#liza warner

[evilhorse]

Too late—the grenade’s live!

(1st Issue Special #4)

[mayamarvil]

Don’t call Superman to do a lady’s job

Danger Street #10

[mikemorris1988]

Kenny Impresses the Girls and Cartman is Jealous

[paulinawoodpecker]

Tad the lost explorer: One Last Time

About: tad; a archeologist reunites with a African warrior named Dagenia from a long time part must defeat zulo and his sister Zula

(This is actually a flashback to the first film)

Tad: Trevor white

Sara: Alex Kelly

Ramirez: Elena suarel

Reena Roberto Ramirez: Olivia Rodrigo

Amy Jefferson: auli’i Cravalho

Jasmine Jefferson: Lexi Medrano

Anne: phillpha Alexander

Ramona: pippa bennet warner

Tiffany maze: Gemma whelan

Dagenia: Moses Ingram

Imani: Maria bamford

Liza: Letitia wright

Oganda: Danai gurira

Ruth: snoop dogg

Queen Wanda: Angela basset

Zula: china Anne Mclain

Zulo: Samuel L Jackson

Songs:

More than anything: (tad and Dagenia remembering their long time part)

More than anything (reprise) (Dagenia cheers tad up)

Nobody else: AILEE (opening)

Born in the wild: Tems (end credits)

[byneddiedingo]

Liza Minnelli and Joel Grey in Cabaret (Bob Fosse, 1972)

Cast: Liza Minnelli, Michael York, Helmut Griem, Joel Grey, Fritz Wepper, Marisa Berenson, Elizabeth Neumann-Viertel, Helen Vita. Screenplay: Jay Presson Allen, based on a musical play by Joe Masteroff, a play by John Van Druten, and stories by Christopher Isherwood. Cinematography: Geoffrey Unsworth. Production design: Rolf Zehetbauer. Film editing: David Bretherton. Music: John Kander. 

In Thomas Mann's The Magic Mountain, a young German engineer, recuperating in a tuberculosis sanatorium in the Swiss Alps, decides to read up on physiology. He concludes that life itself is a kind of disease, "a fever of matter." In Cabaret, Sally Bowles (Liza Minnelli) proclaims that "life is a cabaret, old chum." Yet given that the cabaret presided over by the Master of Ceremonies (Joel Grey) in the film is a febrile sort of place, there's a coherence between the two views. Director Bob Fosse would himself go on to posit a relationship between illness and creativity in All That Jazz (1979). And Sally Bowles's favorite phrase, the seeming oxymoron "divine decadence," suggests that out of decay comes something higher. What would be the opposite, after all: satanic order? In perhaps the movie's most chilling moment, Fosse gives us a closeup of a cherubic, well-scrubbed young face, the very opposite of the Master of Ceremonies's rouged and lipsticked face that  has dominated the film from the very beginning. The boy then begins to sing "Tomorrow Belongs to Me," and as the camera pulls back we see that he is wearing the uniform of the Hitler Youth. As the crowd at the open-air beer garden, which has to this point seemed an idyllic setting, joins in and begins to raise their arms in the Nazi salute, we view the very definition of satanic order. But enough German dialectics. Cabaret is one of the great movie musicals. As a rule, I prefer musicals created originally for the movies, like the Warner Bros. films with the kaleidoscopic routines of Busby Berkeley, the Fred Astaire-Ginger Rogers movies, or the sublime Singin' in the Rain (Stanley Donen and Gene Kelly, 1952), and not musicals like West Side Story (Jerome Robbins and Robert Wise, 1961; Steven Spielberg, 2021) or My Fair Lady (George Cukor, 1964), that were translated to film from the stage. My admiration for Cabaret would seem to be an exception to that rule, except that when Fosse became director, he jettisoned the book that had been written by Joe Masteroff for the 1966 Broadway musical and went back to the source, Christopher Isherwood's 1939 The Berlin Stories. Jay Presson Allen had been commissioned to write the screenplay, but Hugh Wheeler (credited as "research consultant") heavily revised what she had written. Fosse also dropped many of the songs by John Kander and Fred Ebb, though he added new ones by them: "Money, Money" and "Mein Herr," along with one of their older songs not from the Broadway version, "Maybe This Time." And he made the significant decision to keep the musical numbers, except for the aforementioned “Tomorrow Belongs to Me,” confined to the Kit Kat Klub stage -- a touch of cinematic realism that seems essential to a story set in Berlin during the rise of the Nazis. The result is a musical essentially created (or at least re-created) for the movies. It received 10 Oscar nominations and won eight of them, including awards for Minnelli, Grey, and Fosse, as well as for Geoffrey Unsworth's cinematography. The only categories in which it lost were best picture and best adapted screenplay, which went to The Godfather and its screenwriters, Mario Puzo and Francis Ford Coppola.

[kwebtv]

Life With Judy Garland: Me and My Shadows -  ABC  -  February 25 - 26, 2001

Biography (2 episodes)

Running Time: 170 minutes

Stars:

Judy Davis as Judy Garland

Hugh Laurie as Vincente Minnelli

Victor Garber as Sid Luft

John Benjamin Hickey as Roger Edens

Sonja Smits as Kay Thompson

Alison Pill as young Lorna Luft

Aidan Devine as Frank Gumm

Marsha Mason as Ethel Gumm

Lindy Booth as Lana Turner

Al Waxman as Louis B. Mayer

Dwayne Adams as Mickey Rooney

Jayne Eastwood as Lottie

Martin Randez as Mark Herron

Hume Baugh as Mickey Deans

Daniel Kash as Arthur Freed

Stewart Bick as Artie Shaw

Rosemary Dunsmore as Ida Koverman

Cara Pifko as Jimmy Gumm (adult)

Zoe Heath as Suzy Gumm (adult)

Michael Rhoades as Busby Berkeley

Gerry Salsberg as Charles Bickford

Phillip MacKenzie as Victor Fleming

Thea Gill as Lucille Bremer

Noah Henne as The Scarecrow (Ray Bolger)

James Kall as The Tin Man (Jack Haley)

Michael B. King as The Lion (Bert Lahr)

Harrison Kane as Joey Luft (age 7-10)

Brittany Payer as Liza Minnelli (age 1-2)

Rob Smith as David Begelman

Christopher Marren as Freddie Fields

Richard M. Davidson as Jack Warner

Derek Keurvorst as George Cukor

Aron Tager as George Jessel

William Holden as Himself (archive footage)

Grace Kelly as Herself - Academy Award Recipient (archive footage)

Cynthia Gibb as Narrator (older Lorna)

Carley Alves as Judy (age 2)

Tammy Blanchard as Judy (age 12-21)

Amber Metcalfe as Lorna (age 6)

Mackenzie Weiner as Lorna (age 3)

Krista Sutton as Lorna (adult)

Josephine De Cosma as Jimmy Gumm (age 7)

Samantha Gerber as Suzy Gumm (age 9)

Alex House as Joey Luft (age 11-15)

Ellis Turner as Joey Luft (age 4) (uncredited)

Arielle Di Iulio as Liza (age 6-8)

Sarah Moussadji as Liza (age 12-15)

Marie Ward as Liza (age 23)

[bridgertonbabe]

I know AlexanderxEliza story is far on the horizon, but could you give us a few ideas or whatever you want to share about them, pretty please?

Eliza is younger than Alexander and is closer in age to William and Violet, so as a child she was closer to them. When she was younger she had always been amused by William's naughtiness and sense of humour and Mr and Mrs Crabtree believed their granddaughter had a fancy for the youngest of Benedict and Sophie's boys. Eliza, not really understanding what a fancy meant, went along and accepted her grandparents' supposition though it wouldn't be until she was a bit older that she fully understood the implication. She had questioned her feelings for William, if she truly admired him in a fanciful and romantic fashion, but it didn't take long for her to acknowledge that as much as she liked William, she saw him merely as a brotherly figure and nothing more.

And upon reflection of who she might hold in her affections, she quickly recognised that the person who she secretly admired was William's older brother, Alexander. All of the Bridgerton boys were good-natured, good-humoured, and good-looking; but there was just something about Alexander that sent Eliza's young heart into a flutter. Perhaps it was because he was considerably quieter than his brothers (when he wasn't play-fighting with them) and enjoyed the peaceful respite of spending hours working on his art, maybe it was his quick wit that he used against his brothers or to amuse his mother, or perhaps it was the way he smiled at Eliza in greeting and acknowledgement; whatever it was, seeing Alexander at My Cottage would make Eliza's entire day.

Whenever Eliza quietly sat with him as they worked on their watercolours, she felt too shy to say much to him for several reasons. He was just that bit older, he was of higher birth than her, and more importantly she didn't quite know what to say to someone she fancied. In spite of her nerves, the pair wouldn't sit in awkward silence but a companionable one. Alexander would speak up every now then, whether to advise her on her painting or ask if she wanted a new brush or perhaps a glass of lemonade and Eliza was just about competent enough not to get flustered and accept whatever it was he attentively offered her.

But a moment with Alexander that stood out most to her happened one afternoon before she was due to return home with her grandparents. Mrs Crabtree had poked her head around the door to her master's studio, informing Eliza they'd be leaving in ten minutes and to get ready. As she had been tidying up after herself, she ground to a halt when Alexander suddenly posed her with a question. "What do you like to be called?" It had stumped Eliza and she looked at him in bewilderment. "Pardon?" she had squeaked. "What name do you like to be called?" he reiterated and shot her an inquisitive look, as if he really wanted to know. She had always been affectionately known as Eliza by her grandparents and as a result the household of My Cottage also called her Eliza. But having been born Elizabeth meant that she could be called a whole host of alternate names. To her parents she was Betty, and to her older sister Tabitha she was Bessie. Mrs Warner from the haberdashery in the village called her Beth (there were several other Elizabeths in the area, and each one she had given an alternate diminutive to differentiate between them) and some of the children in her neighbourhood called her Liza. She went by so many different names but never had anyone ever actually asked her what she preferred to be called. "I don't know." she had replied in all honesty. "Well if you could pick, what name would you want others to call you by?" Alexander had asked gently. She had thought on it for a couple of moments, during which Alexander continued dabbing at his artwork, allowing her the time to consider the question. "Lizzie." she uttered and Alexander lifted his attention up from his watercolours. "I think I like the name Lizzie." she said. It made her think of an older girl in the village, Elizabeth Hayes, who was a noted beauty with the most radiant smile and who was well loved for her compassion and kindness. She was most commonly known as Lizzie, and Eliza thought if there were anybody she could hope and aspire to grow up to resemble, it would be her. "You think you like Lizzie?" Alexander had asked. She had shrugged in response. "I like the name. I just... I don't know if I look like a Lizzie. If Lizzie suits me." she admitted doubtfully as it occurred to her that wishful thinking alone wouldn't make her transform into Lizzie Hayes when she grew up. "I think Lizzie suits you." Alexander said. "Really? You think so?" she asked. "I do. You smile like a Lizzie." And she couldn't help the smile that then proceeded to light up her face in response, nor the blush that coloured her cheeks as she hung on the fact that Alexander Bridgerton had apparently noticed her smile. "Would you like me to call you Lizzie?" he asked her. "Yes." she had beamed at him. "Yes, please." And from then on he'd always greet her and bid her farewell using her preferred name - and it never once occurred to Alexander that nobody else called her Lizzie but him.

[evilhorse]

1st Issue Special #4

[davidmansfield]

A Gift From Tony Bennett

In 1972, when I was 15 and growing up in the New Jersey suburbs I joined a band that included Danny and Dae Bennett, sons of the late Tony Bennett. Over the next couple of years we had quite a bit of success, including being signed by the legendary Mary Martin to record an album for Warner Brothers Records. As “Quacky Duck and his Barnyard Friends” we became regulars at the equally legendary Upstairs at Max’s Kansas City, though between sets I had to hide in Sam Hood’s production office, as I was legally too young to be in the club.

One of our showpieces was a satirical sendup of the Jagger-Richards hit, “Satisfaction”, rearranged as a late 20s-early-30s-era uptempo swing tune. At the end of the song I would take a long solo on the violin, as I did my teenage best to imitate Stephanie Grappelli and Stuff Smith. It always got a laugh, and lots of applause.

In those days Tony was, I suppose, a typical divorced-dad musician; he dearly loved his boys but was mostly on the road. Every now and then he’d blow through town and spend time with them, often taking them on some kind of musical expedition. Sometimes he’d include the rest of the band; one I remember in particular was a double bill with Liza Minelli and Lena Horne at Carnegie Hall, both in their prime and at the height of their powers.

On one of those trips, Tony decided to dedicate the evening to me. He had heard our version of “Satisfaction”, and somehow heard something in my playing he wanted to encourage (that seemed to be an ongoing motif in his life). I was no jazz player by any means, my musical diet consisting mostly of Beatles and Hendrix, but I did idolize Grapelli. So— first stop, Buddy Rich’s new club that had just opened up on the East Side, “Buddy’s Place”. Buddy, of course played a brilliant, brash set, a big treat for Dae (who was our drummer). Then Stephanie Grappelli walked out onto that little stage. He was in his mid-sixties by then, but was soon playing up even more of a storm than he had in his 20s when he was in the Quintette du Hot Club de France with guitarist Django Reinhardt. Of course I was ecstatic. And Grapelli had this young kid with him, an English violinist named Nigel Kennedy (yes, that one), who for a few numbers took the lead and gave Stephane a run for his money. I imagine Tony saw me sitting there slack-jawed and got quite a kick out of it. After the set, he introduced me to Stephanne, who was sweet as could be. One thing I will never forget— he had the most gentle handshake. In a daze, I was ready for the evening to wind down.

Not so fast— Tony herded us into a cab and we headed for the West Side, where we were summarily plunked down at another jazz club, and out walked a 75-year old Joe Venuti. Like Tony in his later years, Joe was only slightly cowed by age, and still swingin’— hard. I was, of course, over the moon.

It was a night I’ll remember all my life. Thank you Tony.

[libertineangel]

Tagged by @jaz-zmatazz to shuffle my playlists and post 'em, thanks!

I don't use literal playlists so here's my MP3 player's first ten selections, with almost all my music ripped to it:

The 101ers - Hideaway

The Jam - All Mod Cons (live from Dig The New Breed)

The Jam - Liza Radley (Extras demo)

Elvis Costello - Blame It On Cain (live at the Warner Theatre, 28/02/78)

Joe Strummer & the Mescaleros - Mega Bottle Ride

Rancid - Get Out of My Way

Ramones - I Want You Around (Ed Stasium version)

Bob Dylan - Shelter From The Storm

Green Day - Ashley (Demolicious version)

The Beatles - Sun King

[paulinawoodpecker]

Tad the lost explorer and the spear of blood and tears cast

About: tad, his friends, and his family get to spend their next adventure, family trip and honeymoon in Africa?! Even his returning rivals zulo and Zula escaped from prison for Tad’s revenge. Luckily tad is friends with dagenia Liza and oganda (who he met them before he went to his emerald tablet adventure) zulo’s plan is to get every super villain tad faced and collect the blood (he’ll kill two people: Liza and oganda) and tears from people especially for tad. together, they can defeat them and free the powers from the super villains before he kills everyone else.

Warning: death, blood, emotional moments

Bigwig/Tad: Trevor white

Dagenia: Moses Ingram

Sara: Alex Kelly

Mummy: Joseph Balderrama

Tiffany maze: Gemma whelan

Ramona: pippa Bennett warner

Victoria: Elena Sanz

Ramirez: Elena suarel

Reena: Olivia Rodrigo

Oganda: Danai Gurria

Liza: Letitia wright

Lukas: Patton oswalt

Amy Jefferson: Eden Riegel

Jasmine Jefferson: Ciara bravo

Anne: phillpha Alexander

Queen Wanda: Angela basset

Max: Adam James

Jack: Ramon tikaram

General woundwort/Pickles: Gary Martin

Richard Carson: Sam fink

Clive dove: lani minella

Sparrow: Sam smith

Giovanni: Ted Lewis

Maxie: Marc Thompson

Archie: Sean schemel

Monokuma: simu Lu

Harryson: James Arnold Taylor

Jessie: Michele knotz

James: Eric Stewart

Meowth: Nathan price

Joya: Becky hill

Tiffany: Sheila Victor

Blair: dove Cameron

Ying: Constance Wu

Andrea: Cristina V

Riña: Brittney spears

Zulo: Samuel L Jackson (singing: MNEK)

Zula: china anne McClain(singing: china Anne McClain)

Songs:

Wahzhazhe: the Osage tribal singers (the sun down ceremony)

The songcord: Zoe Salanda (oganda’s funeral)

You didn’t know? (The trial)

Visiting hours: Ed Sheeran (Liza’s death)

The songcord: Zoe salanda (reprise at 1:29, Liza’s funeral)

Never too late: Elton John (end credits)

[byneddiedingo]

In Thomas Mann's The Magic Mountain, a young German engineer, recuperating in a tuberculosis sanatorium in the Swiss Alps, decides to read up on physiology. He concludes that life itself is a kind of disease, "a fever of matter." In Cabaret, Sally Bowles (Liza Minnelli) proclaims that "life is a cabaret, old chum." Yet given that the cabaret presided over by the Master of Ceremonies (Joel Grey) in the film is a febrile sort of place, there's a coherence between the two views. Director Bob Fosse would himself go on to posit a relationship between illness and creativity in All That Jazz (1979). And Sally Bowles's favorite phrase, the seeming oxymoron "divine decadence," suggests that out of decay comes something higher. What would be the opposite, after all: satanic order? In perhaps the movie's most chilling moment, Fosse gives us a closeup of a cherubic, well-scrubbed young face, the very opposite of the Master of Ceremonies's rouged and lipsticked face that  has dominated the film from the very beginning. The boy then begins to sing "Tomorrow Belongs to Me," and as the camera pulls back we see that he is wearing the uniform of the Hitler Youth. As the crowd at the open-air beer garden, which has to this point seemed an idyllic setting, joins in and begins to raise their arms in the Nazi salute, we view the very definition of satanic order. But enough German dialectics here; just let me say that Cabaret is one of my favorite movie musicals. I prefer musicals created originally for the movies, like the Warner Bros. films with the kaleidoscopic routines of Busby Berkeley, the Fred Astaire-Ginger Rogers movies, or the sublime Singin' in the Rain (Stanley Donen and Gene Kelly, 1952), and not the musicals like West Side Story (Jerome Robbins and Robert Wise, 1961) or My Fair Lady (George Cukor, 1964), that were translated to film from the stage. My admiration for Cabaret would seem to be an exception to that rule, except that when Fosse became director, he jettisoned the book that had been written by Joe Masteroff for the 1966 Broadway musical and went back to the source, Christopher Isherwood's 1939 The Berlin Stories. Jay Presson Allen had been commissioned to write the screenplay, but Hugh Wheeler (credited as "research consultant") heavily revised what she had written. Fosse also dropped many of the songs by John Kander and Fred Ebb, though he added new ones by them: "Money, Money" and "Mein Herr," along with one of their older songs not from the Broadway version, "Maybe This Time." And he made the significant decision to keep the musical numbers confined to the Kit Kat Klub stage -- a touch of cinematic realism that seems essential to a story set in Berlin during the rise of the Nazis. The result is a musical essentially created (or at least re-created) for the movies. It received 10 Oscar nominations and won eight of them, including awards for Minnelli, Grey, and Fosse, as well as for Geoffrey Unsworth's cinematography. The only categories in which it lost were best picture and best adapted screenplay, which went to The Godfather and its screenwriters, Mario Puzo and Francis Ford Coppola.

JOEL GREY as MASTER OF CEREMONIES in CABARET (1972)

[ulkaralakbarova]

When brilliant video game maker Flynn hacks the mainframe of his ex-employer, he is beamed inside an astonishing digital world…and becomes part of the very game he is designing. In his mission through cyberspace, Flynn matches wits with a maniacal Master Control Program and teams up with Tron, a security measure created to bring balance to the digital environment. Credits: TheMovieDb. Film Cast: Kevin Flynn / Clu: Jeff Bridges Alan Bradley / Tron: Bruce Boxleitner Ed Dillinger / Sark / Voice of Master Control Program: David Warner Lora / Yori: Cindy Morgan Dr. Walter Gibbs / Dumont: Barnard Hughes Ram/Popcorn Co-Worker: Dan Shor Crom: Peter Jurasik Peter / Sark’s Lieutenant: Tony Stephano Warrior #1: Craig Chudy Warrior #2: Vince Deadrick Jr. Expert Disc Warrior: Sam Schatz Conscript #2: Michael Dudikoff Head Guard: Jackson Bostwick Film Crew: Original Music Composer: Wendy Carlos Visual Effects Design Consultant: Steven Lisberger Producer: Harrison Ellenshaw Producer: Donald Kushner Executive Producer: Ron Miller Director of Photography: Bruce Logan Editor: Jeff Gourson Casting: Pam Polifroni Production Design: Syd Mead Production Design: Dean Mitzner Art Direction: John B. Mansbridge Art Direction: Al Roelofs Set Decoration: Roger M. Shook Costume Design: Rosanna Norton Conceptual Design: Jean Giraud Stunts: Ross Reynolds Story: Bonnie MacBird Costume Design: Elois Jenssen Stunts: Glenn R. Wilder Stunts: Larry Holt Stunts: Charlie Picerni Stunts: Gary Epper Stunts: Walter Scott Stunt Coordinator: Richard E. Butler Production Sound Mixer: James LaRue Sound Re-Recording Mixer: Lee Minkler Costumer: Lorry Richter Costumer: Nedra Rosemond-Watt Visual Effects: Chris Wedge Visual Effects: John Beach Visual Effects: Tom Bisogno Visual Effects: Nancy Hunter Campi Visual Development: Larry Elin Digital Compositor: Liza Moon Visual Effects Camera: John Aardal Systems Administrators & Support: Richard ‘Dr.’ Baily Visual Effects Camera: Don Baker Visual Effects: William Dungan Jr. Digital Compositor: Art Durinski Visual Effects Camera: Kris Gregg Visual Effects Camera: Patric Kenly Digital Supervisor: Jeffrey Kleiser Systems Administrators & Support: Bill Kovacs Animation: Donald Leich Visual Effects: Larry Malone Systems Administrators & Support: Tim McGovern Visual Effects: Malcolm McMillan Animation: Gene Miller Visual Effects Supervisor: Kenny Mirman Visual Effects: Craig Reynolds Systems Administrators & Support: Frank Vitz Production Coordinator: Lynn Wilkinson Camera Supervisor: Christopher Dusendschon Technical Supervisor: John Hughes Visual Effects Camera: Peg Hunter Animation: Barry Cook Storyboard Artist: Bill Kroyer Storyboard Designer: Jerry Rees Animation: Darrell Rooney Animation: John T. Van Vliet Pre-Visualization Supervisor: Roger Allers Storyboard Artist: Andrew Gaskill Conceptual Design: Chris Lane Conceptual Design: Peter Mueller Concept Artist: John Norton Art Designer: John Alvin Concept Artist: Michael Peraza Jr. Art Designer: Drew Struzan Movie Reviews: r96sk: An acquired taste. For me, someone who has no knowledge of computer programming and the sort, it’s a very slow, tedious and boring watch. ‘Tron’, unfortunately, didn’t take my interest whatsoever. Not helped by the poor special effects (they get a pass due to it being an 1982 release; though I’m not convinced it’s good either way) and forgettable cast performances, it’s not a premise that’s easy to get into if you have no prior understanding of coding etc. There is some intrigue in there, but not nearly enough to satisfy my viewing pleasure – it felt like a much longer run time than 96 minutes, that’s for sure. All cool if you love this, but I very much didn’t. Hopefully the 2010 sequel gives the concept a major boost. CinemaSerf: I saw this again yesterday – it’s 40 years old! I didn’t see it at the time, I was one of those kids who hadn’t the slightest interest in “Space Invaders” nor did I ever have an Atari, but I do recall the fuss that was being made about Disney’s first foray into the wor...

[kylesvariouslistsandstuff]

Quick recap.

David Zaslav should not be running a movie studio. Yet another film has been locked away, one that was near-completed that you'll likely never see, because "tax write-off". First BATGIRL, then SCOOB! HOLIDAY HAUNT, now COYOTE VS. ACME... And even crazier, that production - which tested extremely well - involved James Gunn, one of the architects of Warner's new DC movie universe... Zaslav likely pissed Gunn off, big time... What kind of ineptitude is that?

He could've offloaded it to another distributor, like how the Looney Tunes movie THE DAY THE EARTH BLEW UP and the series BATMAN: CAPED CRUSADER were. But no, a $30m tax write-off. Because fuck everybody who worked hard making these movie, and fuck everybody who will be its audience - me included. Yachts do weird things to your brain. This is why there were strikes, and whatever happens with the Animation Guild next year, I hope that end of things gets to go HAM next year, because this is all kinds of bullshit. No movie should be locked in a vault because some dingus who doesn't like movies can't be bothered to actually do his job.

Lighter note...

The INSIDE OUT 2 teaser. At last. Funny how it came about right after the actor's strike ended. And even more egregious that while Disgust and Fear are still in the movie, their actors Mindy Kaling and Bill Hader didn't come back because the pay was below that of Amy Poehler's. Tony Hale - previously TOY STORY's jumpy Forky - takes over for Fear, Liza Lapira of many TV roles is now Disgust. New characters! I hate my anxiety, but I like this movie's Anxiety. The design, just. WOW! A scrunkly bunko chewed up Fraggle Rock reject, I dig. Funny how three of the four teased new emotions begin with "E", and the fourth with an "A". All vowels.

Voice work resumes on SPIDER-MAN: BEYOND THE SPIDER-VERSE. Please, no crunch this time. Lock the picture before frames are animated, no last minute changes up until the week before release.

The Netflix-exclusive DreamWorks feature ORION AND THE DARK, from director Sean Charmatz, has a release date, February 2nd... And a trailer... It has a very fun, subtly sketchy look, with characters looking like they were cast from notebook scribbles. Looks to be a fun kid-centric spooky time, like something the ill-fated Disney/Guillermo del Toro animation partnership "Disney Double Dare You" could've made.

The other big Netflix animated movie of 2024 doesn't have a concrete date, but its new trailer is quite striking. Shannon Tindle's ULTRAMAN RISING looks to work off of a SPIDER-VERSE-esque playbook with its textures and modeling (worth noting that Tindle was supposed to direct a superhero movie for Sony Animation up until the plug got pulled in July 2018, just a few months before SPIDER-VERSE 1 came out), but totally doing its own thing, with - as expected - all the anime influences. Another worthy experiment in CG animation pushing the medium in different directions once more.

Now that the strike is over, more delays are likely to come... Disney delayed a *ton* today on the Marvel and CG tech demo end... Their LION KING remake prequel leaves July 5, 2024 (where it was to open opposite of DESPICABLE ME 4) for December 20, 2024 (where it will go head to head with SONIC THE HEDGEHOG 3)...

Marvel saw the biggest shakeup.

DEADPOOL 3 is now the sole MCU movie of next year, set for July 26, 2024.

CAPTAIN AMERICA: BRAVE NEW WORLD now opens 2/14/2025, followed by FANTASTIC FOUR on 5/2/2025, then former 2024 movie THUNDERBOLTS hits 7/25/2025, and the year ends with BLADE, 11/7/2025.

I get that two of these movies are former 2024 titles, but goddamn 2025 still has *four* MCU movies. They should really just do 1-2 solid movies that they took their time on every calendar year. For me, if the bar is GUARDIANS OF THE GALAXY VOL. 3 and BLACK PANTHER: WAKANDA FOREVER, the MCU would be in good standing every year...

They also still plan to release four movies, including AVENGERS: THE KANG DYNASTY, in 2026... Nah, this train I feel has to slow down a bit. You also have all those Disney+ shows as well, it's a bit overwhelming a feel.

So now Disney's 2024 slate, following the delaying of ELIO and all these Marvel movies, is down to... KINGDOM OF THE PLANET OF THE APES (the first of their new movies, opening in late May), INSIDE OUT 2 (June), DEADPOOL 3 (July), a new ALIEN film (August), an untitled Disney live-action film (September), 20th Century title THE AMATEUR (November), an untitled WDAS film (November), and MUFASA: THE LION KING (December).

Two recently delayed Searchlight movies, THE BIKERIDERS and MAGAZINE DREAMS, can feasibly take some early 2024 slots. They may miss the Oscars, but I'd rather see them sooner than later. I don't know if they can reclaim their December slots with the actors now available to promote them (MAGAZINE DREAMS is tricky because its lead is Jonathan Majors), or if Disney/Searchlight would rather just focus primarily on POOR THINGS.

Untitled Disney September 2024 could just be a placeholder for another 20th Century or Searchlight film, and I doubt they move SNOW WHITE forward from March 2025 to that date. Otherwise, I can't think of any other movie in the tank that could make that date. At least one I've heard of or know that was in production before the strike.

I'm just hoping, since WISH is right around the corner, that we hear what WDAS 2024 is going to be. Who's directing, what it's about, the title, etc. From the trenches, I hear it's a fantasy film set in the Middle East, possibly directed by Suzi Yoonessi, who is of Iranian descent. Maybe, maybe not. I'd love to know soon, though. But whenever they're ready, they're ready. No rushing, now.

I expect a lot more scheduling developments to take place over the next month or so, now that the dust has settled...