#production companies kansas city

[gursimrankaur03]

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Contact Us:

Email Address: hello@clickplayfilms.com

Phone: 646–417–5330

Address: 54 W 40th St New York, NY 10018

[certified-bi]

Okay all my thoughts because some people have been saying that not supporting this change is not supporting artist and creators and as an artist fuck that.

1. Audiences owe you nothing. You have to convince them to engage with your creation not the other way around. This is something both the nonprofit theatre I work with recognizes and huge companies realize. It's just part of life. There are so many talented people in the world making amazing art, videos, music, writings, and on and on, and there's only so much time in the day. I'm not saying you shouldn't know your worth, just that being flippant about how little you care about those who can't pay isn't a good move. On that note...

2. PR is everything. If you haven't made a visible effort to push patreon, channel memberships or other avenues of making money, don't be suprised that your creation that was previously accessible to those without extra cash and to those who can't support foreign subscriptions due either to conversions or because it simply doesn't work, being made private isn't popular. There's a big leap from "We want to have more artistic control" to "We can't afford to make our content accessible to most of our audience," and people are smart enough to see this. You either have to make budget cuts or give into sponsors. This isn't unique to Watcher, it's part of literally every production from broadway, to Hollywood, to YouTube. Unless you can fund it yourself or get viewers to pay(which given how many are already strapped for cash...) that's life.

Not to mention they simply do not have enough followers to make the switch to a paid only site(dropping the first epsiode only on YouTube isn't going to draw people in, they're just going to say "oh why start if I'm not going to see the rest" and not watch) especially not one that is buggy and a security risk. Even if the switch had been supported its not going to end well. The only reason services like nebula and dropout work is because of the large amount of series and creators and the fact those creators still are partly on YouTube so new people are drawn in.

3. As for the price, 6 dollars a month is a not a good starting price for only their content and that's as someone who pays for nebula. I'd be paying the same amount for a fraction of the access to others work. Actually it'd be twice as much. And before someone says "it's only a coffee-" that's for you. Not everyone has your lifestyle. And with every other patreon and subscription service that says the same thing, it all adds up and I simply don't think 60 dollars for 48 videos a year on a subscription basis where you don't get to keep the videos if your situation changes, some of which don't appeal to every viewer is a good move. If you were able to buy physical copies of your favorite series they've made that'd be different, but that's not what this is.

4. I do believe that the employees deserve a livable wage. I also did not hire them. It is not on the viewers that they hired more people than they could afford to. They can charge that much if they want to to try and balance this out. They also shouldn't be suprised if not many can or will sign up. They also don't have to be based in L.A. L.A has ridiculous costs associated with it, and quite honestly it doesn't really add much to the content. I'm not saying they need to move to the middle of nowhere Kansas. Simply that living and basing your studio in a super expensive city and then being suprised money is tight is just weird.

5. Something that occurs to me is that they might get more views if their playlists were better set up. Only some series are given playlists. It'd be easier to find all of the series and binge them if they didn't just show off their more popular shows. Honestly the only draw the streaming site has to me is that the series are actually labeled well.

Do I think the weird ass energy towards Steven is necessary? No. He's not the only one at the company and they're all adults. I actually liked grocery run and homemade, and like to see them back. The parascoial attachment to Ryan and Shane is annoying in people's criticisms, but that doesn't make them completely wrong. If you're going to brand yourself as the anti capalist underdogs you can't get away with being dismissive of your poorer fans. The dissonance is what is causing this backlash and makes you look like hypocrites. I definitely think Steven is turning into the fall guy which is fucked up, his statement and the fact dish granted is one of those shows that make people uncomfortable about wealth flexs doesn't help matters.

[vintagelasvegas]

Tropicana, January 15, 1976. Don Cherry, Gale Baker, Folies Bergère '76. Top left: Paradise Hotel (115 E Tropicana). Photo by Las Vegas News Bureau.

Tropicana sold Folies Bergere in '75 to an entity called Production Leasing operated by Joe Agosto, and the show was leased back to the Tropicana. Nominally Agosto was just the owner of the Folies but Gaming Control Board investigators believed Agosto was managing the casino and overseeing a skimming operation for the Kansas City mob. The sale and lease-back of the Folies was an apparent move to shield Agosto and the company from the Board’s oversight.

Agosto was later arrested and subsequently plead guilty to a casino skimming conspiracy in a deal to become a witness in the Justice Department’s investigation into the crime syndicate’s influence over several Las Vegas casinos. Tropicana was sold to Ramada Inns Inc. in '79. Agosto died of a heart attack 8/29/83 while in federal custody.

“I owned Aztar stock in the 90s. It was the parent company of the Tropicana at that time, a spin off of Ramada motor hotels. Reading the annual report was amusing. The deals and sub deals on everything. Quite complicated for just a hotel. But the one thing I remember distinctly is the part where all the furniture belonged to and was leased from a Kansas City company. I was always reputed that this hotel was controlled by the Kansas city outfit. No smoking gun just a notation in a financial disclosure.” - Gus Archer to Vintage Las Vegas, 2024.

Below: Folies Bergere group in front of the Tropicana, 10/17/75. Joe Agosto, far right. Photo by Las Vegas News Bureau.

J. German. Joe Agosto death cripples Mafia probe. Las Vegas Sun, 8/30/83; AP. Joseph Agosto, 61, a Witness In Underworld Gambling Case. New York Times, 9/1/83; D. Gomes. Hit Me. Lyons Press, 2013.

[callmearcturus]

(i posted this but tumblr fucked up the formatting SO BAD and then the editor would not open so here's a re-do i guess!

bless u, bc this is the one that's gonna be Another Batshit Arcturus AU

except all the scenes I have sketched out are massive Act Two spoilers.... so instead, I'm gonna share the work-in-progress outline for Act One. or, specifically the modern day half of Act One. this story is told in approximately 2024 and 2011 concurrently, with the 2011 plotline providing vital context for the 2024 plotline.

for context: Ted is a director working with Rebecca's A24-style production company. Trent is a writer. Keeley is Trent's agent who managed to convince him to sell the movie rights to one book. act one is Ted trying to get those rights before a larger studio snaps them up. Act two is the filming of the movie. Act three is post-production and press tour.

One piece of additional context is that Trent is a reclusive writer who keeps writing extremely location-accurate novels set in America. Ted is shocked to learn the guy's not American, tbh. Here's the bibliography i made up for Trent:

[SPOILER, REDACTED]

editor for a few anthologies

The Sarpedon EP, 1968 (moody psuedo-mythical story about psychedelic/progressive rock in Nashville)

An Aquarian Guide to Atlantis, IL (weird, almost ergodic story of a hitchiker trying to get from St. Louis to Chicago and finding a strange town)

The Tides of Static (an anthology of seemingly disconnected vignettes that wind up linked by a radio DJ working a remote blowtorch tower)

Paris of the Plains (a sports drama/romance about a journalist uncovering a massive scandal in Kansas City football while trying not to rekindle her love of an old fling who's now working on the same team embroiled in the scandal. later adapted into the film The Time After The Last Time, directed by Ted Lasso, produced by Rebecca Welton)

so here, a glimpse of how I outline a story

ACT ONE: Pre-production

Storyline A (Ted POV):

Ted, modern day: Ted has to find Rebecca. She's supposed to be on vacation and Ted would never dream of interrupting her HOWEVER there's a scoop in Variety that Trent Crimm is auctioning the rights to his latest book despite years of resistance. Ted is terrified that someone is gonna buy the rights and make a bad movie or worse sit on the rights and never make anything out of them.

finding Rebecca takes some doing but Ted is determined and he knows all her offices and hiding places.

Ted is a huge fan of Crimm's work, has read all his previous books and has been keeping an eye out for him to maybe offer something up for adaptation. That it's specifically the one about a football scandal in Kansas City with a fantastic sense of space and also is a romance? Ted HAS to direct this movie, but Rebecca's studio can't compete with the huge prices that a Paramount or Disney would be throwing around. So they need to make a direct offer before the sale.

Rebecca emails Crimm's agent. This first attempt gets a polite, impersonal dismissal. So Ted is the person to reply (as Rebecca watches over his shoulder to ensure he's not making a fool of them) and tries to convince them to reconsider bc Ted is specifically interested in doing it right.

Still no.

T: "Get me an address, I'll fly out--" R: "Fly out? The address available through his agent is in London." T: "Okay, wouldn't've called that."

Rebecca gets Ted the address and Ted takes the Tube to get there bc he still doesn't have a car-and-driver. (He claims its organic location scouting.)

The address seems to be Trent's house but he's not there, just Keeley and Adelaide Crimm. They will not reveal where Trent is.

Ted notices Adelaide's accent and is relieved Trent is American. Adelaide says no, he's super british, but he took a job in America when she was young and brought her along.

The house is fully of photos of places. Addy is a photographer. Ted is thrilled to see shots of the Paseo, the Plaza, and other KC landmarks.

Keeley explains they are not really looking to option the book out because, well. They're not.

Adelaide kind of likes Ted and how he talks about her dad's books so she texts him later, gives Ted her dad's email. the one he actually checks, not the fake ones that get listed.

A turn for the epistolary as Ted attempts to reach Trent Crimm.

Ted emails Trent, who is baffled that he found this email address. Thanks Ted for his interest but tells him it was difficult enough to decide to offer up any rights and he frankly doesn't want to talk about it further, goodbye.

Ted takes a little time to try to read/watch every interview he can with Trent Crimm. They are basically non-existent and the ones that do exist are fully text.

Emailing each other continues: Eventually, Trent admits he's hoping the book rights are bought and sat on forever. Keeley was the one to convince him this was a good way to ensure Adelaide was set up for years to come and he could write his next few books without concern about money. But actually seeing such a movie? He wants nothing to do with it.

There's something unique about this email, a slip-up: Trent mentions he's in KCMO. The moment Ted realizes, he's inbound, racing to get there in time.

All for naught: Ted makes good time, probably the best possible time a guy can make from Heathrow to MCI to Emmanuel Cleaver Blvd without use of a fighter jet.

Still: Trent's gone, and Keeley's there.

Ted hangs a lampshade on the running gag: How in the sam hell is she always there instead of Trent?! "Yanno, I ain't ever seen the two of you in the same room together, Ms. Jones." Keeley cackles. "He's a slippery one! But trust me, you'd know him if you met him. He's got that aura of irritable uptight fiction author."

Ted is extremely discouraged that he missed Trent yet again, tells Keeley he is bound and determined to make sure this movie's done right but doesn't know what to do anyone. Keeley cracks, sympathetic, and gives Ted the Actual phone number for Trent. "Do not call him. He blocks all unknown numbers. Text."

So Ted does. Takes a photo of the fountains at the Plaza at night and sends it to Trent.

TL: I think the fight between Kit and Moses happens here at night, when they turn the lights on under the fountains and it's beautiful, all that watery glow. The contrast there, it reminds me of how painfully obvious it is that Moses wanted to take her there for real, to see her son playing in the water. It's the right place and the wrong time, it's always right place wrong time with them. LONG pause but Ted sees the text has been marked as "Read". Honestly he's surprised Trent has read receipts on. TC: Why are you in KCMO? TL: Flew here hoping to catch you. Last email, you accidentally hinted you were at your rental off Emanuel Cleaver. TC: Ah. An amateur mistake, I see. But I've slipped your net again, it seems.

Ted returns back home to London, resigned to taking another project and letting this one go. Pulls his copy of Paris of the Plains from his bag, reads it on the plane back.

Gets off the plane and he's missed a call from Trent Crimm. Shocked, Ted immediately calls back.

TC: "You have one shot, Mr. Lasso, so make it count. Tell me why you're so determined. It's not the job of a director to try to cajole a reclusive, unfriendly author into optioning his book to a boutique film studio. So why?" TL: "When I first moved to the UK, I was missin' home so much, I was turning into a barely-functioning daydrinker, and I almost gave up, went back to Kansas, gave up my career. But Beard loaned me his copy of Atlantis, IL and you... knew those roads and those people. You gave me a home I could carry around in my bag. Dunno if I would have survived without. Then I read Sarpedon, and Rebecca got me an advance copy of Tides of Static for my birthday." TC: "So you're a fan." TL: "No! I mean, obviously I'm a huge admirer, yeah, but... Trent, I just flew almost nine thousand miles just for a chance to talk to you about this, so I'm not gonna split hairs here. I need to be the guy to direct this. No one else is going to get it right, and I need it to be right, 'cause I know it. If you give me a chance, I'm going to move the whole production out to KC, I'm going to take what's in my head and put it on the screen. And I-- I think it's what's in your head, too." TC: "You know, it's supposedly my worst book. That was part of the little joke of it all; Keeley convinced me to sell something, so I picked the one the critics hated. You'll need someone good to do the adapting." TL: "Heck, if I need to write the treatment myself, I'll do it." TC: "..... Alright." TL: "!!!!" TC: "Nine thousand miles is an absurd ordeal to put yourself through and the writer in me wants you to get some payoff for it. So. Tell Ms. Welton to tack on another five million and its yours."

[beardedmrbean]

Federal food safety regulators said Tuesday that they have warned a top U.S. bakery to stop using labels that say its products contain potentially dangerous allergens when they don't.

U.S. Food and Drug Administration inspectors found that Bimbo Bakeries USA — which includes brands such as Sara Lee, Oroweat, Thomas', Entenmann's and Ball Park buns and rolls — listed ingredients such as sesame or tree nuts on labels even when they weren't in the foods.

Under FDA regulations, such products are “misbranded," FDA officials said in a warning letter sent to officials at the company’s Horsham, Pennsylvania, headquarters earlier this month.

“Food labels must be truthful and not misleading,” officials said. The warning followed inspections late last year at Bimbo plants in Phoenix, Arizona, and Topeka, Kansas, that make Sara Lee and Brownberry breads.

In addition, FDA officials indicated that allergen labeling is a “not a substitute” for preventing cross-contamination in factories.

Advocates with the nonprofit group FARE, Food Allergy Research & Education, said such labeling “does a disservice” to the estimated 33 million people in the U.S. with food allergies. Those consumers have to be constantly aware of foods that can cause potentially life-threatening allergic reactions, said Sung Poblete, FARE's chief executive.

“Our community relies on accurate product labeling for their health and safety,” Poblete said in an email. “These findings about Bimbo Bakeries’ products undermine their trust and further limit their choices.”

Bimbo, a Mexico City-based food giant, bills its U.S. operations as the largest commercial baking company in the country. In an email, company officials said they “take their role in protecting consumers with allergen sensitivities very seriously” and that they are corresponding with FDA to resolve the issue.

Concerns over labels at Bimbo and other companies followed a law that took effect in 2022, which added sesame to the list of major allergens that must be listed on packaging.

Because it can be difficult and expensive to keep sesame in one part of a baking plant out of another, some companies began adding small amounts of sesame to products that didn't previously contain the ingredient to avoid liability and cost. FDA officials said that violated the spirit, but not the letter, of federal regulations.

Some companies, including Bimbo, began listing allergens such as sesame on labels as a “precaution” in case of cross-contamination.

FDA officials acknowledged Tuesday that statements that a product “may contain” certain allergens “could be considered truthful and not misleading.” Bimbo officials have until July 8 to identify steps taken to remedy the issue — or to explain why the labeling doesn't violate FDA standards.

[hallmark-movie-fanatics]

Connie Britton To Headline ‘The Motherhood’ Unscripted Series For Hallmark

EXCLUSIVE: Connie Britton is coming to Hallmark with The Motherhood (wt), a new unscripted series, which she will host and executive produce for premiere on Hallmark+ in 2025. 

The six-episode hourlong series focuses on single mothers and is the brainchild of Britton, who developed the idea of the show with her production company Deep Blue Productions. The series will be filmed in Kansas City, home of Hallmark, by Queer Eye producer Scout Productions.

Each episode of The Motherhood follows Britton, a single mother herself, as she connects with another single mother who is juggling the demands of work, parenting, and self-care. Over the course of a transformative week, Britton and three expert coaches—DIY and home design specialist Angela Rose, positive parenting coach Destini Davis, and style expert Taryn Hicks—help the mom create a harmonious living space, implement effective parenting strategies and refresh her wardrobe. At the heart of the series is the lasting impact of these changes, as the women build a supportive community to continue uplifting each other long after the cameras stop rolling.

To read the full article at Deadline click HERE.

[nocternalrandomness]

A 1929 Mutual Aircraft Blackbird biplane on static display at Yanks Air Museum, Chino airfield, California

This aircraft was designed in 1929 by Giuseppe Bellanca for the Mutual Aircraft Company. The Blackbird was built by Mutual at their factory in Kansas City, Missouri and first flew later that year. Although the sole aircraft N87M successfully completed some long-distance flights, no further production was undertaken.

The Blackbird flew successfully for 18 months before being damaged in a crash on landing near Kansas City on return from New York on 13 April 1931. The aircraft was stored in a barn until it was rediscovered in early 1995. It was restored by the San Diego Air & Space Museum at Gillespie Field, later displayed at the Yanks Air Museum, at Chino Airport in Chino, California. N87M is currently displayed at the Gig Harbor Antique Airplane Museum, Gig Harbor, Washington.

[dweemeister]

Alice's Wonderland (1923 short)

One hundred years ago today, Walt Disney screened to Margaret Winkler his hybrid animated/live-action short film, Alice’s Wonderland. If the name Margaret Winkler is unfamiliar to you, that is in part due to the fact that much of Hollywood’s mythmaking has obfuscated the impact of certain female creatives during the silent film era. A former secretary to Harry Warner at Warner Bros., Winkler was the premier animated short film executive in the early and mid-1920s. Her company, M.J. Winkler Pictures, flourished at a time before the oligopoly of the soon-to-be-major Hollywood studios, mostly on the backs of Pat Sullivan and Otto Messmer’s Felix the Cat series. At the peak of Felix’s popularity in 1923, a series of arguments between Winkler and Sullivan/Messmer soon meant Winkler was looking for an animated series to replace Felix. She would also be losing the rights to Max and Dave Fleischer’s Out of the Inkwell series, starring Koko the Clown. By the end of 1923, Winkler would sign a deal with Disney to distribute the Alice Comedies.

Impressed by the handiwork of Alice’s Wonderland, Winkler’s deal gave Walt Disney a much-needed infusion of cash. Disney, who founded Laugh-O-Gram Studios in Kansas City, Missouri in 1921, had just barely emerged from Laugh-O-Gram’s bankruptcy. Instead of heading to the then-center of the American animation world of New York City, Walt instead found himself in Los Angeles, partly to help his brother, Roy O. Disney, recover from tuberculosis.

Though a continent away from the major animation players in the U.S. at the time, Disney nevertheless took inspiration from those figures – Bray Productions under John Randolph Bray and especially the animator Winsor McCay (who, by 1921, was forced by employer William Randolph Hearst to stop working on animated film). McCay and Bray were pioneers in gifting animated characters basic personalities and the development of those personalities, growing animated cinema beyond modest gag comedy and simplistic figures. McCay’s Little Nemo (1911) and Gertie the Dinosaur (1914) and Bray’s Bobby Bumps series (1915-1925) may seem quaint to modern audiences, but these films were wildly popular across North America and were instrumental stepping stones to the explosion of American animated innovation in the late 1920s and 1930s.

Alice’s Wonderland was never screened for the public, but it nevertheless spawned a series that lasted for fifty-seven short films. None of it would have been possible without the inspiration Disney and his animators took from the most acclaimed American animation at that time.

With no relation to Lewis Carroll’s two Alice books, Alice’s Wonderland stars Virginia Davis as the title character. Davis, as Alice, is four years old at the beginning of the Alice Comedies series. She visits the animation studio where she sees Walt Disney in the process of drawing some “funnies”. As she sits down, the cartoons on the drawing pages come to life. Most important among those animated figures is Julius the Cat, created by Disney and Ub Iwerks and a predecessor to Oswald the Lucky Rabbit and Mickey Mouse (unlike Oswald and Mickey, Julius has not appeared in an animated film since the silent era). Walt then brings Alice into the animators’ room, where Ub Iwerks, Hugh Harman and Rudolf Ising, and others are also enjoying their work acting out various scenarios (remember those names – we will mention them again later). Alice, still giddy after her visit to the animators’ studio, later drifts off to sleep that evening. And, after dozing off, she finds herself welcome to a Cartoonland of her dreams.

At the time, Alice’s Wonderland was the reverse of what the Fleischers’ Out of the Inkwell series and some of the Bray and McCay shorts attempted. Instead of animated characters inhabiting a live-action world, we have here a live character traipsing around in an animated world. In some of the hybrid animated/live-action short films at the time, the reactions of the characters can be noticeably off. Not so much here. Davis’ reactions to the animated animals are timed with admirable precision. But given the technological constraints at the time and how small Walt Disney’s animators’ team was, Alice’s Wonderland makes heavy use of recycled or looped animation. Viewers who know their Looney Tunes or Hanna-Barbera works probably recognize the effects of a wraparound background and identical walking animation. The effects tend to make certain scenes – such as Alice’s celebratory procession during her dream – last several seconds too long.

Yet, Alice’s Wonderland still charms. With synchronized sound still four years away, the animators of the early twentieth century set the visual slapstick language that continues to course through modern animated cinema. Julius’ hidden fight with a dog within the latter’s doghouse, an animator using a pen holder as a de facto boxing bell, and a hungry lion cleaning and sharpening his teeth are just previews to the absurd humor that will define the next few decades of American animated short films. So too the tubular limbs from the animated characters. The film’s humor came not just from the films of Bray, McCay, and the Van Beuren Studios, but also the comic strips popular at this time – titles which probably read as quite unfamiliar to most today: Bud Fisher’s Mutt and Jeff (1907-1983; Fisher ceased involvement in 1932), George Herriman’s Krazy Kat (1913-1944), and Winsor McCay’s Dream of the Rarebit Fiend (1904-1925). These comic strips, largely unknown quantities to yours truly while researching for this write-up, influenced the comedic pace and tone for the bulk of American animated short films – a near-forgotten legacy, and one worthy of honoring.

Alice’s Wonderland would solidify the careers of all of the animators involved – all of whom were originally based in the Kansas City area. Walt Disney and Ub Iwerks stayed onboard what would be deemed the Disney Brothers Cartoon Studio (after several name changes, it is now the Walt Disney Animation Studios of today). Disney’s namesake studio is the most visible animated studio in all of cinema, and undoubtedly the most historically and currently significant, for good and ill. For the Alice Comedies, Iwerks experimented with a “matte” – in which a cutout background would be placed over a camera lens to hide where animated figures might be. Iwerks also developed Mickey Mouse with Walt, was one of the leading hands on the Silly Symphony series, and was integral in developing the special visual effects that made animated/live-action hybrid movies like Song of the South (1946) and Mary Poppins (1964) as convincing as they are.

Hugh Harman and Rudolf Ising, who developed the story of Alice’s Wonderland alongside Walt, honed their craft under him. But after Disney sold the rights to Oswald the Lucky Rabbit to Universal in 1928 in a dispute with Winkler’s husband, producer Charles Mintz, Harman and Ising’s time with Disney came to an end. Now on their own, Harman and Ising created Bosko. The Bosko shorts impressed Warner Bros.’ Leon Schlesinger and, in 1930, the trio founded the Looney Tunes and Merrie Melodies series. Harman and Ising would eventually leave Warner Bros. in 1934 to develop the Happy Harmonies series for Metro-Goldwyn-Mayer alongside William Hanna. Animator Isadore “Friz” Freleng also followed Harman and Ising to Warner Bros. and MGM, and was central to the creation of the likes of Porky Pig, Sylvester, and Yosemite Sam. Also following Freleng was Carman Maxwell, who spent the bulk of his career as a production manager for MGM’s animated shorts.

Actress Virginia Davis also moved out from Kansas City to Southern California to join Disney to star in the Alice Comedies. Davis appeared in fifteen of the fifty-seven Alice Comedies, ending her tenure with Alice in the Jungle (1925). She was able to nab the occasional minor child actress role and ended her career in the 1940s as uncredited dancers or chorus girls. She married in 1943 to a Navy airman and became a real estate agent active in the areas around Irvine, California and Boise, Idaho.

Margaret Winkler could be an exacting critic to Walt Disney and his animators, but she nevertheless sent words of encouragement, making suggestions where she saw fit to the rough cuts of the films. Her critiques plus the relatively expensive cost in making an Alice short saw Disney struggle to meet deadlines at first. But when Disney was able to convince Harman and Ising to move from Kansas City to Los Angeles, the pace of production hastened. Winkler retired from the film business in 1926 after the birth of her first child, with shockingly no one thinking to interview her about her work in the silent era before her death in New York state in 1990.

The Alice Comedies, beginning with Alice’s Wonderland, set the stage for American animated film in the early and middle twentieth century. Several figures involved in the series’ animation and storytelling paved careers that would deeply impact the direction of what today is Walt Disney Animation Studios. Others, like Harman, Ising, Freleng, and Maxwell, took with them Walt Disney’s artistic vision and guidance and spread that to two of the studio’s soon-to-be rivals in MGM and Warner Bros.

A century since Walt Disney screened Alice’s Wonderland for Margaret Winkler, Walt Disney Animation Studios has grown and evolved. The modern-day studio, I will argue, does not adhere to Walt Disney’s vision of making animated movies as dramatically and emotionally powerful as any live-action movie as faithfully as it could – and, in my opinion, has not consistently done so in at least a quarter-century. But the studio, and its legacy, started humbly, just hoping to please a crowd with sharp visual gags in the wild early days of animated silent film. Such were the initial hopes of John Randolph Bray and Winsor McCay. From the Alice Comedies to the Silly Symphony shorts to Snow White and the Seven Dwarfs (1937), Walt Disney and his fellow animators added to the foundation that their predecessors built.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[d-criss-news]

Friday BP: Darren Criss to sing anthem for Giants home opener

I was over the moon yesterday when the San Francisco Giants announced that Emmy and Golden Globe award winner Darren Criss will be appearing to sing the national anthem for the home opener on April 7th against the Kansas City Royals.

Criss is perhaps best known for his roles on “Glee” and “American Crime Story: The Assassination of Gianni Versace” (for which he won Emmy and Golden Globe awards in 2018). He is also an accomplished musician, a San Francisco native, and a life long Giants fan.

Full disclosure, I might be one of the biggest Darren Criss fans there is. I’ve followed him since his days on YouTube, where he got his start singing Disney covers, and then with the theater company he co-founded called Starkid Productions, with whom he played Harry Potter in their A Very Potter Musical series.

In the peak years of his run as Blaine Anderson on “Glee” I had hoped to see him get to sing at one of the Giants’ playoff home games in the 2010-2014 championship era, but it was his “Glee” co-star Matthew Morrison (a friend of Barry Zito) who got the opportunity in Game 2 of the 2012 World Series. So this will mark Criss’ first time singing the anthem for his hometown team.

I’ve seen Criss perform live multiple times, most recently when he was starring in a run of Hedwig and the Angry Inch in San Francisco in 2016. Not only was his love for the Giants enshrined in his section of the playbill, but he made repeated references to (then) AT&T Park during the show (which features a fair amount of ad-libbing in the performances).

So I, for one, am even more excited now about the home opener and Giants baseball returning to Oracle Park.

[gursimrankaur03]

The Soul of Production Companies Kansas City: Elevating Creativity

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The video production Kansas City company scene flourishes on collaboration and innovation. Video production Kansas City often collaborate with local artists, musicians, and businesses, ensuing in a dynamic and colorful creative environment. This collaborative of video production Kansas City spirit fuels innovation and leads to the introduction of groundbreaking content material that pushes the bounds of traditional video manufacturing.

Contact Us:

Email Address: hello@clickplayfilms.com

Phone: 646–417–5330

Address: 54 W 40th St New York, NY 10018

[follow-up-news]

The Chevrolet Malibu, the last sedan still sold by General Motors’ biggest selling brand, will end production this year, the company announced. Malibu production will end in November as the factory that builds it, the Fairfax Assembly Plant in Kansas City, Kansas, is reconfigured to build a new generation of the Chevrolet Bolt EV. With the Malibu’s demise, General Motors’ mainstream Chevrolet brand will sell only trucks, SUVs, and the Corvette, a two-seat sports car, in the United States. Chevy’s close competitor, Ford, made a similar move years ago when it stopped selling the Taurus and Fusion sedans, leaving the two-door Mustang as the only traditional car in its line-up. Chevrolet stopped making its Mustang competitor, the Camaro, last year. Traditional cars – vehicles that are not SUVs, trucks or vans – make up less than 20% of US auto sales, according to Cox Automotive. The last generation of the Malibu was first introduced in 2016, making it much older than competitors such as the relatively popular Honda Accord and Toyota Camry. A new version of the Camry, now available only as a hybrid, just went into production. Still, GM sold more than 130,000 Malibus last year, a 13% increase from the year before.

[lboogie1906]

Sarah Rector, known as Sarah Rector Campbell and Sarah Campbell Crawford, (March 3, 1902 – July 22, 1967) received international attention at the age of eleven when The Kansas City Star in 1913 publicized the headline, “Millions to a Negro Girl.” From that moment her life became a cauldron of misinformation, legal and financial maneuvering, and public speculation.

She was born to Joseph and Rose Rector in Twine, Oklahoma on Muscogee Creek Indian allotment land. Both Joseph and Rose had enslaved Creek ancestry, and both of their fathers fought with the Union Army during the Civil War. Her parents, her, and her siblings all received land. Her allotment of 160 acres was valued at $556.50.

Her father leased her allotment to the Devonian Oil Company of Pittsburgh. Her fortunes changed when a wildcat oil driller produced a “gusher” that brought in 2500 barrels a day. She received an income of $300.00 per day. Once this wealth was made known, her guardianship was switched from her parents to a white man, an individual known to the Rectors. Multiple new wells were productive, and her allotment became part of the famed Cushing-Drumright Field in Oklahoma. In October 1913, she received $11,567.

She received numerous requests for loans, money gifts, and even marriage proposals from four Germans even though she was 12. She and her siblings went to school in Taft, an all-Black town closer than Twine, they lived in a modern five-room cottage, and they owned an automobile. She enrolled in the Children’s House, a boarding school for teenagers at Tuskegee Institute.

She left Tuskegee and her entire family moved with her to Kansas City, Missouri. She now stocks and bonds, a boarding house and bakery, and the Busy Bee Café in Muskogee, as well as 2,000 acres of prime river bottomland, and was a millionaire.

She married Kenneth Campbell (1920-1930) and the couple had three sons. She married William Crawford (1934-1967). #africanhistory365 #africanexcellence #womenshistorymonth

[beardedmrbean]

As Buc-ee's expands its footprint in the Midwest, the Texas-based retailer with a dedicated fanbase is going after another local retailer with a cartoon animal mascot. In November, Buc-ee's filed a federal lawsuit against Duckees, a Kimberling City liquor store that includes a drive-thru, alleging trademark infringement.

Duckees is located at 12042 State Highway 13 in Kimberling City and is owned by Kansas City-based 2 Wiseman Enterprises LLC. According to the business's Facebook page, father and son Troy and Michael Wiseman, took over ownership of Duckees in April 2023.

According to the complaint filed in U.S. Western District Court of Missouri, Buc-ee's has trademarked its cartoon beaver logo and a plethora of retail products and merchandise including clothing, drinking ware, foods sold in convenience stores, and more.

In the lawsuit, Buc-ee's accuses Duckees of violating company's rights protected by the trademarks by adopting an allegedly similar logo and using it on clothing and retail store services featuring convenience store items. The Duckees logo includes a cartoon sunglasses-wearing duck in a green shirt and red bowtie inside of a yellow circle that appears to be printed on a bottle cap. Buc-ee's claims this logo uses "the most important aspects of the iconic Buc-ee's logo" by including a cartoon animal, a yellow circle as the background and prominent black edges for the mascot.

The use of the logo and printing of it on merchandise, Buc-ee's claims, will confuse the public and falsely indicate to the purchasing public that the two businesses are somehow connected.

"Use by Duckees of the Duckees’ Word Trademark and Duckees’ Logo, which are confusingly similar to the Buc-ee's Trademarks, places the valuable reputation and goodwill of Buc-ee’s in the hands of Duckees, over whom Buc-ee’s has no control," the court document reads.

Through the legal action, Buc-ee's seeks for the judge to stop Duckees from further infringing upon and diluting the Buc-ee's trademarks, direct all infringing products to be destroyed, and award any of Duckees' profits along with damages to Buc-ee's.

The lawsuit comes as the first anniversary of Springfield's own, and Missouri's first, Buc-ee's nears next week. The Texas convenience store's footprint in the Midwest is continuing to expand with a store planned in Kansas City, Kansas.

[perfectlyyoungtimetravel]

Film Fridays

So I drew Maria Priscilla Thurston Williams. She was born in 1866. In Versaille, Missouri. She served as editor-in-chief from 1891. To 1894. of the Kansas City weekly New Era. This caused her to seek greater independence by founding, writing and editing her own newspaper called 'the Women's Voice' sponsored by the 'colored women's auxiliary' of the Republican party, the paper was described as having 'many pleasant things to say on a choice of timely topics.' In 1916, Maria went on to publish her memoir 'My work and public sentiment' in which she identified herself as a national organizer and speaker with the Good Citizens League.She stated that 10% of the proceeds would go to supressing crime among African Americans.In 1916, She also married entrepreneur Jesse L. Williams, who owned a movie theater among several other businesses in Kansas City.The pair co-managed the movie theater, which gave the couple experience in the distribution and release of films for African-American audiences. With Maria serving both as the company's secretary and treasurer, the couple went on to co-found Western Film Producing Co. and Booking Exchange,and Williams went on to write the script for Flames of Wrath, produce a film from the script and play the role of prosecuting attorney in the five-reel film.That same year unfortunately, her husband died, and she soon married another man.She died in 1932. in Kansas City Missouri She was shot to death.The plot for 'Flames of Wrath' which was the silent crime drama in 1923.concerns the investigation of a murder after a robbery. Aimee Dixon Anthony stated that Maria could also reasonably be considered the film's director, given how undifferentiated the two roles were at that time. That distinction is typically granted to Tressie Souders, however, who served as director of 1922's A Woman's Error. Now before she became an editor she was a teacher.She was interested in activism, independence and liberal arts, which led her first to newspapers then into the film production, script writing and acting. She was the first black woman producer

[nickgerlich]

Seemingly Smart

It’s when you realize that pop culture is driving product introductions, you begin to wonder if companies have it all wrong. In an ideal world, marketers would be creating culture with their products, not responding to it. Alas, it just doesn’t work that way all the time these days. Make that even some of the time.

Take, for example, Heinz’s knee-jerk response to what happened at the Kansas City Chiefs game this last Sunday. I’m pretty sure the whole world knows by now that Taylor Swift attended the game, and was seen fanboying her latest alleged crush, Travis Kelce, from the family skybox.

While camera crews were focusing intently on T-Swift, the internet was more concerned with what she was eating, which, as reported in a fan account, was “chicken tenders, ketchup, and seemingly ranch.”

Rather than let an opportunity pass them by, Heinz must have ordered its marketing staff to work nonstop until they figured out a way to capitalize on something that could easily tie to their core product, which, of course, is ketchup. Those marketing people came up with a ketchup and “seemingly ranch” blend, which will be limited to a production run of 100 bottles available via their Instagram account. If you’re one of the lucky ones, that is.

Of course, Heinz did not need to put their food scientists on overtime, because they actually already sell a product that is…well…ketchup and ranch. Available since 2019, Kranch meets the needs and wants of those who like to mix condiments. They just do the heavy lifting for you.

All of which means that the marketing people only had to come up with a new label for this gimmicky item, and then let the media do all the rest. It is brilliant marketing in many regards, even if the phrase will have a shelf life of about a week max. If it steers more people to the real Kranch, then good for Heinz. But it will take more marketing than just this in the long run.

And we still don’t have a firm answer for all the inquiring minds: Are Swift and Kelce dating?

More than anything, Heinz’ response shows just how powerful pop culture is, especially internet culture. As they said on The Morning Brew Daily yesterday, “Internet culture IS culture.” I tend to agree, even if the marketers are put in the sometimes unenviable position of having to respond to it. It’s like the tail wagging the dog.

The problem is that internet culture changes fast. Very fast. Today’s hot meme is next week’s yawn. Anything buzzworthy now is old news even by lunch tomorrow. Even the fastest marketer risks putting effort into something that has already started to fade.

As for Heinz, good on them for recognizing this for what it is: it’s a viral story, one they could capitalize on, but not spend a lot of money doing so. And therein is the lesson. If you find the tail wagging you, then do everything possible not to oscillate out of control.

I realize it is tempting to want to hitch your wagon to anything Swift is doing these days. Her Eras Tour is set to rake in $2.2 billion in ticket sales in North America alone, earning it honors as highest-grossing concert tour ever. Then factor in all the merch sold, hotels, meals, and so forth, and you realize just what an economic impact this one person has. You go, Heinz. Taylor Swift is golden right now. You may go a long time before an opportunity like this lands in your lap.

Me, I’ll stick with Franch, the fictitious condiment parodied on a Breaking Bad episode a decade ago. I don’t need to tell you what’s in it. And if Heinz had been paying attention then, they could have easily come to market with it, or at least staged an Instagram contest.

Then again, neither Walt nor Jesse are anywhere near as attractive—or culturally powerful—as Taylor Swift.

Dr “Pop Goes The Culture” Gerlich

Audio Blog

[tuannuggets]

Kansas city Twice Baked Potatoes

The Kansas City Steak Company is renowned for crafting exceptional steak side dishes using only the finest ingredients. One of our most beloved creations is the loaded baked potato, featuring real butter, sour cream, cheddar, and chives - the perfect complement to steaks, roasts, and more. For a lighter meal, pair them with a salad.

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