforms. Distributors play a crucial role in reaching a wider customer base and providing technical support and after-sales services.

**Market Players**

- **Exxon Mobil Corporation:** One of the largest players in the fluid and lubricant marketExxon Mobil Corporation is a key player in the fluid and lubricant market, known for its extensive range of high-quality products and global reach. With a strong presence in the automotive, industrial, aerospace, marine, and construction sectors, Exxon Mobil has solidified its position as a leading supplier of fluids and lubricants worldwide. The company's commitment to innovation and research has enabled it to develop advanced formulations that meet the evolving needs of various industries.

In the automotive segment, Exxon Mobil caters to the growing demand for engine oils, transmission fluids, and brake fluids by offering products that enhance engine performance, protect critical components, and ensure smooth operation of vehicles. The company's deep understanding of automotive technologies and stringent quality standards have earned it a reputation for reliability and efficiency in the market. Exxon Mobil's lubricants are designed to meet the specifications of modern engines, addressing issues such as fuel efficiency, emissions control, and prolonged engine life.

In the industrial machinery sector, Exxon Mobil provides a wide range of fluids and lubricants that are crucial for the optimal performance of equipment and machinery. The company's industrial lubricants offer excellent protection against wear, corrosion, and contamination, helping to reduce downtime and maintenance costs for industrial facilities. With a focus on sustainability and environmental responsibility, Exxon Mobil has also developed eco-friendly lubricants that meet strict regulatory requirements and support sustainable practices in the industry.

The aerospace industry relies on highly specialized fluids and lubricants to ensure the safe and efficient operation of aircraft engines and hydraulic systems. Exxon Mobil's aerospace lubricants are engineered to withstand extreme conditions, such as high temperatures, pressure, and speeds, while providing exceptional performance and reliability. The company collaborates closely with aerospace manufacturers and operators to tailor its products to the specific needs of the industry, ensuring compliance with stringent safety standards and regulations.

In the marine sector, Exxon Mobil offers a comprehensive range of marine lubricants that are essential for the smooth operation of marine engines and equipment in harsh operating environments. These lubricants provide superior protection against**Global Fluid and Lubricant Market for Electric Vehicle:**

- **Product Type:** - Grease - Heat Transfer Fluids - Drive System Fluids - Brake Fluids

- **Vehicle Type:** - Passenger Vehicles - Commercial Vehicles - Electric Motor Sports

- **Propulsion Type:** - Battery Electric Vehicles (BEV) - Plug-In Hybrid Electric Vehicle (PHEV) - Hybrid Electric Vehicles (HEVs)

- **Distribution Channel:** - OEM - Aftermarket

- **Application:** - E-Motors - Battery Systems - Bearings - Constant Velocity Joints - Power Electronics - Gears - The Braking System of Electric Vehicles

The global fluid and lubricant market for electric vehicles is witnessing significant growth attributed primarily to the increasing adoption of electric vehicles worldwide and the focus on sustainable transportation solutions. As the shift toward electrification accelerates, the demand for specialized lubricants designed for electric vehicle components is rising. Grease, heat transfer fluids, drive system fluids, and brake fluids are among the key products gaining traction in this market, catering to the unique lubrication requirements of electric vehicles.

Due to the diverse application areas within the electric vehicle sector, such as passenger vehicles, commercial vehicles, and electric motor sports, the demand for tailored lubrication solutions is expanding. Different propulsion types like battery electric vehicles (

Key points covered in the report: -

The pivotal aspect considered in the global Fluid and Lubricant Market for Electric Vehicle Market report consists of the major competitors functioning in the global market.

The report includes profiles of companies with prominent positions in the global market.

The sales, corporate strategies and technical capabilities of key manufacturers are also mentioned in the report.

The driving factors for the growth of the global Fluid and Lubricant Market for Electric Vehicle Market are thoroughly explained along with in-depth descriptions of the industry end users.

The report also elucidates important application segments of the global market to readers/users.

This report performs a SWOT analysis of the market. In the final section, the report recalls the sentiments and perspectives of industry-prepared and trained experts.

The experts also evaluate the export/import policies that might propel the growth of the Global Fluid and Lubricant Market for Electric Vehicle Market.

The Global Fluid and Lubricant Market for Electric Vehicle Market report provides valuable information for policymakers, investors, stakeholders, service providers, producers, suppliers, and organizations operating in the industry and looking to purchase this research document.

What to Expect from the Report, a 7-Pointer Guide

The Fluid and Lubricant Market for Electric Vehicle Market report dives into the holistic Strategy and Innovation for this market ecosystem

The Fluid and Lubricant Market for Electric Vehicle Market report keenly isolates and upholds notable prominent market drivers and barriers

The Fluid and Lubricant Market for Electric Vehicle Market report sets clarity in identifying technological standardization as well as the regulatory

framework, besides significantly assessing various implementation models besides evaluation of numerous use cases

The Fluid and Lubricant Market for Electric Vehicle Market report is also a rich repository of crucial information across the industry, highlighting details on novel investments as well as stakeholders and relevant contributors and market participants.

A through market analytical survey and forecast references through the forecast tenure, encapsulating details on historical developments, concurrent events as well as future growth probability

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[deshpandeisha]

The Evolution of Animal Microchip Implants: Advancements and Applications

The global Animal Microchip Implant market size reached USD 483.2 Million in 2022 and is expected to register a revenue CAGR of 9.4% during the forecast period, according to the latest analysis by Emergen Research. According to the American Pet Products Association (APPA), in 2021, an estimated 70% of households in the U.S. own a pet, which is up from 56% in 1988. The most popular pets in the U.S. are dogs, with an estimated 60.2 million households owning at least one, followed by cats, with 47.1 million households owning at least one. The number of microchipped animals is increasing as more individuals acquire pets. Microchipping is not only recommended for pet owners, but it is also a way to ensure that animal welfare organizations and the government can track the population of animals, enforce regulations regarding pet travel and animal welfare, and also ensure that the pet is healthy and safe.

Get Download Pdf Sample Copy of this Report@ https://www.emergenresearch.com/request-sample/1620

Competitive Terrain:

The global Animal Microchip Implant industry is highly consolidated owing to the presence of renowned companies operating across several international and local segments of the market. These players dominate the industry in terms of their strong geographical reach and a large number of production facilities. The companies are intensely competitive against one another and excel in their individual technological capabilities, as well as product development, innovation, and product pricing strategies.

The leading market contenders listed in the report are:

Datamars, Virbac, Microchip4Solutions Inc, Peddymark Ltd, DooWa Technology Co. Ltd, Pet-ID Microchips Ltd, Avid Identification Systems, Inc., Jeffers Pet, Merck & Co., Inc., Trovan Ltd.

Key market aspects studied in the report:

Market Scope: The report explains the scope of various commercial possibilities in the global Animal Microchip Implant market over the upcoming years. The estimated revenue build-up over the forecast years has been included in the report. The report analyzes the key market segments and sub-segments and provides deep insights into the market to assist readers with the formulation of lucrative strategies for business expansion.

Competitive Outlook: The leading companies operating in the Animal Microchip Implant market have been enumerated in this report. This section of the report lays emphasis on the geographical reach and production facilities of these companies. To get ahead of their rivals, the leading players are focusing more on offering products at competitive prices, according to our analysts.

Report Objective: The primary objective of this report is to provide the manufacturers, distributors, suppliers, and buyers engaged in this sector with access to a deeper and improved understanding of the global Animal Microchip Implant market.

Emergen Research is Offering Limited Time Discount (Grab a Copy at Discounted Price Now)@ https://www.emergenresearch.com/request-discount/1620

Market Segmentations of the Animal Microchip Implant Market

This market is segmented based on Types, Applications, and Regions. The growth of each segment provides accurate forecasts related to production and sales by Types and Applications, in terms of volume and value for the period between 2022 and 2030. This analysis can help readers looking to expand their business by targeting emerging and niche markets. Market share data is given on both global and regional levels. Regions covered in the report are North America, Europe, Asia Pacific, Latin America, and Middle East & Africa. Research analysts assess the market positions of the leading competitors and provide competitive analysis for each company. For this study, this report segments the global Animal Microchip Implant market on the basis of product, application, and region:

Segments Covered in this report are:

Product Type Outlook (Revenue, USD Million; 2019-2032)

Animal ID Microchip

Reusable Pet Tracking Microchip

Transponder Microchips

Others

Mode Outlook (Revenue, USD Million; 2019-2032)

Self-injectable

Surgery-injectable

Distribution Channel Outlook (Revenue, USD Million; 2019-2032)

Veterinary Hospitals

Veterinary Pharmaceutical Stores

Others

Browse Full Report Description + Research Methodology + Table of Content + Infographics@ https://www.emergenresearch.com/industry-report/animal-microchip-implant-market

Major Geographies Analyzed in the Report:

North America (U.S., Canada)

Europe (U.K., Italy, Germany, France, Rest of EU)

Asia Pacific (India, Japan, China, South Korea, Australia, Rest of APAC)

Latin America (Chile, Brazil, Argentina, Rest of Latin America)

Middle East & Africa (Saudi Arabia, U.A.E., South Africa, Rest of MEA)

ToC of the report:

Chapter 1: Market overview and scope

Chapter 2: Market outlook

Chapter 3: Impact analysis of COVID-19 pandemic

Chapter 4: Competitive Landscape

Chapter 5: Drivers, Constraints, Opportunities, Limitations

Chapter 6: Key manufacturers of the industry

Chapter 7: Regional analysis

Chapter 8: Market segmentation based on type applications

Chapter 9: Current and Future Trends

Request Customization as per your specific requirement@ https://www.emergenresearch.com/request-for-customization/1620

[tamanna31]

Pet Food 2024 Industry Size, Demands, Growth and Top Key Players Analysis Report

Pet Food Industry Overview

The global pet food market size was estimated at USD 103.3 billion in 2023 and is expected to grow at a compound annual growth rate (CAGR) of 4.4% from 2024 to 2030.

The demand for products is anticipated to be driven by growing consumer inclination toward the adoption of pets along with rising concerns regarding their health. Improvement in overall digestion and performance of pet animals owing to consumption of nutritious food is also likely to boost market growth in the forecast period. The pet food products that are available in the global market rarely vary. This, in turn, has prompted manufacturers to include multi-functional and innovative ingredients in their products to curb such similarity bias. Convenience is likely to play a vital role in driving this industry, given the increased popularity of prepared pet food. The other segment is organic pet food, a recent and growing trend in the market.

Gather more insights about the market drivers, restrains and growth of the Pet Food Market

Increasing availability of organic products in a variety of flavors and the inclusion of essential ingredients such as probiotics and antioxidants are factors that are likely to induce a positive impact on global market growth. On the other hand, low product penetration owing to its slightly high price may restrain organic segment growth in the coming years as every household would not be able to purchase high-priced products.

The market value chain is characterized by the presence of raw material suppliers, manufacturers, distributors, and end-users. The raw materials which are used for production include meat, meat byproducts, cereals, grains, and specialty proteins derived from animals, palatants, flavors & sweeteners, vitamins, minerals, and enzymes among others.

Manufacturers formulate these products in accordance with the standard nutritional requirements of domesticated animals. Meat-based raw materials are processed/rendered to separate protein components, water, and fat. The manufacturing process also entails grinding, cooking, and mixing the aforementioned raw materials with other ingredients.

The raw materials utilized in each pet food product segment are primarily commodities and agricultural-based products. Grains, fruits, and animal protein meals, among other ingredients, are procured from various suppliers. The cost, quality, and availability of these key ingredients have fluctuated in the past and are expected to fluctuate in the future as well. For instance, in March 2023, pet food prices in America rose by 15.1% YoY. Due to this, residents are considering giving away their pets. Such sudden and sharp increases in the prices of pet food can adversely affect market growth.

Browse through Grand View Research's Consumer F&B Industry Research Reports.

• The global frozen bakery market size was estimated at USD 67.27 billion in 2023 and is projected to grow at a CAGR of 5.2% from 2024 to 2030.

• The global organic rice protein market size was valued at USD 69.5 billion in 2023 and is projected to grow at a CAGR of 12.9% from 2024 to 2030.

Global Pet Food Market Report Segmentation

This report forecasts volume & revenue growth at global, regional, and country levels and provides an analysis of the latest industry trends in each of the sub-segments from 2018 to 2030. For this study, Grand View Research has segmented the global pet food market report based on pet type and region:

Pet Type Outlook (Revenue, USD Million; Volume, Kilotons; 2018 - 2030)

Dog

Wet Food

Dry Food

Snacks/Treats

Cat

Wet Food

Dry Food

Snacks/Treats

Others

Regional Outlook (Revenue, USD Million; Volume, Kilotons; 2018 - 2030)

North America

US

Canada

Mexico

Europe

Germany

UK

France

Italy

Spain

Poland

Ukraine

Russia

Turkey

Asia Pacific

China

India

Japan

South Korea

Indonesia

Malaysia

Vietnam

Thailand

Australia

Central & South America

Brazil

Argentina

Middle East & Africa

Middle East

South Africa

Key Companies & Market Share Insights

The competitive landscape of this market is moderately consolidated with the presence of multinationals striving to fulfill high demand from large customers and end-user base. Key industry participants are inclined toward adopting new marketing strategies and using advanced technologies to strengthen their customer base and generate more revenue in near future. In addition, companies are undertaking expansion, mergers, and acquisitions as a part of their strategic initiatives. For example, in January 2022, Manna Pro acquired Oxbow Animal Health, a small animal pet brand that offers premium food, and supplements for rabbits, pigs, hamsters, and other pets. In addition, in September 2023, Superlatus, Inc., a key food distribution and technology firm, merged with TRxADE HEALTH, Inc., and announced its expansion in the pet food industry with plant-based or vegan pet food treats.

Industry participants are inclined toward investing heavily in research and technology to advance processes and create new recipes, which are manufactured with varied and special ingredients. Key manufacturers are also focused on developing innovative formulas to offer diverse and high-quality food for pets and farm animals. Industry players also utilize raw materials with criteria to meet demands, as well as regulations, in both domestic and international markets.

Key Pet Food Companies:

The J.M. Smucker Company

Nestle Purina

Mars, Incorporated

LUPUS Alimentos

Total Alimentos

Hill’s Pet Nutrition, Inc.

General Mills Inc.

WellPet LLC

The Hartz Mountain Corporation

Order a free sample PDF of the Pet Food Market Intelligence Study, published by Grand View Research.

[kakivino]

Errázuriz 2015 Aconcagua Costa Sauvignon Blanc

Very fresh, green aromas, like cat pee pungent. Late hints of luscious melon, reminiscent of ripe Pouilly-Fumé, balances things out a little. Mineral-charged grapefruit and gooseberry offers plenty of zing. Tactile in texture, lees contact adds flesh to bones. Finishes tight and flinty, with late surge of ripe stone fruit undertones. One of those invigorating, reliable sauvy that Chile excel at. — ★★★½

Appellation: Aconcagua Costa Region: Aconcagua, Chile Subzone: Cépage: 100% Sauvignon Blanc Abv: 13.5% (7.6 g/L TA, 1.08 g/L RS) Production: Élevage: Distributor: Milawa

Critic Reviews:

The early harvested 2015 Sauvignon Blanc Aconcagua Costa comes from the Manzanar vineyard on clay and slate soils. The grapes are picked early in the morning to avoid the heat of the day, destemmed, crushed and pressed ,and the juice is fermented in stainless vats where it was kept in contact with the lees for three months; it didn’t see any oak whatsoever. The nose is very expressive, powerful, pungent, herbal, even vegetal with aromas of herbs and bay leaf reaching seaweed – very fresh overall. The palate is quite fresh and austere, with good balance between acidity and volume; it is serious and dry, ideal with seafood. Drink: 2016-2019. Luis Gutierrez (Wine Advocate, 12/2015) 90

Oceanic aromas of grass, scallion, baby garlic and lime reflect cool-coast origins. A slick, juicy mouthfeel is minerally, while this offers flavors of nettle, lime, passion fruit and green onion. A long, stony finish leans towards green flavors. Michael Schachner (Wine Enthusiast, 8/1/2016) 90

Beautiful, complex Sauvignon Blanc, bursting with aromas such as white flowers, citrus, yellow cherries, yellow plums and gooseberries as well as aspargus and tropical fruits. The delicate, fresh and fruity palate has lovely tensions, mouthwatering acidity and a lengthy, crisp, mineral finish. Exceptional! Best in Show. Decanter Awards Panel of Judges (Decanter, 8/1/2016)

[kylesvariouslistsandstuff]

Animation Face-Offs

I find it amusing that the first real major animated movie box office show-off is occurring some 35 years after the one that arguably started it all...

November 18, 1988... Walt Disney Feature Animation's celebrity-loaded modern musical OLIVER & COMPANY from first-time director George Scribner, and Universal's release of the Steven Spielberg/George Lucas-produced ex-Disney director Don Bluth adventure THE LAND BEFORE TIME...

This wasn't the first time two animated pictures opened next to each other.

In fall 1982, Hanna-Barbera's HEIDI'S SONG opened opposite a Looney Tunes clipshow anthology movie called 1001 RABBIT TALES. Combined, they made $5m at the domestic box office... Not great times to open an animated feature that wasn't Disney, and not that their distributors probably even cared at the time anyways.

Sometimes, there are around two animated features a month. It's not uncommon for two studios to share. Off the top of my head, you had - in November 2010 - MEGAMIND at the beginning of the month, and TANGLED before Thanksgiving. In the early summer of 2013, MONSTERS UNIVERSITY only opened about a few weeks before DESPICABLE ME 2. TROLLS and MOANA shared November 2016. Again, just random examples off the top of my head.

But usually, they're spaced out... TROLLS BAND TOGETHER and WISH are five days apart...

TROLLS 3 is projected to take in around $20-25m this weekend, which is significantly less than what TROLLS took in back in 2016, but still alright for this kind of movie. WISH is set to out-open it, with over $50m for the 5-day Thanksgiving weekend stretch. For a $200m-costing movie, it's going to need all the legs in the world to get by. TROLLS 3 will need to pull some good weight too to more than double its much more modest $95m budget. (Wild to think that $95m seems *low*... There was a time when a DreamWorks/PDI movie cost $75m... And for a good while, roughly $135m!)

I'm curious to see how each film affects one another. Families aren't made of money, and there's gotta be a kind of adult pull to really make big bucks, and I'm not sure if either of these films have that. Plus you have stuff like WONKA right around the corner... Thankfully no Marvel, Star Wars, or Avatar movie to counter with. Although, PUSS IN BOOTS Dos last year, woooooow. That cat held his own against the blue cat aliens.

But yeah, if you think about it... This is a rare head-to-head race.

One could argue we saw this in late winter of 2021 when Warner Bros. released their live-action TOM & JERRY, and then Disney Animation had RAYA AND THE LAST DRAGON out a week later. But that was before vaccines got out for all age groups (they were distributed to the elderly first, I - who was 28 at the time - couldn't get my first shot until April.), and the films had simultaneous streaming debuts, so I don't really count that. Plus, Cinemark theaters refused to show RAYA over a disagreement on who got most of the earnings. (That would've been my return trip to the movies after a year-long hiatus, my return ended up being A QUIET PLACE: PART II two months later.)

It's funny how TROLLS 3 is Universal and WISH is Disney... Just like how LAND BEFORE TIME was Universal, and OLIVER was Disney.

The Disney-Universal race was successful for both. OLIVER took home $53m domestically (the $71m figure you often see comes from the film's 1996 re-release), LAND BEFORE TIME took home $48m. Worldwide is up the air, because Disney never released OLIVER's numbers, Universal reported that LAND made around $84m. Winner is unknown, but it was always assumed to be LAND. Maybe because dinosaurs are more Universal than a modern-day New York comedy? Who knows!

Perhaps greatly inspired by that double-whammy of animated hits, MGM/United Artists wanted to try that for themselves. Don Bluth split with Spielberg and Lucas due to creative disagreements during production of both LAND BEFORE TIME and his other Spielberg collab AN AMERICAN TAIL, and set up ALL DOGS GO TO HEAVEN with the lion. MGM/UA released ALL DOGS the same day as THE LITTLE MERMAID...

Bluth's movie got left to sink by the Ron Clements and John Musker-directed musical sleeper hit... It wasn't even close. $27m domestic vs. $84m domestic, and in addition that, MERMAID's worldwide figures put it at roughly $183m. (Again, in 1989-90, without the 1997 re-release counted.) ALL DOG's worldwide total is unknown.

This didn't entirely scare distributors away from trying again.

The fall of 1990 was originally set to see another Bluth vs. Disney face-off. If plans had held, MGM-Pathe would've released Bluth's ROCK-A-DOODLE on the same day as Disney's sequel THE RESCUERS DOWN UNDER. MGM-Pathe ran into financial and legal problems, putting Bluth's film in limbo for a bit...

Instead, Warner Bros. went toe to toe with Disney, releasing an animated feature that wasn't a Looney Tunes clipshow: THE NUTCRACKER PRINCE... Suffice to say, it barely scrounged up $1m domestically, and Disney's sequel had troubles of its own, stalling at $29m domestically, $47m worldwide.

Two films fled from the autumn of 1991, as BEAUTY AND THE BEAST looked to not be a repeat of RESCUERS DOWN UNDER, but a repeat of LITTLE MERMAID and OLIVER's successes... 20th Century Fox - who had FERNGULLY: THE LAST RAINFOREST - and The Samuel Goldwyn Company - who picked up ROCK-A-DOODLE - chickened, literally in the latter's case...

Only Universal had the guts to take on the beast... By releasing AN AMERICAN TAIL: FIEVEL GOES WEST the same day. The Don Bluth-less sequel made only $22m domestically, while BEAUTY AND THE BEAST made... $145m in North America alone, and blew up with $331m around the world...

After FERNGULLY and ROCK-A-DOODLE wisely fled from BEAUTY AND THE BEAST, they duked it out in April 1992. DOODLE opened the first weekend of the month, with FERNGULLY following. FERNGULLY won with $24m domestically, DOODLE struggled with $11m. (It's worth noting that DOODLE first came out in the UK in August of 1991.)

Universal initially thought they'd have WE'RE BACK! A DINOSAUR'S STORY ready to compete with ALADDIN, but they likely realized that that was not a great idea... WE'RE BACK! opened over a full year after ALADDIN and still flopped hard. It opened nearby BATMAN: MASK OF THE PHANTASM, which also made a paltry amount.

From there on out, things were typically spaced out. Sometimes the smaller efforts opened close to each other.

And now here we are, Thanksgiving week of 2023... We have trolls vs. wishing stars. Universal vs. Disney. It'll be fun to watch, but I hope the two film crews of both get to put food on their tables once more.

[fearsmagazine]

FOLLOW HER - Review

DISTRIBUTOR: Quiver

SYNOPSIS: “Jess has finally found her hook: secretly filming creepy interactions she encounters via online job listings, and using the kinks of others to fuel her streaming success. For her next episode, she’s been hired by Tom to write the ending of a screenplay in a remote, lavish cabin. Once there, the alluring self-proclaimed screenwriter hands her a script in which the two of them are the main characters. This client isn’t what he seems, and even though the money’s great… the real payment here could cost her life.” - Quiver

REVIEW: FOLLOW HER is a cleaver idea that deals with the take down of an aggressive influencer whose karma catches up with her. Actress Dani Barker is also the film’s writer and a producer. She weaves together some interesting ideas, creates a character you’ll love to hate, and is an overall above average independent genre film.

The screenplay for FOLLOW HER tackles the arc of the main character Jess. It is made clear early on that she gives little thought to taking advantage of everyone, including her family, to get what she wants. She exploits people’s fetishes, she is usually careful, but something goes wrong with her latest encounter. Instead of taking it down, she leaves it online as it continues to trend and reaches a new level. When she comes across a writing opportunity that deals with themes she is familiar with, and pays good money, she throws caution to the wind and heads to the country to meet the screenwriter. What ensues is a game of cat-&-mouse as Jess comes to realize the setup is too perfect and there is something more going on than she expected or planned for. There are moments when Jess’s ego and greed overcomes her sense of self-preservation and ultimately the climax presents a strange twist that is an overthought “Absence of Malice.” The story does not end there. There is a scene with Jess, her father and the police that feels out of place and almost like an afterthought to the entire narrative. There is a final sequence that adds another level of the strange and bizarre, which also provides the title of the film. I was in for the majority of the tale, however the subsequent scenes felt unnecessary and bewildering.

Dani Barker and Luke Cook, the two main actors, carry the story. Barker portrays a mean girl, a self-absorbed influencer of today, and I enjoyed seeing her in danger. Yes, I was rooting for the bad guy, Tom. Luke’s Tom is a charming and twisted character, and the humor flows naturally. His performance reminds me of a cross between Christian Bale’s Patrick Bateman and Jack Nicholson’s The Joker. The actors have a strong rapport and their on-screen interactions are believable and engaging. The actors have excellent chemistry, but their rapport creates a light-hearted atmosphere that undermines the suspense and makes it difficult for the audience to become fully invested in the story.

The production values are solid, the editing creates a nice pace for the majority of the film. The barn is an excellent location, the others are adequate. Jess has some interesting costume designs and Barker seems very comfortable in them.

FOLLOW HER, an adult-themed film that never achieves a level of seriousness and peril that I believe it should. There are excellent performances and some witty banter, but the story has two additional scenes, the first feels awkward and the second is an additional punchline that feels like it is there to simply set up the title of the film. Still, it is a deadly frolic where you can’t help but cheer for Jess’ demise.

CAST: Luke Cook, Dani Barker, Eliana Jones and Mark Moses CREW: Director / Producer - Sylvia Caminer; Screenplay / Producer - Dani Barker; Producer - Michael Indjeian; Cinematographer - Luke Geissbuhler; Score - Alexander Arntzen; Editor - Alex Gans; Production Designer - Noa Rachel Bricklin; Costume Designer - Caycee Black; Visual Effects Supervisor - Alex Noble OFFICIAL: www.followherfilm.com FACEBOOK: www.facebook.com/FollowHerFilm TWITTER: twitter.com/FollowHerFilm TRAILER: https://youtu.be/19ELKe8IKXo RELEASE DATE: In Select Theaters & VOD June 2nd, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[petnews2day]

An Official Journal Of The NRA | First Look: CAT Suppressors From Silencer Shop

New Post has been published on https://petn.ws/lPEQw

An Official Journal Of The NRA | First Look: CAT Suppressors From Silencer Shop

Silencer Shop, one of the largest distributors of suppressors in the country, is now expanding the CAT (Combat Application Technologies) suppressor product line with two new suppressor models, the new CAT MOB and CAT JL silencers. The new CAT MOB (short for Mobster) is a purpose-built and designed suppressor for use with 9mm PCCs (pistol […]

See full article at https://petn.ws/lPEQw #CatsNews