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I’ve developed an odd fascination with body-measuring technology, especially as it relates to the fashion world. Many companies are working on infrastructure that will hopefully one day let us buy clothes custom-tailored for the exact contours of our bodies. That should make people like me, who feel very under-served by the traditional fashion industry, a lot happier. It should also help to reduce the waste generated by the overproduction of clothes nobody wants to buy, which is a problem both for businesses and the planet. So, when Zozofit, makers of the Zozosuit, asked if I wanted to try its skin-tight body-measuring outfit, which has now been repurposed as a fitness tool, I agreed, albeit with my usual degree of trepidation.

The Zozosuit isn’t new, but its makers are using this year as a form of soft relaunch, with a new focus on breaking into the US. It was actually set up back in 2018 by Japanese high-end fashion retailer Zozo as a way of launching a custom-clothing line. Users bought the suit, scanned their bodies and then could order clothes that, on paper, were tailored to better suit their bodies. And while the clothes weren’t custom-made, the idea was that the outfits would be a better fit for them than the usual mass-produced stuff. But that idea, great in theory, didn’t necessarily shake out that well in practice.

Fashion Network said that the cost and complexity involved in launching the suit ate away at the company’s otherwise healthy profits. QZ reported that while people bought the suits, which were sold at a deep discount, few went on to purchase the custom threads as Zozo had planned. It got worse, as many reporters who tested the system found the clothes they had ordered, like Gizmodo’s Ryan F. Mandelbaum and the Economist’s Charlie Wells, didn’t actually fit. A better suit with higher-resolution dots for imaging was developed, but the project was subsequently put on ice.

Since then, Zozo has tried to open up its technology to third parties, but has now pivoted the technology toward something more fitness-focused. Since it already had the tech to make a body-measuring suit, it might as well be put to good use, or so the thinking goes. A number of health and fitness professionals advocate that, for people looking to get fitter, measure their bodies instead of stepping on the scale. So it makes sense for this to be offered as an elegant alternative to wrestling with a tape measure on a weekly basis.

Buying a Zozosuit is easy enough, just give it your weight in pounds, as well as your height in feet and inches, and cough up $98 plus tax. Not long after, you’ll get a slender package which contains a skinsuit made out of polyester and spandex. It looks very much like a motion capture suit commonly used in the production of visual effects, and functionally does the same job. Coming in two parts, the app will give you guidance on how to wear it, making sure that the waistband is pulled up high and covered by the top. You’ll need to try and keep everything as flat as you can, since visible creases will prevent you from taking an accurate scan.

Zozofit

As a 5’11”, 231-pound man, I did wonder if Zozo would have a suit large enough to cater for my body shape. The website has images of much more athletically-adept models wearing its clothing and you may be concerned there’s no option for bigger-sized folks. The suit I tried on was tight, as intended, but didn’t feel restrictive, and I don’t think you should be nervous that the company can’t accommodate your needs. Other users in a similar situation have documented a similar experience, including YouTuber The Fabric Ninja, who produced a “Plus-Size Review” in 2020. That said, I don’t think I could pull this off as some form of athleisure fashion statement, for all of the reasons you can probably presume.

Inside the package is a cardboard phone stand, which you’ll need to pop out and fold into place to prop your smartphone onto. The Zozofit uses your handset’s primary camera, and so you’ll need to stand it on a table and then stand six feet or so away from it. Once activated, you’ll get voice guidance talking you through the setup and measurement process, and you’ll be asked to hold your arms slightly away from your body. The coach will then ask you to turn to every position on the clock, taking 12 images as you shuffle around in a circle. Once completed, you’ll be notified that you can pick up your phone and then wait 30 seconds-or-so for the model to process.

And you’ll get a headless 3D-mesh model of your body with various measurements labeled off the sides. These include measurements for your upper arms, chest, waist and hips, upper thigh and your calves. After you’ve pawed at your vital statistics, you’ll be invited to set some fitness goals based on those initial measurements. Interestingly, these are capped, I suspect to keep you picking smaller, more sustainable goals and avoid becoming disappointed. It measured my waist at 46.6-inches, and you can only set the goal at inch-wide increments down to 41.6-inches or up to 51.6-inches. This will change in a later update, but I appreciated the more realistic form of goal-setting it promises.

You’ll also get the app’s rough calculation of your body fat percentage, which it clocked at 35.6 percent. Not long after, I jumped on my smart scale and it registered me as having 31.6 percent, and I suspect, too, the imaging might struggle to be as accurate when you’re dealing with such big figures. I’d wager, too, that body fat percentages might not be so easily calculated by sight alone, and perhaps Zozo could look to remove those measurements which aren’t as reliable. It may also dent the PR braggadocio the company is putting out, claiming that this setup is the “world’s most accurate at-home 3D body scanner.” (It says it has compared its results to several rivals on the market, as well as professional hand-measurements.)

Screenshots of measurements taken of Daniel Cooper inside the Zozofit app showing a 3D-wire mesh of his body with measurements overlaid.

Zozofit / Daniel Cooper

Now, the company says that its body fat measurements use the US Navy Body Fat system, which calculates your body fat based on a series of body measurements. That method was developed to create a quick-and-dirty measurement to determine if someone was fit for service. (In the process of researching this, I learned that personnel describe it as the “rope and choke,” which isn’t relevant, but thought you’d appreciate the slang.) The company’s representatives added, to me, that it has found that curvier bodies are more likely to see less accurate results than thinner ones, and that it is working on its algorithms to improve this situation.

With any health-and-fitness technology, there’s a question of how much you can rely upon the accuracy of its measurements. Few consumer-level devices offer the same level of data quality you can get from a much more expensive clinical tool. Straight after my first scan, I ran a second, to see the sort of variation you can expect from an imaging-based measurement. The margin is fairly small, only a few tenths of an inch difference between each scan, which seems fair to me. I’d say, too, that what matters more with these sorts of tools is the trend and direction of travel, rather than obsessing over the pinpoint accuracy of each individual measurement.

And, to test that, as soon as I’d run my second scan (and changed back into normal clothes), I asked a friend to help measure me with a tailor’s tape. And there was a wider delta than I think some people might expect, especially if they’re in need of millimeter-perfect measurements. For instance, the app measured my chest at 43.4-inches, while the tape clocked it in at 44. My upper arms measured 14.5-inches, compared to 14.2 and 14.3-inches inside the app. With my waist and hips, the app said they were 44.6 and 45.3-inches, respectively, while the tape measure clocked them in at 44.5-inches and 47-inches.

Partially, I think these divergences are because computer imaging, even with help, isn’t going to hit as perfectly as a tape measure. Not to mention that the suit pulls you in a little compared to normal clothes, which are far baggier by comparison. I’m sure, too, that the garb sits less well on a larger body compared to a smaller one, where there are fewer issues with terrain. Maybe I’m grading on a curve, but it’ll depend on what exactly users want to get out of this system.

The other question, and a likely more relevant one, is if squeezing into a Zozosuit is easier and less time-consuming than using a tape measure. It’s nice to have an automated process, and to have that data tracked over time, but nothing the app does could qualify as essential. That’s a fairly neat way to sum this up – if you’re a dedicated gym-goer looking for a more elegant way to monitor your vital statistics, then you may find some value here. I’m not sure how compelling this would be, however, if you’re expecting this to be the sum total of your fitness universe.

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I’ve developed an odd fascination with body-measuring

Locarno Film Festival will honor French-Danish producer Marianne Slot with its Raimondo Rezzonico Award, given to figures who have played a major role in international production, at its 76th edition running from August 2 to 12.

Over the course of her 30-year career, Slot has worked with a host of internationally renowned auteurs including Lars von Trier, Lucrecia Martel, Bent Hamer, Malgoska Szumowska, Paz Encina, Lisandro Alonso, Sergei Loznitsa, Naomi Kawase and Benedikt Erlingsson.

Slot broke into producing on the early works of von Trier, taking co-producer credits on the original The Kingdom TV series as well as Breaking The Waves and The Idiots, and has since become a key figure on the international arthouse co-production scene.

The producer will be in Cannes this year with Lisandro Alonso’s ambitious historical drama Eureka starring Viggo Mortensen, which world premieres in the Cannes Premiere section.

“Marianne Slot’s approach to film production has left a deep and lasting mark on contemporary cinema, rewriting the rules of the game for collaboration and ideation between filmmakers and producers, with her enduring preference for the singularity of the gaze and tireless defense of creative freedom,” said Locarno Artistic Director Giona A. Nazzaro.

“At a time when cinema risks flatlining into an endless repetition of existing models, Marianne Slot leads by example, demonstrating the beauty of both freedom and risk.”

Slot will receive the prize on August 5 and the tribute will include a screening of Benedikt Erlingsson’s Woman At War, which will be followed by an on-stage conversation on August 6.

Recent recipients of the Raimondo Rezzonico Award have included Jason Blum, Gale Anne Hurd, Komplizen trio Janine Jackowski Maren Ade and Jonas Dornbach as well as Ted Hope and Michel Merkt. 

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Locarno Film Festival will honor French-Danish producer

It’s been more than 25 years since Sigourney Weaver played Ellen Ripley on the big screen…and that was definitively the last time.

She’s getting away from her, you bitch! Although Ellen Ripley is undoubtedly her trademark role, Sigourney Weaver will never play the character again, saying the Nostromo has sailed on that one.

Speaking with Total Film, the 73-year-old Sigourney Weaver confirmed she has officially hung up the ol’ pulse rifle as Ripley, giving her blessing to others. “There are all kinds of younger actors taking this kind of role. And there was an Alien [film] that I really wanted to do with Neill Blomkamp and we didn’t get to do that, but, you know, that ship has sailed…I’m very happy doing what I’m doing. I put in my time in space!”

Sigourney Weaver also noted that one key reason for retiring Ripley is that the original’s director, Ridley Scott, is no longer involved. “I think Ridley has a lot to do with [the longevity of Ellen Ripley and Alien]…They made Ripley a woman, without making her this helpless creature. Because I think I was very lucky. These were men who were creating this woman character, but they liked and respected strong women.”

In addition to the Blomkamp project Sigourney Weaver referred to (which was ultimately dropped so Scott could direct Alien: Covenant), she was also pitched an idea for a fifth outing as Ripley that would fall by the wayside by the time Disney acquired Fox in 2019. Weaver or not, the Alien franchise will continue, with a TV series in active pre-production and the next movie already filming, with its director, Fede Álvarez, even sharing a picture just yesterday commemorating Alien Day.

Sigourney Weaver’s performances as Ellen Ripley, who is undoubtedly one of the most badass characters in movie history, are iconic, going back to 1979’s original and concluding all the way back in 1997 with Alien Resurrection. But it was her turn in the 1986 sequel, Aliens, that truly marked her as a force. Not only did Weaver earn an Oscar nomination–a rarity for an action movie–but this Ripley was named by the AFI as one of the greatest heroes ever.

How do you feel about Sigourney Weaver never playing Ellen Ripley again? Which younger actress could you see taking over the role? Let us know below!

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It’s been more than 25 years since

After eight years and some 1,200 episodes of The Late Late Show, James Corden is signing off.

The Brit, who launched his iteration of the CBS late night show as a virtual unknown among U.S. viewers in 2015, has announced that he’ll be returning to the U.K. with his wife and three children. The decision to end this professional chapter was neither brash nor kept secret; in fact, at exactly this time last year, Corden sat his 170-person staff down and said that he had a year of the show left in him. From that day forward, his showrunners, late night vet Rob Crabbe and longtime Corden collaborator Ben Winston, have been dead set on making the final season the show’s biggest and most star-studded yet.

Crabbe and Winston took a quick break ahead of Thursday’s finale, however, to hop on a Zoom with The Hollywood Reporter to reflect on what was, what could have been and what comes next — for them and for the Late Late Show’s 28 million YouTube subscribers.

As we speak now, you’re roughly 36 hours out from the end; how are you both feeling?

Rob Crabbe: I mean, it’s sad that it’s ending but we’ve also had an incredibly fulfilling time doing it. James has always been completely up-front about the fact that he wasn’t going to be a lifer in this job, and he graciously gave us tons and tons and tons of warning. But we’ve built a family here and we’re used to seeing each other every day, so I’m not quite sure what the emotional state will be next week. That’ll be telling. Right now, we’re so busy racing to the finish line and then I think it’ll hit us…

Judging by your backgrounds, it looks like you, Rob, have cleaned out your entire office, save for a lamp and a printer, and are ready to go, and Ben is very much not …

Crabbe: I didn’t want to deal with [packing up my office] on Friday right after we finish, and so I did it, but now it just feels depressing.

Ben Winston: I see it as I’m a hoarder and he’s feng shui minimalist. Or he just loves lamps and printers.

Crabbe: That’s my aesthetic. (Laughs.)

Winston: Nah, [Winston’s company] Fulwell’s head office is here, so I’m staying. But I’ll add to what Rob had said, and tell you, it’s a weird feeling. It’s partly sadness because we love making this television show. We love every day coming at it with a blank piece of paper and going, “What can we do today?” Like, whose movie career can we re-create? Who can we sing in a car with? Who can we rap battle against? And that burst of creativity is something that we are hugely going to miss. But I think if you told us eight years ago when we first chatted with you that we’d still be here, we’d never believe it. Deep down, we thought we were probably going to last three months. So, the fact that James has achieved what he’s achieved, and that we have something like 14 billion views online and 29 million subscribers [to our YouTube channel], that he’s won 12 Emmys, that we have three spinoff shows, that we’re in more countries than I think any of the other late night shows, is all beyond our wildest dreams. And so there is a real sense of pride in that and excitement that we are going out at a time when we are still relevant enough to get Adele and Tom Cruise and Harry Styles and Will Ferrell in our finale. And it feels good that we are always going to be proud of the show that we’ve made — and that’s to James’ great credit because Rob and I would’ve ridden this till the wheels came off.

At any point in the last year, did you try to convince him to push back his exit?

Winston: I think the conversation was to convince him to keep going up until now. There was a time after about five years where he went, “This has been amazing, but …”  He was in [the Ryan Murphy film] The Prom at the time and he was doing other things and I think it was tempting for him to go full into acting. But we were obviously very keen that he keep going here, and then he was too. And like Rob said, I love the way that he [ultimately] did it. It was April the 28th, 2022, and he sat everybody down and obviously Rob and I had spoken to him in the weeks [leading up to that], so we knew, but he had all 170 people and he sat them down and he said, “Look, this has been the greatest time of my life, but I want to be honest with everyone: In a year’s time, I’m going to leave this show and I want to give you a year to get your head around that and be able to plan.” And what a luxury that was. It also unleashed him a little bit for this last year because it was like, “I got one more year and I’m going to throw the kitchen sink at it and we’re going to have the greatest time ever.” And so it wasn’t about, “Oh, maybe I should be in that movie or maybe I should go and do that show.” Instead, he was like, “No, this year is for this.” And it’s been brilliant.

It’s ironic that here we are, eight years later, and James is the one heading back to the U.K., and you, Ben, are the one staying put in the U.S. When we first spoke, eight years ago, your plan did not entail staying here very long …

Winston: I know! I did a nine-month lease. (Laughs.) The idea was that Rob and I would work together, we’d set up the show and I would do it with him for six months and then I’d leave him to it. I think in my deal I had something like, I’d come back once every six weeks for three days for a year. And now here I am, I have two American children, a 6-year-old and a 3-year-old, and Fulwell, our company, is doing well here and we like it. But yeah, it is bizarre that James is the one going back to the U.K. and I’m the one who’s staying because I was the one who was like, “We shouldn’t be leaving London,” and he was all, “Let’s go on an adventure.”

I’m sure you’ve been doing a lot of reflecting in recent weeks and months. What are the moments that you still can’t believe you pulled off?

Crabbe: Well, there are things like getting invited to the White House by Michelle Obama to do a “Carpool Karaoke,” which is pretty shocking, or getting invited by the Biden administration to go back to the White House for James to work as his assistant. And then there’s other stuff that are just little personal highlights — comedy bits in the studio that don’t get as much attention, like one where James and Kristen Wiig are singing “Hallelujah,” but she didn’t know how to pronounce “hallelujah.” Or we did a sketch with Jamie Dornan, where it turned out that James was like a train obsessive, and it was 50 Shades of Trains. And then there’s also the stuff like jumping out of a plane with Tom Cruise that will always stand out.

Winston: I think looking at Michelle Obama as she throws a dodgeball at Benedict Cumberbatch and Harry Styles was definitely one of those moments where I was like, “How did we get here?!” But I think the stuff that keeps my heart pumping are those moments where you see how great the team is because you come up with something on the day. I remember the day that Trump had COVID and he went on a ride in the car and he had a driver and security and they were all in the car with him and it was so shocking because, at that time, COVID was so lethal. I remember there were about three or four hours to go before we taped and somebody said, “Why don’t we do a parody song?” Do you remember who it was, Rob, so we give credit where it’s due? We parodied “Maybe I’m Amazed” by Paul McCartney.

Crabbe: It was Lawrence Dai.

Winston: Yes! And so James sang a song called, “Maybe I’m Immune,” which was written in three hours. And it’s worth watching that back because it’s such a beautiful song and it’s so poignantly done and then it has footage of Trump during it. (Laughs.) And I remember being in the edit suite in the basement and the show has to get fed by 9:35 p.m. because it’s on then in New York, so we’re literally cutting it down to the wire, and your heart is pumping and it’s those days that are really exciting. And then selfishly, when there’s a movie star you love, like Matt Damon coming and doing a sketch about James being his body double and stunt double and he throws him off a roof. Or when Arsenal Football Club, which is my absolute love — I’ve been going to Arsenal games since I was 4 — is coming to L.A. for a preseason trip and because the show’s doing well, you can call up Arsenal Football Club and say, “Hey, how about we do a sketch with you?” And they’re like, “My God, that would be amazing to be on The Late Late Show.” And I’m just hanging out with all these Arsenal players, which was insane, and which meant nothing to our American team. They were like, “Why are we doing this?” Rob definitely didn’t come out on that Sunday afternoon.

Crabbe: I did not recognize one person. (Laughs.)

Anything on your bucket list that you didn’t get to do?

Crabbe: It would’ve been nice to have Beyoncé in the car.

What happened there?

Crabbe: Schedules just never quite aligned but that would’ve been a fun one. Personally, I would’ve liked to have had Bruce Springsteen in the car.

Winston: Well, he gave us a date, but it was during the summer that we couldn’t do.

Wait, so you stiffed The Boss?!

Winston: No, no, no. (Laughs.) I can’t even remember what happened …

Crabbe: It was nothing dramatic, just a scheduling issue.

Winston: I think with Beyoncé, she does things in such a different way. Like, she doesn’t do promo, really. She doesn’t need to. Think about her last album, that monster hit album, name one promo. She didn’t even do a music video. So, we always knew it was gonna be hard to get her singing in a car, but we would’ve loved it. It’s all good though. I know she’s a fan of the show and she’s always been really lovely and responsive and we’d been close a couple of times, but it wasn’t meant to be. This is going to sound arrogant, and I don’t mean it to, but when we look back, we’ve done so many things that have been beyond of our wildest dreams — even in our finale week, what happens with Adele in the car, what we do with Tom Cruise on The Lion King, and we have a sketch that we’re not telling anybody about, which I think will really shock people, and then we have Harry Styles and Will Ferrell having fun with us. And so I think if you’re going to take all of that, which is a dream come true, and you’re going to go, “Ah, it’s a real shame we didn’t get, like, Leonardo DiCaprio to do ‘Role Call,’” then you’re in the wrong business.

Ben, before an @Midnight reboot was revealed, you had said publicly that you wanted to produce the follow-up, but it wasn’t up to you. “I’ve just got to hope that our pitch is better than another pitch.” So, I have to know, what was your pitch?

Winston: I think we had a really good pitch. I don’t think it was cost-effective for the network.

Times have changed …

Winston: Times have changed. I’ll answer it with a bigger answer because I do think it’s linked and I’m going to toot James’ horn for a second, but I have a point. When James came here, he was an utter unknown. He started from nowhere. He didn’t have that, like, “He’s off SNL, so let’s give him a month or two,” or “He used to be on The Daily Show, so let’s give him a month or two.” We had to come out absolutely fighting to convince people of how great he could be immediately. And we did. I mean, it was wild how much we did in those first few weeks. “Role Call” was night one, “Carpool [Karaoke]” was night two, I think “Crosswalk [The Musical]” was night three. It was bonkers, really. I think now, in the environment that we are in, it’s going to be very difficult to find someone who can do what James has done — to find somebody who has that ability, somebody who isn’t the most expensive star in the world because no one knows who they are, to come here and generate the income that he has, whether it be with spinoffs or merch or international sales or product placement or all of the things that we’ve done to make The Late Late Show work. I think to do that again is near impossible. I think he’s a unicorn. So, therefore, you have choices. You either need to get a massive star, which is an expensive thing to do.

And nobody seems willing to do that anymore …

Winston: Right, or you need to break an unknown. And if you’re trying to break an unknown, you need to take a $15 million to $20 million swing just on marketing, building the set, getting the team together, giving that person a year’s wage, and that is a huge expense. And in two weeks, it might not have worked and then you’re dead because it hasn’t worked in those two weeks, and you don’t have the cachet of your previous fame to make sure you stay on air so that you can eventually get it right. What happened with James is almost like a once-in-a-lifetime thing where his ability and genius led to the success that we’ve had. So, was it worth CBS keeping The Late Late Show on air with James? Yes, because it was something that could keep generating income in various ways. But is it worth trying to do what James did again, which I think is near impossible? Probably not. And so maybe instead you go for something that is on the slightly cheaper side, where there’s less pressure on it to do well and it doesn’t necessarily need to get the numbers or the online ratings or the spinoffs to pay for itself. And so, yeah, I can understand why CBS has gone with a format, and I think it will be successful in that time slot. I get it. And the conversations that we had were really friendly; it was less about us pitching and getting turned down, because we still have a CBS first-look deal for another two or three years and we all decided that our time would be better spent doing other shows with them.

Rob, you’ve spent the bulk of your career in late night. What’s next for you?

Crabbe: A nap! It’s been a pretty dizzying eight years because we never really took our foot off the gas after we started, and so I am looking forward to meeting my family. (Laughs.)

Hopefully they are excited to meet you too …

Crabbe: Yeah. (Laughs.) My wife has no idea what it’s going to be like having me around this much. But yeah, I’m going to take a little break and then start thinking about it. I’d love to do more late night. I’ve always enjoyed doing it. I’ve done four or five of these shows, so we’ll see what comes down the path.

I’m curious, what happens to the show’s YouTube channel, which has nearly 30 million subscribers? Does that just go away?

Winston: It’s a great question, and I don’t know what’s going to happen with it. We need to get to the bottom of it. It’s a CBS and Fulwell conversation, and we [started to talk] about it about a week or two ago. It’s not going to go away instantly. We’re going to work out what we do with all of that because those clips are going to become more and more precious over time. Even just looking back at some of the stuff that we’ve done with people who maybe are no longer here or who have risen in stardom since the interview. We were looking last night, and Billie Eilish’s first-ever TV performance was on The Late Late Show. She was a total unknown and she came on and performed and, on air, James was like, “You’re going to be the biggest thing in the world.” Next thing you know, she’s doing a “Carpool” with us. Or I was laughing the other week with Shawn Mendes and Camila Cabello — whether they’re back together or not, I don’t know — but the first time that people saw them on TV together was on our show. They did a song, they weren’t together, and James sits in the middle and he goes, “Why aren’t you two together? You’re both great. You should be a thing.” And that clip is from, like, 2015 or 2016, and it’s wild to rewatch.

Wow.

Winston: And then last night on the show, we revisited a bit that we did on our 18th-ever episode. James, remember, was a total unknown in America and we filmed it before we even went on air, so he ran around the streets of L.A. grabbing guys and saying, “Are you single?” And he found one who said he was, and then James was like, “We’re gonna find you a date.” And we walked around L.A. with them going up to people saying, “Would you go on a date with this guy?” And he found this girl. Anyway, it was an average bit. We never did it again. That was show 18 and here we are, 1,200 shows later. But [the couple] came back on the show last night, eight years later, because they’ve been married for three years and we gave them the wedding reception they never had [because of the pandemic]. And Expedia has very sweetly given them a bonkers honeymoon to anywhere in the world and Norah Jones, who is their favorite star, performed for them. It was a really, really beautiful moment and it’s just crazy because we think our lives have changed from this show but these people’s lives have changed too.

Had you kept in touch with the couple?

Crabbe: We’ve sort of kept in touch with them and tracked them a little bit. One of our producers followed them on social media, and when they got engaged, it was hysterical around here because we couldn’t believe it. I mean, it never stopped blowing our minds and, like, for Corden, the idea that he randomly introduced two people on the street that then fell in love and got married and could procreate is beyond the legacy of, like, a “Carpool.”

Winston: And what’s crazy is that we only did it once. It’s insane. And it was really like Rob says, one of the producers followed them [on social media] and I remember like six years ago, they’d run into our office going, “Oh, my God, you remember that couple? They’ve moved in together!” And then a year later, “Oh, my God, they’ve got a dog.” Then, “Oh, my God, they’re engaged.” And then during COVID, it was like, “They’ve gotten married!” And three years later, here we are.

Crabbe: I cleaned my desk out and I had a photo of their proposal because someone printed it out. I was like, “Oh, my God, it’s that couple.”

I know you have to go — there’s a final show to produce. But I’m curious, what’s the plan once you wrap?

Crabbe: We’re going to have a wrap party tomorrow night with the staff and crew. It’s going to be a tearful party or a joyful party. [Definitely] a drunken party.

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After eight years and some 1,200 episodes

After a brand new trailer was showcased following Warner Bros. Discovery’s CinemaCon presentation, The Flash international and IMAX trailers have been released.

The latest looks at the highly anticipated superhero movie come from The Flash’s IMAX and international trailers. While both trailers don’t have a ton of new footage, they do have some new things, including a better look at a rundown Wayne Manor, more footage of Ben Affleck’s Batman, as well as Michael Shannon’s General Zod.

Check out The Flash international and IMAX trailers below (watch more trailers):

The Flash sees the return of Ezra Miller as the DCU’s Scarlet Speedster/Barry Allen, who they first portrayed in Batman v Superman: Dawn of Justice, Justice League, and Zack Snyder’s Justice League. Joining Miller are Kiersey Clemons as Iris West, Maribel Verdú as Nora Allen, Sasha Calle as Supergirl, and Ron Livingston as Henry Allen, along with Keaton and Ben Affleck, who are reprising their respective versions of Bruce Wayne/Batman for the film.

“Worlds collide in The Flash when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to,” reads the synopsis.

“That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonian … albeit not the one he’s looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?”

The film is directed by It‘s Andy Muschietti from the latest screenplay written by Christina Hodson (Birds of Prey). It is being executive produced by Marianne Jenkins, with Michael Disco and Barbara Muschietti set as producers.

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After a brand new trailer was showcased

Tucker Carlson’s departure from Fox News shocked most everyone this week, including Carlson himself and his fellow hosts. According to Sean Hannity, he doesn’t “have a clue” about what led to the dismissal of his colleague — but “Late Night” host Seth Meyers suspects that that was an intentional move on Fox’s part.

The news of Carlson’s split from the network came on Monday morning and, in the days following, many have been trying to piece together what went down. During his radio show on Tuesday, Hannity said, “I guess people think that because I’ve been there the longest that I’d have some knowledge or understanding of what’s going on, but … I just don’t.”

During his show on Fox on Monday night, Hannity barely mentioned Carlson, except to claim that he was better than Don Lemon (who was also fired this week) because “he had a massive audience and has a huge following.”

“Yeah, Tucker has a huge following among racist lunatics and people who also want to f— the green M&M,” Meyers mocked on Wednesday.

During his show, Hannity also noted that he didn’t have “any details” on Carlson’s ouster, which Meyers found a bit hard to believe.

“You don’t have any details on it? His show was on right before yours,” Meyers said. “You chatted with, you texted with him. Is it possible they just didn’t tell Hannity the truth, you know, the way you lie to a five-year-old when their goldfish dies? ‘I don’t have any details about Tucker. All I know he is went to host a show on a farm upstate with a bunch of other racists — and I hear he’s real happy!’”

The “Late Night” host added that, in reality, he thinks Carlson’s former colleagues definitely do know what led to his ouster and have just been explicitly told not to say anything to the public. But, Meyers was pretty sure he could rule out one potential cause.

“Fox had no problem with his cruelty, racism and paranoid conspiracy theories, so I doubt he got fired for that,” Meyers said. “I mean, firing Tucker for racism now, after tolerating it for so long, would be like canceling ‘Sesame Street’ because you just found out they were puppets.”

You can watch Seth Meyers’ full “A Closer Look” segment in the video above.

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Tucker Carlson’s departure from Fox News shocked

Jonny Greenwood and Dudu Tassa have shared a live performance video for their new song “Ya Mughir al-Ghazala,” featuring Iraqi vocalist Karrar Alsaadi. The song appears on Greenwood and Tassa’s forthcoming LP, Jarak Qaribak, which is due out June 9 via World Circuit. Find the performance below.

For the new performance video, Greenwood played bass, guitar, and a drum machine, and Tassa contributed vocals, guitar, and bass. Also featured are Ariel Qassis on qanun, Yaniv Taichman on oud, Ben Dagovitch on riq, Oded Aloni on darbuka, Sefi Zisling on cornet, Yuval Peleg on trumpet, and Maayan Milo on trombone; and Tamar Shawki, Ariel Qassis, Dema Kablan, and Jameel Faris provide backing vocals.

Of the song and video, Dudu said in a statement:

This song originates from Yemen, my father’s country of origin, and Kiri (Karrar) is from Baghdad, my mother’s hometown. I met Kiri in Vienna and all I could think about was how much beauty, culture, and humanity we miss while we are busy stressing differences, borders, and limitations. That’s how, together with Jonny, the idea for this whole album started to take shape, through the notion of crossing borders, and looking for connections rather than differences.

Greenwood and Tassa announced their album with the song “Ashufak Shay,” featuring vocals from Lebanese singer Rashid Al Najjar. Tassa and Greenwood are set to perform at Pitchfork Music Festival London on Friday, November 10, 2023.

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Jonny Greenwood and Dudu Tassa have shared

“Seven Winters in Tehran,” about a 19-year-old Iranian woman sentenced to death for killing the man who tried to rape her, will open the 34th annual Human Rights Watch Film Festival on May 31 in New York City.

The festival, co-presented by the Film Society of Lincoln Center and the IFC Center, will feature 10 documentaries about humanitarian challenges around the world. This year’s edition spotlights themes and topics including the Ukraine conflict (“When Spring Came to Bucha”), climate gentrification and justice (“Razing Liberty Square”), women’s rights (“Draw Me Egypt”) transgender rights (“Into My Name”) freedom of the press (“The Etilaat Roz”) and access to health care in the United States (“Pay or Die”).

“From the war in Ukraine to women’s rights and bodily autonomy, to environmental gentrification and freedom of the press, these films span some of the most pressing human rights issues of our time,” says John Biaggi, director of the Human Rights Watch Film Festival. “It is vital that they are seen by audiences, and we are honored to bring them to audiences in the U.S.”

The fest’s centerpiece docu, “Theatre of Violence,” follows a charismatic Ugandan lawyer defending former child soldier Dominic Ongwen as he faces trial at the International Criminal Court in the Hague. “Pay or Die,” which follows three families struggling with the crushing financial reality of living with Type 1 diabetes in the U.S., will close the festival on June 8.

“Draw Me Egypt – Doaa El-Adl, A Stroke of Freedom,” about one of the most prominent cartoonists of the Arab world, will make its world premiere at the festival. The nine other films on the lineup will make their U.S. or New York debuts. 

Screenings of each film at Manhattan’s Film at Lincoln Center and IFC Center will be followed by in-depth discussions with filmmakers, docu participants, journalists, activists, and Human Rights Watch researchers. The festival will continue to offer the opportunity to watch all ten docus online nationwide across the U.S. from June 5 to June 11. 

In past years the Human Rights Watch Film Festival has featured docus including Tia Lessin and Emma Pildes’  “The Janes,” David France’s “Welcome to Chechnya,” Nanfu Wang’s “One Child Nation,” Stanley Nelson’s “The Black Panthers: Vanguard of the Revolution,” as well as Joshua Oppenheimer’s “The Look of Silence,” and “The Act of Killing.”

The majority of this year’s festival films will be audio described and play with captions, with live transcription for the conversations to follow.

The full Human Rights Watch 2023 lineup is as follows:

“Draw Me Egypt – Doaa El-Adl, A Stroke of Freedom,” Nada Riyadh, Belgium, France, Luxemburg, The Netherlands
“The Etilaat Roz,” Abbas Rezaie, Afghanistan
“Into My Name (Nel Mio Nome),” Nicolò Bassetti, Italy
“Koromousso, Big Sister,” Habibata Ouarme, Jim Donovan, Canada
“Pay or Die,”  Rachael Dyer, Scott Alexander Ruderman, USA
“Razing Liberty Square,” Katja Esson, USA
“Seven Winters in Tehran,” Steffi Niederzoll, Germany, France
“Theatre of Violence,” Lukasz Konopa, Emil Langballe, Denmark, Germany
“We Are Guardians,” Edivan Guajajara, Chelsea Greene, Rob Grobman, Brazil, USA
“When Spring Came to Bucha,” Mila Teshaieva, Marcus Lenz, Germany, Ukraine

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“Seven Winters in Tehran,” about a 19-year-old

The federal government has conducted its first evacuation flight from war-torn Sudan, National Defence Minister Anita Anand says.

Anand did not share details other than saying the evacuation flight occurred on an RCAF C-130 Hercules aircraft. She promised further details will come in an announcement Thursday morning in Enfield, N.S.

About 200 members of the Canadian Armed Forces have deployed to the region along with military planes and ships for evacuation operations.


Click to play video: 'Criticism growing surrounding extraction of Canadians from Sudan'


Criticism growing surrounding extraction of Canadians from Sudan


Hundreds of people have been killed in nearly two weeks of conflict between the army and a rival paramilitary force, the Rapid Support Forces (RSF), which are locked in a power struggle threatening to destabilize the wider region.

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A shaky 72-hour ceasefire has allowed nations to evacuate their citizens, but it’s set to expire Thursday night. The United States and African nations are trying to secure an extension.

More than 11 days into the crisis in Sudan, roughly 180 Canadians have been evacuated from the country out of 700 who have requested assistance, according to updated government figures.


Click to play video: 'Canada criticized for slow evacuation efforts in Sudan'


Canada criticized for slow evacuation efforts in Sudan


Foreign Affairs Minister Mélanie Joly said that more than 1,800 Canadians in Sudan are registered with the federal government. As of Tuesday night, at least 1,700 had been contacted by the government.

More to come.

— with files from Global News’ Mercedes Stephenson, Alex Boutilier and Reuters.

&copy 2023 Global News, a division of Corus Entertainment Inc.

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Five years after the end of “Star Wars Jedi: Fallen Order,” Cal Kestis’ friends are scattered across the galaxy dealing with their own demons, while the young Jedi Knight runs guerrilla strikes against key Imperial targets. Reality tore his dreams of resistance into tatters of resentment, and he’s left trying to find a purpose for his life in “Star Wars Jedi: Survivor” — a journey of surprises that improves on the original in every way. However, like Cal himself, it still falls short of its full potential.

Cal’s story takes some unpredictable turns that end in intriguing possibilities for a third game. Much like the hero, developer Respawn Entertainment recognizes that it has little recourse against the Empire and its entrenched position in the galaxy and “Star Wars” canon, so both turn inward instead. Cal still fights the Imperials when he can, but “Survivor” is less about making a difference against an oppressive Empire and more about finding a place to call home.

Cal is weary and even bitter this time, though Respawn’s close adherence to the usual “Star Wars” storytelling style, never delving too deeply into anyone’s emotions or relationships, makes for a shaky exploration of his character. At one point, “Survivor” goes out of its way to show Cal learning to deal with what resembles post-traumatic stress disorder, processing issues instead of perceiving every threat as fatal and resorting to violence. 

The problem is that “Survivor” just isn’t consistent with these moments. Loss and grief play a significant role in the game, but Cal rarely spares more than 10 seconds and a few words for his dead companions before never thinking of them again. He struggles with guilt and anger, though has scant few chances to communicate his problems, let alone explore his emotions. Perhaps more memory sequences, thoughts clouding Cal’s mind before meditating or some other way to put the focus back on Cal would have helped make his struggles resonate.

“Survivor” might not tell Cal’s story with confidence, but it fares better with everyone else’s. Returning characters, including Greez Dritus and Cere Junda, along with new faces get plenty of attention and some interesting new developments.

However, the supporting cast steals the show. Cal meets a diverse range of misfits and loners with their own interesting, surprisingly deep stories to tell. Some of these, including a forgetful droid and a rancher with a penchant for shooting raiders who hurt animals, bond with Cal over a quiet sense of shared loss. They may not have bounty hunters seeking a price on their heads, but, like Cal, life hasn’t exactly been kind to them either. He gradually turns a saloon on an early planet into a haven for some of these new friends, a fitting complement to the theme of building safe places.

The result is that the galaxy feels lived in this time — less like a series of game levels and more believable as a set of complex societies with a range of problems. “Survivor” makes good use of its space and scatters side stories across nearly every area. Cal can interact with Force Echoes that tell some of these accounts; in “Dark Souls”-style, they tell the lore of “Survivor.” Others come from new characters Cal can meet, such as a standout Twi’lek academic who, in the midst of Imperial expansion and war, is living her best life by exploring ancient ruins before joining Cal’s gang of outcasts at the saloon.

Exploration and traversal in “Survivor” are more organic as well. While “Fallen Order” was rife with conveniently placed metal grates and features that seem a little too contrived, “Survivor” integrates these more closely into  the environment. Sure, Cal still gets around by climbing on scrap metal and vines, but their existence makes sense in the context of this game’s settings, like a High Republic fortress overtaken by nature or the stony ruins of an ancient cult’s temple.

“Survivor” splits its challenges between standard climbing and Force-push puzzles, as well as more daring acrobatic feats, the latter of which is where the game’s emphasis on movement really shines. Few moments compare to the satisfaction of making a risky leap off a zipwire, running breathlessly along a wall, and Force-pulling a rope at the last minute to swing over a gap. It doesn’t matter if the reward at the end was just another cosmetic, getting there is exhilarating in its own right. 

That said, Respawn made some of these worlds too large and complex for their own good. The design is strong and movement is satisfying, but after 15 minutes of scrambling over rocks and running on walls just to see yet another set of similar challenges ahead, one wonders how much of it is necessary.

In most cases, some devious new enemy or combination of foes will appear and interrupt the monotony, though. Combat uses the same foundation “Fallen Order” established, with parrying and quick dodges at its center. Cal uses several lightsaber stances for different combat styles, including three from “Fallen Order” and two new ones. While some boss encounters feel designed for just one approach — usually the traditional, single-blade stance — nearly every fight in “Survivor” is open-ended and rewards imagination. 

One could take a stealthy approach — confuse a foe and let them take out their allies — or pull everyone together with the Force and throw a double-bladed saber in a broad circle to end things quickly. In short, even standard battles are exciting in “Survivor.” It helps that the sequel introduces more enemy types and mixed mobs, from powerful droids to deadly wildlife, and moves away from predictable encounters and areas clearly marked as combat zones.

“Star Wars Jedi: Survivor” has unfulfilled potential, but it’s a significant step up in every way from its predecessor. A wider cast and heavier emphasis on storytelling make Cal’s second adventure more intimate and personal, and greater freedom in combat keeps encounters feeling fresh and vibrant throughout the 25-hour runtime. Here’s to hoping that Respawn remembers to give Cal some extra attention next time.

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Five years after the end of “Star

Comcast beat Wall Street expectations for its first quarter of 2023 after reporting net income of $3.8 billion, or earnings per share of 91 cents, compared with $3.55 billion, or 78 cents per share a year earlier. On an adjusted basis, earnings per share came in at 92 cents.

Revenue fell 4% year over year to $29.7 billion, while adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) grew 3% year over year to $9.42 billion.

Analysts expected the NBCUniversal parent to report earnings of 82 cents per share on revenue of $29.4 billion. Comcast shares climbed over 3% in pre-market trading on Wednesday following the earnings announcement.

Peacock added 2 million net paid subscribers during the quarter for a total of 22 million subscribers. The streamer saw its revenue climb 45% year over year to $685 million but posted an adjusted EBITDA loss of $704 million, compared to $472 million of revenue and an adjusted EBITDA loss of $456 million in the prior year period. Executives have previously stated that they expect Peacock’s losses to peak at around $3 billion in 2023.

In its Connectivity & Platforms segment, adjusted EBITDA grew 3.2% year over year to $8.09 billion and revenue declined 1.8% year over year to $20.2 billion. Residential connectivity and platforms revenue fell 2.6% year over year to $17.87 billion, while business services connectivity revenue climbed 5.1% year over year to $2.28 billion.

Total customer relationships increased by 82,000 to 52.5 million. Total domestic broadband customers increased by 5,000 to 32.3 million, total domestic wireless lines increased by 355,000 to 5.67 million and total domestic video customer decreased by 614,000 to 15.5 million.

In its Content & Experiences segment, adjusted EBITDA fell 1% year over year to $1.6 billion and revenue fell 9.5% year over year to $10.26 billion. Media revenue dropped 20.7% year over year to $6.15 billion, primarily due to lower domestic advertising revenue and domestic distribution revenue, reflecting the comparison to the Beijing Olympics and the NFL’s Super Bowl in the prior year period.

Domestic advertising revenue fell 38.8% year over year to $2.03 billion, domestic distribution revenue fell 7.8% year over year to $2.71 billion and international networks revenue rose 1.3% year over year to $1.01 billion. Excluding the incremental revenue from the Olympics and Super Bowl, domestic advertising revenue decreased 6.1% and distribution revenue increased 3.8%. Adjusted EBITDA in the Media division fell 25.5% year over year to $880 million.

In its Studios segment, adjusted EBITDA climbed 13.3% year over year to $277 million, while revenue rose 1.7% year over year to $2.96 billion. Theatrical revenue soared 90.1% year over year to $319 million, reflecting the successful performance of recent releases including “Puss in Boots: The Last Wish” and “M3GAN,” while content licensing revenue fell 3.5% year over year to $2.34 billion, driven by the timing of when content was made available by the company’s film and television studios.

The latest quarterly results come just days after former NBCUniversal CEO Jeff Shell was terminated with cause on Sunday. Comcast investigated allegations that he engaged in inappropriate conduct with a female employee, later identified as Hadley Gamble. Gamble, a CNBC anchor and senior international correspondent, filed a complaint alleging sexual harassment, her lawyer said.

Comcast chairman Brian Roberts called Shell’s ousting a “tough moment” but added that the company is “fortunate to have a fabulous and tenured leadership team at NBC Universal.” Comcast president Mike Cavanagh will serve as Shell’s permanent replacement, an insider confirmed to TheWrap.

“Mike is a fantastic executive and operator many of you know well and he’ll work closely with each of the management team at NBC Universal to continue our excellent momentum,” Roberts said. Cavanagh and Chief Financial Officer Jason Armstrong will lead Comcast’s earnings calls going forward.

The media conglomerate is set to deliver presentations at NewFronts next week and traditional broadcast upfronts on May 15 in New York City.

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Comcast beat Wall Street expectations for its

With the 2023 NFL Draft mere days away, it’s time to pay tribute to the greatest NFL prospect of all-time: Bobby Boucher, linebacker of the South-Central Louisiana State University Mud Dogs. Sure, Bobby’s diet consists mainly of fried gator and H2O, and sure, as a 31-year-old, he’d be older on his first day than 90% of the other foosball players in the league, but the combination of his pure ferocity, visualization abilities, and advanced hydration techniques would make him an ideal contributor from the jump. (Team doctors might want to ensure there’s nothing wrong with his medulla oblongata, though.) I’m not totally sure where Boucher fits on Mel Kiper’s big board, but any team with Super Bowl intentions really ought to consider making an investment in the best talent to emerge from the Bayou State since “The Grey Ghost” himself, Gavin Grey.

Photo: Everett Collection

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By Mark Graham With the 2023 NFL Draft mere

Given Oliver Stone’s track record of diving into political controversies with his work (“Platoon,” “JFK,” “Snowden”), it is perhaps surprising how staid his approach is to his new documentary, “Nuclear Now.” All the more surprising is that the film’s measured tone is what lends it its visceral power. With his straightforward proposal — that nuclear energy has been the solution to climate change all along — Stone looks past politics, providing an antidote to the climate doomerism that many viewers have probably felt over the last several years.

The film, a vital rejoinder to the 2006 documentary “An Inconvenient Truth,” considers both the past and future of nuclear power and, by laying out the simple facts of the ever-worsening state of climate change, makes a compelling case for it as the energy source that can most reasonably and realistically help us face the crisis.

Stone, who wrote the film with Joshua Goldstein and narrates it, knows the perceptions he’s up against. The documentary’s first half wrestles with the enduring fears that nuclear boosters have struggled to debunk — the result of a few snowballing factors, the film argues, including the association of nuclear power with nuclear warfare and the exceptional disasters that occurred in 1986 at the Chernobyl Nuclear Power Plant, and in 2011 at the Fukushima Daiichi Nuclear Power Station.

The latter sections, concerning the innovations and obstacles to future applications of nuclear power, veer somewhat into the weeds. But the film’s aversion to formal or rhetorical bombast as it discusses scientists’ hopes for a better future is its own balm. We’re staring down catastrophe, Stone explains matter-of-factly, but our greatest tool is already in our grasp.

Nuclear Now
Not rated. Running time: 1 hour 45 minutes. In theaters.

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Given Oliver Stone’s track record of diving

Australian music legend Colin Hay, who was part of 1980s hitmakers Men At Work (“Down Under”) was Thursday awarded the honorary Ted Albert Award for outstanding services to Australian music at the 2023 APRA (Australasian Performing Right Association) Music Awards held in Sydney. The annual awards recognize song-writing, sales and airplay performances.

The award, named after music producer behind The Easybeats and AC/DC, was shared with the late trailblazing tour promoter Colleen Ironside who set the groundwork for a Pan-Asian touring network and produced scores of tours in the region.

Hay who has based himself as a solo artist in Los Angeles after Men at Work split in 1986, was in attendance and was feted with video tributes from friends, actor Zach Braff and Ringo Starr.

“To receive the news that APRA wanted to bestow this most prestigious Ted Albert Award is very special indeed,” said Hay.  

Other awards were more evenly spread, with nine first-time winners. Grammy Award winning EDM group Rüfüs Du Sol (Jonathon George, James Hunt and Tyrone Lindqvist) was named songwriter of the year. The band also collected the most performed dance/electronic work for “On My Knees.”
Zambian-born, Australian-based songwriter and performer Sampa the Great was named breakthrough songwriter of the year. 

The song of the year, decided by the votes of 3000 APRA AMCOS members, was awarded to DJ and producer Flume and co-writer Sarah Aarons for “Say Nothing” (feat. MAY-A). 

Sydney-born rapper and singer The Kid Laroi continued his meteoric rise, winning two APRA awards for his worldwide hit “Stay” (co-written with Justin Bieber) – most-performed Australian work for 2023 and most-performed pop work.

The most–performed international work award went to global hit “As It Was” by Harry Styles (with co-writers Thomas Hull and Tyler Johnson).

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Australian music legend Colin Hay, who was

Welcome back to our magical trip through Disney’s past. Today we are looking at the events on this day in Disney history- April 26.

April 26th featured the debut of a Mickey’s Starland attrition, the premiere of an ABC classic, and the release of the second-highest grossing film of all time! So, let’s get started!

Walt Disney El Grupo

Photo: NPR

The First Zorro Days is Held (1958)

On this day in 1958, Disney used the cast of Zorro for a string of live performances at Disenyland.

Zorro

Photo: Disney

Guy Williams himself rode his horse through the park to battle his demises Cpatain Monasterio. “Zorro Days” would become a wildly popular special event at the park.

Mickey’s Magical TV World Opens (1990)

On this day in 1990, MIckey’s Magical TV World show opened at Mickey’s Starland.

Mickey's Magical TV World

Photo: Disney

The new stage show featured popular characters from the Disney Afternoon, including Scrooge McDuck and the Gummi Bears.

Dinosaurs Debuts (1991)

On this day in 1991, the Disney/Jim Henson TV series Dinosaurs debuted on ABC.

Dinosaurs family

Image Credit: © Jim Henson Productions/courtesy Everett Collection

The show combined live-action, Audio Animatronics, and puppets to tell the story of a family of anthropomorphic dinosaurs.

The Enchanted Book Shoppe Ends (1992)

On this day in 1992, The Enchanted Book Shoppe was performed for the final time at the Plaza Gardens at Disneyland.

Disneyland

Photo: Disneyland

Running since 1991, the show was based on the animated Disney film Beauty and the Beast.

The Lizzie McGuire Movie Premiers (2003)

On this day in 2003, The Lizzie McGuire Movie premiered at the El Capitan Theatre in Hollywood.

Based on the popular Disney Channel television series, the movie follows Lizzie as she graduates from junior high and visits Rome.

Walt & El Grupo Premiers (2008)

On this day in 2008, Walt & El Grupo permeired at the San Francisco Film Festival.

Walt Disney and El Grupo: A Trip Through Latin America

Photo: D23

The documentary followed Walt and Lillian Disney on their 1941 trip to Latin America.

Art of Animation Preview Held (2012)

On this day in 2012, a media preview was held for Walt Disney World’s newest resort- Disney’s Art of Animation.

The new resort was themed after classic Disney animated films. The first phase of the Art of Animation would open on May 31, with the Finding Nemo section.

Johnny Depp Appears at Disneyland (2017)

On this day in 2017, Johnny Depp surprised fans by appearing as Captain Jack Sparrow inside Disneyland’s Pirates of the Caribbean Attraction.

Johnny Depp Pirates of the Caribbean

Photo: Also Disney

His appearance in the attraction was to celebrate the upcoming release of Pirates of the Caribbean: Dead Men Tell No Tales.

Toy Story Land Opens in Shanhai (2018)

On this day in 2018, Toy Story Land opened in Shanghai Disneyland.

Toy Story Land Shangai

Photo:D23

The seventh themed land in the park, Toy Story Land featured new attractions including Slinky DOg Spin, Rex’s Racer, and Woody’s Round-Up.

Avengers: Endgame Released (2019)

On this day in 2019, Avengers: Endgame was released to theaters.

Grammys

Marvel: Avengers: Endgame

The culmination of every Marvel film to that point, Engame would go on to become the second-highest-grossing film of all time.

Celebrate! Tokyo Disneyland Ends (2019)

Finally on this day in 2019, Celebrate! Tokyo Disneyland had its final performance.

Celebrate Tokyo Disneyland

Photo: Wikipedia

The nighttime spectacular had originally premiered on July 10, 2018 for the park’s 25th anniversary.

That concludes this day in Disney history- April 26. So, be sure to come back tomorrow to see what happens next!

Thanks for visiting MickeyBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below and one of the agents from MickeyTravels, a Diamond level Authorized Disney Vacation Planner, will be in touch soon! Also, thanks for reading!

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A new animated Batman movie is headed to Amazon Prime after being abandoned by HBO Max. 

Since David Zaslav took over Warner Bros. Discovery in 2022, there have been plenty of shakeups over what does and does not stream on WB’s streaming service HBO Max. 

A number of these streaming shake-ups have come from the super-powered world of DC, with some projects being outright canceled, with others being shopped around to competing streamers. 

One of the most prominent of these titles has been Batman: Caped Crusader, a Batman: The Animated Series spiritual sequel. After being abandoned as an HBO Max project, it was ultimately picked up by Warner competitor Amazon.

And with this new openness to explore having content on other platforms, it seems a whole pandora’s box has opened for WB.

A New Batman Movie on Amazon

Warner Bros. Animation

After being abandoned by HBO Max, the animated Batman movie, Merry Little Batman, is now headed to Amazon Prime Video. 

According to new info from The Hollywood Reporter, Merry Little Batman and its spin-off TV show will stream on the HBO Max competitor in a similar fashion to J.J. Abrams, Matt Reeves, and Bruce Timm’s Batman: Caped Crusader. 

In a statement from Warner Bros. Animation chief Sam Register, the WB executive noted that they “are excited to partner with Amazon to begin an all-new animated chapter of Batman:”

“We are excited to partner with Amazon to begin an all-new animated chapter of Batman. From the cinematic noir storytelling of ‘Batman: Caped Crusader’ to the comedic adventures of ‘Merry Little Batman’ and ‘Bat-Family,’ these new projects ensure that there will be an animated Batman story ready to excite fans of all ages.”

While also serving as the first official confirmation of Caped Crusader heading to Prime Video, the retail and streaming giant offered up details on this new animated Batman action-comedy coming as well. 

Merry Little Batman follows the adventures of young Damian Wayne, as he transforms into a hero known as “Little Batman” to defend Gotham City from villains aiming to destroy the holidays. 

The animated film will see Regular Show‘s Mike Roth take the directing seat, with a script written by Morgan Evans of Teen Titans Go! fame. 

 The Merry Little Batman spin-off series is titled Bat-Family, focusing on the greater Bat-Fam of Batman, Alfred, and Damian Wayne, as they “navigate the fun and frustrations of life as a super family.”

The Warner-Amazon Animation Alliance

As Warner Bros. refocuses its super-powered ventures under the watchful eye of James Gunn, it is also retooling its overall streaming strategy a tad, resulting in deals such as this. 

As Gunn and co. look to reinvent the studio’s DC efforts within an interconnected story across both movie and TV, WB is moving away from anything that does not play into the great DCU vision.

And that is where deals such as the one described above come into play. Gunn himself seems open to having his own DC titles move over to other streamers, but for right now Warner looks to be making these deals with competitors to get anything not connected to the DCU off the service. 

This includes the above trio of titles at Prime Video and Dead Boy Detectives heading to Netflix. 

It is unknown if this is a widespread streaming strategy for WB, but it sure seems like a pattern is starting to emerge. 

No release timing for Merry Little Batman, Bat-Family, or Batman: Caped Crusader has been made public as of yet. 

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Microsoft previously attempted to buy a mystery mobile game publisher, according to documents published this week by the UK’s competition watchdog.

On Wednesday, the Competition and Markets Authority (CMA) said it was blocking Microsoft’s proposed acquisition of Activision Blizzard due to concerns about the deal’s impact on the future of the cloud gaming market.

While the merger has often been framed as Microsoft seeking to purchase Call of Duty, Xbox boss Phil Spencer has consistently claimed that the $69 billion deal is primarily driven by the company’s mobile gaming ambitions.

Candy Crush Saga – First Ever Level

Microsoft has said the merger would improve its ability to create a “new Xbox mobile platform” and a “next generation game store” to compete with Google Play and the App Store.

After months of investigation, on Wednesday the CMA published its final, 418-page report on the deal, which revealed that Microsoft previously attempted to buy a different mobile game publisher.

“We note Microsoft’s submission that Activision has significant strength in mobile gaming, and consider that the presence of Activision’s games on any mobile gaming store would enhance its competitiveness,” it wrote.

“However, we also consider that this could be achieved by less anti-competitive means than the Merger, and Microsoft could acquire ‘attractive content and experience with player engagement and acquisition’ by buying a different mobile games publisher. This appears to have been Microsoft’s strategy – it attempted to buy [redacted] in [redacted], and said [redacted].”

The CMA continued: “We also consider that to launch a competitive mobile platform, Microsoft would need a significant quantity and variety of games.

“This would be likely to involve making agreements with third party publishers in a similar way as it does currently with console and PC games; Microsoft has not provided evidence that its entry attempt would be sufficient relying on Activision’s games alone. For this reason, we disagree with Activision’s contention that a competing mobile games store could only be achieved if the content was from a single organisation.”

Activision Blizzard‘s Diablo Immortal

Last November, Microsoft’s head of gaming told The Verge’s Decoder podcast that Xbox would struggle to continue as a global business if the company remained “irrelevant” in mobile.

“In terms of the Activision opportunity, and I keep saying this over and over, and it is true, it definitely starts with a view that people want to play games on every device that they have, and in a funny way, the smallest screen that we play on is actually the biggest screen when you think about the installed base in phone,” Spencer said.

“That’s just a place where if we don’t gain relevancy as a gaming brand—we’re not alone in seeing this—over time, the business will become kind of untenable, for any of us. If we’re not able to find customers on phones, on any screen that someone wants to play on, you really are going to get segmented to a niche part of gaming that running a global business will become very challenging.”

Spencer added: “As a percent of the overall gaming business, the console business is shrinking, because the overall business is growing and console stays relatively flat as a business, same thing with PC.”

On Wednesday, Activision Blizzard posted a strong set of quarterly financial results, with net income up 87% year-over-year.

It said the results were driven by growth across all three of its segments (Activision, Blizzard and King), and highlighted the performance of its mobile game business.

“We continued to deliver strong results for our intellectual properties on the strategically-important mobile platform, with mobile net bookings growing double-digits year-over-year, driven by Candy Crush, Call of Duty Mobile and last year’s launch of Diablo Immortal.”