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Swedish producer Bella Boo’s music usually tips toward the wistful end of house, favoring ethereal moods over sweaty grooves; see, for instance, 2018’s “Magnolia,” a starry-eyed paean to raving that drifts like a dandelion tuft. But on “Dancehall,” the standout track from her latest EP for Stockholm’s Studio Barnhus, she lets loose. The first two minutes unfurl with druggy abandon: The drums are big and beefy, landing with a real medicine-ball wallop, while an ascending synth glissando rises vertiginously upward. But then, a curious thing happens: The song softens. Pensive piano chords bring back some of the melancholy of those early Bella Boo releases; murmured, largely indistinguishable vocals open up a space of interiority on the dancefloor. All this happens without the drums losing any of their force. They keep banging insistently away, yet the gentleness of the rest of the song rises and enfolds them, like a warm, friendly hug.

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Swedish producer Bella Boo’s music usually tips toward

Artist Hugo Crosthwaite fuses portraiture and figurative drawings into dynamic compositions influenced by images from the U.S./Mexico border.

Artist Hugo Crosthwaite

Most known for his stop-motion animation and public murals, Crosthwaite was awarded first prize in the Smithsonian National Portrait Gallery’s Outwin Boochever Portrait Competition. As part of this distinction, he was commissioned to create a portrait of Dr. Anthony Fauci for the National Portrait Gallery.

Months of drawings, photos and observation culminated into Crosthwaite’s piece, not a traditional painting on canvas, but a five minute stop-motion animation covering Fauci’s vast career. In this Q&A, Crosthwaite shares his artistic process, inspiration and interactions with Fauci.

1. Why did you choose to illustrate Fauci in this unique way?

I don’t feel particularly confident as a portraitist, at least when it comes to comparing my work with artists from the past that I admire, like John Singer Sargent or Lucian Freud, so I decided to tackle this important commission in a unique way, by creating a narrative with Dr. Fauci.



Rather than focusing on a traditional portrait that describes his appearance, I wanted to tell a story that is universal and could be understood beyond his likeness. I also felt through our conversations that he is a very modest man. I got the sense that he didn’t want a “grand,” “historical,” traditional looking painting as a portrait.

So I decided to create a stop-motion drawing animation which is an audiovisual medium, showing drawings that include music and sound, illustrating Dr. Fauci’s long career in public service.

2. Why was it important for you to expand the portrait beyond the traditional image of subject? There are colleagues, patients, protestors, etc. within the frame as well.

Still from Hugo Crosthwaite’s stop-motion animation portrait of Dr. Anthony Fauci, on view at the Smithsonian National Portrait Gallery.

Making this portrait was an opportunity not just to create a likeness of Dr. Fauci for the National Portrait Gallery, but to capture a particular moment in history that I was living through together with the rest of the world, the COVID-19 pandemic.

So I felt it was important to place Dr. Fauci as part of that living history, with people facing the consequences of rising pathogens, social and political upheavals and the communal attempts to survive disease and pandemics. It depicts the two historical bookends of Fauci’s life: his role in the AIDS crisis of the 1980s and the pandemic of 2020.

The portrait is as much about struggle, suffering and death as it is about Dr. Fauci, so it shows much more than just an individual story about one man.

3. What was it like sharing the piece with Fauci? What was his reaction?



It was incredibly exciting. I felt honored to share this with Tony. Like most of us, I had never heard of Dr. Fauci until the outbreak of the COVID-19 pandemic. I was in awe after learning about his incredible career, his commitment to public service, and I was overjoyed at his reaction to my work. I was relieved after I showed it to him that he didn’t ask for any edits. A huge win for me!

He wrote me a lovely email stating that he loved my drawings and very much appreciated the portrait which portrayed him as taking part of a larger, shared history. He also loved the innovative choice of stop-motion animation drawing.

4. You described Fauci as a “personification of science.” How did that come across in your art?

Still from Hugo Crosthwaite’s stop-motion animation portrait of Dr. Anthony Fauci, Smithsonian National Portrait Gallery.

Through the narrative of my animation, I wanted to show how perhaps as an accident of history, Dr. Fauci became a divisive figure; to some a “personification of science” at a moment when truth and facts became politicized and rejected by a sector of the population that wants to believe in misinformation and conspiracy theories. It reminded me of Henrik Ibsen’s “An Enemy of the People,” where the only person telling the truth and doing his job properly suddenly becomes a pariah.

The overall story in the film illustrates the different roles and meaning that one takes as time passes, but Dr. Fauci’s personal commitment to truth and science remains this constant variable through it all. A doctor not just fighting disease, but anti-reality and anti-common sense.

My film is kind of a public service announcement about the ultimate public servant.

5. How do you view the relationship between science and art?

The majority of science is about observation, what you are seeing, what is there, what you can prove physically. The practice of drawing is an exercise in observation, it is seeing and thinking critically, but art also involves imagination, which is something that propels science. Both are important and serve each other, something that Renaissance artists like Leonardo da Vinci and Michaelangelo took to great heights.

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Artist Hugo Crosthwaite fuses portraiture and figurative

A BRIT has told how she awoke from a coma with no arms or legs after being bitten by a mosquito on holiday.

Tatiana Timon, from Camberwell, South London, went on her dream trip to Angola as part of a dance troop, but her health started to unravel when she touched back down in the UK.

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Tatiana Timon was a dancer before she was forced to have her limbs removedCredit: instagram
She was bitten by a mosquito on a dream holiday to Angola

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She was bitten by a mosquito on a dream holiday to AngolaCredit: instagram
She had to have both her arms and legs amputated after developing malaria and sepsis

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She had to have both her arms and legs amputated after developing malaria and sepsisCredit: instagram

She spent ten days in the South African nation before flying home and within days became extremely weak .

Tatiana, 35, was rushed to hospital where doctors confirmed she had contracted a deadly form of malaria.

While abroad in May 2022, she had been bitten by a mosquito but hadn’t followed her GP’s advice to take antimalarials.

Her condition quickly worsened and medics were forced to put Tatiana in an induced coma after she developed sepsis.

How Putin planned 'total cleansing' of Ukraine with victims sent to camps
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She told MyLondon: “All of my friends and family were worried because the doctor was telling them that I was going to die, like I was about to die three times.”

To stop the blood poisoning spreading to her vital organs, doctors took the decision to amputate her four limbs.

Tatiana added: “When I woke up from the coma I knew, I saw that I was in hospital, and I knew something had happened to me.

“By at that time I didn’t know how bad it was, like I just knew something had happened.”

Tatiana is now on a mission to become totally independent and has prosthetic arms and legs.

She shares updates on her Instagram page and vows to remain positive.

Tatiana wrote on one post: “Now even without limbs I know that I will go back to the gym.

“I am determined to go back to being my healthy self, mentally and physically.”

Tatiana is fundraising in the hope of buying new prosthetics, which can cost up to £160,000.

She added: “A negative thing I can turn into a positive thing to make my life easier because I don’t like to stress.

“It happened, so I need to deal with it.”

Tatiana has vowed to remain positive and has had prosthetic arms and legs fitted

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Tatiana has vowed to remain positive and has had prosthetic arms and legs fittedCredit: instagram

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A BRIT has told how she awoke

Fox News has fired a producer who filed a lawsuit against the network in which she claimed that she was coached and coerced by the network’s lawyers to give misleading deposition testimony in the defense against Dominion Voting Systems’ defamation lawsuit.

In her lawsuit, filed in U.S. District Court in New York and Delaware Superior Court on Monday, Abby Grossberg’s attorneys said that she had been put on forced administrative leave. They also claimed the network retaliated against her after she complained about unlawful harassment based on her gender and Jewish religion. 

In a statement, Fox News said, “Like most organizations, Fox News Media’s attorneys engage in privileged communications with our employees as necessary to provide legal advice. Last week, our attorneys advised Ms. Grossberg that, while she was free to file whatever legal claims she wished, she was in possession of our privileged information and was not authorized to disclose it publicly. We were clear that if she violated our instructions, Fox would take appropriate action including termination. Ms. Grossberg ignored these communications and chose to file her complaint without taking any steps to protect those portions containing Fox’s privileged information. We will continue to vigorously defend Fox against Ms. Grossberg’s unmeritorious legal claims, which are riddled with false allegations against Fox and our employees.” Variety first reported on her termination.

Grossberg has worked on shows hosted by Maria Bartiromo and Tucker Carlson, two figures who figure prominently in Dominion’s lawsuit against the network. She claimed that as she faced a deposition in the Dominion case, the network’s attorneys were trying to subtly shift “all responsibility for the alleged defamation against Dominion onto her shoulders and by implication, those of her trusted female colleague, Ms. Bartiromo, rather than the mostly male higher ups at Fox News who endorsed the repeated coverage of the lies against the Dominion.”

The network also had filed a motion for a temporary restraining and preliminary injunction in New York Supreme Court, arguing against Grossberg’s release of attorney-client communications. But it later dropped that lawsuit.

Grossberg claimed of a “toxic” workplace culture, where misogynistic comments were common among staffers of Carlson’s show. She alleged that she was subjected to the harassment by Alexander McCaskill and Justin Wells, producers on Tucker Carlson Tonight.

Grossberg’s attorney, Parisis G. Filippatos, did not immediately return a request for comment.

Fox News and Dominion attorneys gave oral arguments this week in the Dominion case as each side sought a judge’s ruling to perhaps stave off a jury trial. The judge, Eric M. Davis, did not indicate how he would rule on their motions for summary judgment. But he did reference Grossberg’s lawsuit, saying that she had submitted an errata document seeking to make changes to her deposition. Davis suggested that Fox was trying to “claw back” her submission, arguing that it was privileged information, and said that the network attorneys could elaborate in their reasoning.

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Fox News has fired a producer who

The streamer’s Big Tech rivals are seeing the benefits of wide releases and are increasing their investments in cinematic distribution

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The streamer’s Big Tech rivals are seeing

“Rust” armorer Hannah Gutierrez-Reed wants to stop the appointment of a special prosecutor in her involuntary manslaughter case after the previous person in that position resigned.

In a document filed Friday, Gutierrez-Reed’s attorneys argued that Santa Fe District Attorney Carmack-Altwiest was improperly using a New Mexico statue to hire a special prosecutor in the case of Gutierrez-Reed and actor Alec Baldwin. Both were charged in January with involuntary manslaughter in the October 2021 shooting death of cinematographer Halyna Hutchins. 

Special prosecutor and Republican state Rep. Andrea Reeb stepped down from her position last month after Baldwin’s team sought to disqualify her for a conflict of interest because she now holds public office. 

“The Special Prosecutor statue is triggered only when the district attorney cannot act in the case,” the armorer’s attorneys, Jason Bowles and Todd J. Bullion began. “Obviously, the district attorney has no … authority to appoint a special prosecutor on the basis that she ‘cannot’ handle the case when she is seeking to co-counsel with the special prosecutor. The request to co-counsel undermines the statutory basis for appointment.”

However, in a separate brief filed Friday, Carmack-Altwies argued that she has “good cause” for adding a special prosecutor, mentioning that her team of what should be 25 is short-staffed with only 17 attorneys. 

“The legislative intent and caselaw is clear: the District Attorney is permitted to appoint a special prosecutor for “other good cause,” including when budgetary factors and caseloads justify doing so, as has been demonstrated here,” Carmack Altweis wrote. “Moreover, the special prosecutor enjoys wide latitude to make the prosecutorial decisions he or she deems necessary, including co-counsel with the District Attorney.”

Judge Mary Marlowe, who is overseeing the “Rust” cases, has scheduled a hearing on Monday to go over the appointment of a special prosecutor. 

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“Rust” armorer Hannah Gutierrez-Reed wants to stop

Adriana Lima just showed off her beautiful family on the red carpet.

On March 23, Lima made a rare public appearance with her two daughters, 13-year-old Valentina and 10-year-old Sienna, for the touring production premiere of Cirque du Soleil’s Corteo in Los Angeles. Lima shares her daughters with her ex-husband Mark Jarić, as well as a six-month-old son with her boyfriend Andre Lemmers. Baby Cyan was not pictured and was likely sleeping soundly back home. 

For the event Lima wore an all-black ensemble with a mock turtleneck and fitted blazer, keeping her hair out of her face in a braided ponytail. As for her beauty routine, she kept her skin glowy and topped her look off with a subtle smoky eye and mauve lip. When it came to her daughters, Sienna matched her mom in a black blazer of her own and a white skirt while Valentina broke the pattern in a fuzzy white coat and plaid skirt. Just like Lemmers, who also appeared in the group shot, both of Lima’s daughters wore Nike Dunk High sneakers.

David Livingston/Getty Images

The 41-year-old model continued to walk down runways and red carpets throughout her latest pregnancy, which she first announced in February 2022, via TikTok. In the sweet video she surprised Lemmers with a positive pregnancy test. 

Adriana Lima posted the first glimpse of her six-month-old son on Instagram seven days after the baby was born on August 29, 2022. “Cyan is the color between green and blue on the visible spectrum of light,” the model wrote on Instagram in September. “Cyan is the color of the waters of Bora Bora and Maldives, places in our family’s bucket list. Cyan now is our favorite color… the color of our baby boy’s eyes. Welcome to our world CYAN LIMA LEMMERS ~ 08/29/22.”

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Adriana Lima just showed off her beautiful

Smriti Irani talks about Sushant Singh Rajput’s death. (Photos: Instagram)

Actor Sushant Singh Rajput was found dead in his Mumbai apartment on June 14, 2020.

Sushant Singh Rajput’s sudden demise in June 2020 had left the entire nation shocked. Almost three years after the actor’s death, in a recent interview, former actress and Union minister of Women and Child Development and Minority Affairs, Smriti Irani, recalled how she was left numb after she got to know about Sushant’s death.

Smriti Irani: Why Did SSR Not Call Me?

Smriti was talking to Neelesh Misra on The Slow Interview when she shared that she was in the middle of a video conference when she learned about Sushant’s death. “The day Sushant died, I was on a VC (video conference). There were many people. But I just couldn’t… I said stop it. I felt like, why did he not call me? He should have called once. I had told that boy, ‘Tum yaar maarna mat apne aap ko (Please don’t kill yourself),” an emotional Smriti said.

Smriti Dialed Amit Sadh Immediately After SSR’s Death

Smriti also recalled how she dialed Sushant Singh Rajput’s Kai Po Che co-actor Amit Sadh after SSR’s death to make sure he does not do anything ‘stupid’. “Instantly, I was scared for Amit Sadh. I called him and asked him what he is up to. I knew, kuch gadbad karega bachcha (he would do something stupid). Usne mujhe kaha, mujhe nahi rehna, kya kiya iss idiot ne (He told me, I don’t want to live, what did this idiot do) I got the sense that something is wrong. Publicist Rohini Iyer told me, ‘I am very scared, somebody just find him’,” Smriti added. She also revealed how they spoke on call for six hours after Sushant’s death.

During the interaction, Smriti Irani also revealed how Sushant used to work on the sets adjacent to hers in Mumbai. She also mentioned how she had once invited the Pavitra Rishta actor for a masterclass on the IFFI stage when she was the I&B minister.

Read all the Latest Movies News here

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Smriti Irani talks about Sushant Singh Rajput's

If for any reason you’ve recently been feeling complacent about global security, international relations and oh, you know, little things like the continued existence of the species, here to herald the end of all that comes Tonje Hessen Schei and Michael Rowley’s “Praying for Armageddon,” a glossy, persuasive and increasingly alarming documentary exposing the influence of the fundamentalist Christian lobby on US politics. 

Loosely tracking the investigative sleuthing done by Lee Fang, a reporter at The Intercept, but also taking ample time with parachurch pastors, GOP politicians, Israeli and Palestinian observers and Mission: M25 — an evangelical biker gang who traverse the country on compact-car-sized motorcycles proselytizing and occasionally knighting one another with swords — Schei and co-director/cinematographer Rowley’s film can feel a little scattershot, as it lops off one of the Hydra heads of this malign movement, only for two or three more to sprout in its place.

However, the core thesis is abundantly, horribly clear: there are a growing number of people in positions of major power in US politics and broader society who are actively working to bring about the end of the world as we know it. It does not feel fine. While the definition of a Christian fundamentalist is someone who believes every word of the bible to be literally true, this bunch only ever seem interested in Revelations — as if the Good Book is a thriller and, impatient to see whodunnit, they went immediately to its last chapter, never bothering with the mellower stuff about turning cheeks and loving neighbors. 

First off, we’re on the road with Mission: M25 leader Gary Burd, as he speeds through middle America to get to Lebanon, Kansas, the geographical epicenter of the U.S. Much of the extreme Christian right’s dogma accords deep significance to geographical or linguistic coincidences, such as the pastor who claims to his impressed congregation that “Bible” stands for “Basic Information Before Leaving Earth.” Like so much in “Praying for Armageddon,” it’s tempting to find such assertions laughable, until you remember that underestimating a political entity, on the basis of them being outlandish and easily ridiculed, hasn’t worked out so well in recent years. Zealotry will find evidence for itself everywhere. When Burd crashes his motorcycle and nearly misses the Lebanon gathering, the crash is not seen as a sign from God that he shouldn’t continue; his recovery, rather, is deemed divine proof that he absolutely should. 

Burd suggests the embrace of Doomsday thinking is a reaction against the uncertainty of the times.  “We’re moving into a time in our history when we don’t know what is going to happen,” he states. It’s one of those emptily ahistorical rhetorical statements that make little sense: When have we, as a nation or a species, ever known what was going to happen? But it’s no more nonsensical than Lauren Boebart proclaiming, when Fang doorsteps her in D.C., that “There are only two nations built to honor God: Israel and the U.S.A.,” or Ralph Drollinger, who ran the weekly White House Bible Study Group during the Trump administration, claiming the times are currently “alive with demonic powers once hidden.” Fang gets clarification on what those demons are, exactly: “The homosexual movement, the transgender [sic] back in our military, the abortion issue.”

But a crusade against progressive social ideals is to be expected from the extreme Christian right. (“Crusade” being a good example of a term that before might have been merely a colorful euphemism, but after “Praying For Armageddon” starts to be suspicious, a potential fundamentalist dogwhistle embedded in plain sight.) What is so much more frightening is how insidiously they are influencing geopolitics, specifically as it pertains to Israel, in order to create the conditions that favor Armageddon (predicted to occur on a large wide plain near Meggido, in the north of the country). Recent developments, such as Trump’s installation of a U.S. military base in Israel, are implied to be part of this master plan, and have certainly escalated tensions in the region. Footage of devastating airstrikes on Palestinian civilian dwellings proves that when you believe your mission is divine, you have no need to be humane.

Televangelist Pastor Robert Jeffress, a regular pundit for Fox News and head of one the nation’s largest parachurches, is one of Fang’s most fascinating interviews, mostly because of the serene, avuncular manner in which he assures us that “the end of the world is nothing to fear.” For those us averse to the idea, however, “Praying for Armageddon” is a compelling, sobering Revelation all its own, revealing the hitherto unimagined scale of a type of political insanity that would entrust the future to people who don’t want there to be a future at all.

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If for any reason you’ve recently been




For fifteen years now, a trio nicknamed The Big Three has run Marvel Studios.

As of today, that’s no longer the case as one of The Big Three just lost their job.

Victoria Alonso and Xochitl Gomez Red Carpet Multiverse of Madness

Image: Marvel Studios

In a Hollywood surprise for the ages, Victoria Alonso has left Marvel.

Her odyssey to and from the company tells two different stories about Marvel’s origins and recent struggles. Let’s talk about what just happened.

Who Is Victoria Alonso?

Victoria Alonso 3000 Tour

Image: Marvel Studios

In 1984, Argentinian native Victoria Alonso moved to the United States and embarked on a Hollywood film career.

The artist eventually succeeded beyond her wildest dreams. However, like many would-be studio bosses, Alonso started as a production assistant.

Over time, Alonso earned an opportunity to work in visual effects (VFX) and made a name for herself as a star in this field.

Iron Man Damaged Armor

Iron Man. Photo: Marvel

Alonso earned acclaim for her work with Ridley Scott in Kingdom of Heaven and Tim Burton with Big Fish.

When Paramount Pictures decided to make an Iron Man movie, Kevin Feige approached Alonso with an offer. He wanted her to become Executive Vice President of Visual Effects and Post-Production.

In short, every special effect that has ever wowed you in a Marvel movie has Alonso’s fingerprints all over it.

Dormammu

Photo: Marvel

Please remember that Iron Man came from Paramount Pictures, though. Alonso wouldn’t officially join Disney until the company acquired Marvel in 2009.

By this point, Marvel had already finalized its leadership trio. Louis D’Esposito also served as executive producer on Iron Man.

For 15 years now, Alonso has joined Feige and D’Esposito as Marvel’s Big Three.

Image: Marvel Studios

Throughout that timeframe, all three have garnered acclaim for the unprecedented box office success of the Marvel Cinematic Universe.

For many years, James Bond, Star Wars, and Harry Potter fans bickered over which franchise proved most lucrative at the box office.

Nobody argues that now, as Alonso and her cohorts have earned roughly $29 billion from these superhero films.

The Avengers- 2012

Photo: Marvel

Obviously, that sort of financial dominance leads to industry respect and power.

As one of the few Argentinian studio bosses, Alonso stands out in her field. Similarly, as a woman in tech, she’s a rare breed in the industry.

Alonso is probably THE most accomplished female in the history of Hollywood special effects.

What Just Happened with Victoria Alonso?

Victoria Alonso Office

Image: Marvel Studios

Last August, MarvelBlog reported on a story that has had startling ramifications throughout Hollywood and even Silicon Valley as well.

In the August 8th edition of MarvelBlog News, I discussed a Vulture piece that aligned with rumors I’d heard about Marvel.

While Victoria Alonso possesses a rare level of reverence and likeability in the industry, she’s also notoriously hard.

Victoria Alonso Eternals Interview

Image: Marvel Studios

Alonso established her credentials at a time when many VFX houses were toxic, and steel sharpens steel. In a way, she became what she faced.

In other words, Alonso’s allies will sing her praises until they run out of breath. Conversely, her enemies happily disparage her at every opportunity.

The Vulture article didn’t lack for people willing to speak against Marvel’s VFX business practices.

Victoria Alonso Thor Love and Thunder Interview

Image: Marvel Studios

Also, something rare happened in this piece. Some of the VFX artists spoke on the record and revealed their names.

Why is that a big deal? Hollywood slam pieces are predicated on private name-calling and whisper campaigns.

When somebody says their name and vents, you know a situation has grown perilous.

Quantumania Questionable Special Effects

Source: Marvel Studios

Alonso and her team (correctly) perceived Marvel as the average VFX worker’s dream job.

So, these executives believed they could dictate terms while expecting unhealthy workloads and espionage-level secrecy.

During the pandemic, the VFX industry changed as more professionals worked from their homes. Simultaneously, they opened stronger lines of communication.

Multiverse of Madness Questionable VFX

Source: Marvel Studios

An extensive bitch session ensued as many VFX pros complained about Marvel’s growingly absurd work demands.

Once some went on the record with their complaints, the proverbial dam broke, with Marvel facing an onslaught of criticism, both external and internal.

Since then, the perception of Marvel VFX has fallen precipitously. As such, we shouldn’t be surprised that Alonso, the person ostensibly in charge, lost her job.

Did Marvel Throw Victoria Alonso under the Bus?

Shang-Chi Bus Scene

Shang-Chi Bus Scene

Yes.

I’m not taking shots at Marvel or Disney when I say this, as it happens more often in the industry than you think.

For example, Black Adam debuted in theaters less than five months ago. Warner Bros. just threw The Rock under the bus in an article at The Wrap that you can read here.

Victoria Alonso and Louis D'Esposito

Image: Marvel Studios

No matter what you think of the practice, Marvel has definitely done this. As we discussed multiple times recently, the studio faced a pandemic-related crisis.

When workloads shifted, Marvel expanded into serial programming. The demand for VFX increased exponentially as the studio released TV series and films.

Eventually, the entire Hollywood VFX industry faced a shortfall in work hours available relative to Marvel’s need.

(L-R): Olivia Walker (Gabrielle Byndloss), Valentina Allegra DeFontaine (Julia Louis-Dreyfuss) and John Walker (Wyatt Russell) in Marvel Studios' THE FALCON AND THE WINTER SOLDIER

Photo: Chuck Zlotnick/Marvel Studios

Infamously, Marvel executives had to pick whether to prioritize Black Panther: Wakanda Forever or Ant-Man and the wasp: Quantumania.

As anyone would, Marvel chose the Black Panther movie over Ant-Man because…common sense.

Whether the issue ties back to the VFX shortage, Quantumania has faced tremendous criticism for its lackluster quality.

Ant-Man and Stature

Source: Marvel Studios

Meanwhile, Disney’s returning CEO, Bob Iger, has wondered why Marvel has released so many products in such a short period.

Obviously, when you scale a large amount of content, you must scale your other departments in tandem. That didn’t happen with VFX.

Hey, are special effects important in superhero movies? Asking for a friend.

Avengers Assembling

Source: Marvel Studios

Seriously, you get the point here. Marvel didn’t balance its workload correctly.

On top of that, a new generation of programmers took issue with Alonso’s old-school leadership style.

So, while Alonso remains revered in some circles, her reputation and job title work against her here.

Nebula in Endgame

Photo: Marvel

Who else would Marvel blame for VFX struggles but the person mentioned by name in the Vulture article, the one who is President, Physical and Postproduction, VFX and Animation Production?

What Happens Next?

Thunderbolts cast reveal

Image: Marvel Studios

We’ve previously discussed the next step, and we’re already watching it unfold.

Marvel must reconfigure its release strategy on the fly in a new era for storytelling and VFX.

The studio must determine how many films and TV series it can release annually without experiencing code crunch time.

Thor Ragnarok Brothers Mourn

Source: Marvel Studios

That’s a programming term for working excessively to meet a deadline. Many coders haaaaaaaate crunch time.

Marvel must keep these workers happy, as training new VFX programmers costs a lot and delays projects.

Disney is also in the middle of performing thousands of layoffs. Marvel will be lucky to keep the people it has in place in VFX.

Marvel's Thor: Ragnarok - The Art of the Movie

Marvel’s Thor: Ragnarok – The Art of the Movie. Photo: Amazon

In short, we’re about to track a regression in the amount of work Marvel can perform in VFX. And that WILL impact the number of Marvel programs over the next two years.

Keep in mind that the impact of the 2022 crunch Vulture and MarvelBlog discussed wasn’t felt until Quantumania came out in February 2023.

There’s a staggered timeline on virtual effects. Marvel’s new task requires the identification of a suitable replacement for Alonso, a living legend.

wanda endgame fighting thanos

Photo: Marvel Studios

I’m not exaggerating when I say that this is THE most important VFX job in Hollywood today. Marvel must nail this hiring.

Then, the new worker in Alonso’s old position must repair relationships and perception in the VFX community. It’s a big ask and one that will determine Marvel’s future successes.

For 15 years, Marvel fans have said, “In Victoria, we trust.” Now, someone new must earn that trust as well.

Thanks for visiting MarvelBlog.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!

Featured image credit: Marvel




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Don’t worry. Arrested Development is not leaving Netflix after all. In February, the streamer put a removal date on the show, including the seasons it produced. However, as Vulture reports, Netflix made a new licensing deal with Disney to secure the streaming rights for Arrested Development. An insider told Vulture this deal means Hulu has to give up its rights for streaming the first three seasons of the Fox series, too. That will make Netflix the exclusive home for the Bluths and their banana stand. The streamer confirmed the news on Twitter on Friday:

Fox canceled Arrested Development in 2006 after its first three seasons. It received acclaim from critics and a dedicated fanbase, but never established a foothold in ratings. Netflix announced their intention to resurrect the comedy in 2012. The streamer premiered season four of Arrested Development in 2013 and wrapped the series with season five in 2018 and 2019.

20th Century Studios

Content is shuffling around streamers these days, but the news about Arrested Development‘s possible departure from Netflix was surprising. Now, we don’t have to worry about it. You can visit your friends Lucille, Michael, Buster, and everyone else on Netflix whenever you’d like.

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Don’t worry. Arrested Development is

Cosmetics retailer Lush has launched a limited edition Super Mario Bros. product range.

The eight-piece collection has been released to tie-in with the Mario movie, which hits cinemas next month.

It features Mario and Luigi shower gels, Princess Peach body spray, gold coin soap, Peach and Bowser shower jellies, a question block bath bomb and a gift box.

The Super Mario Bros. Movie | Final Trailer

Universal Pictures recently announced that the Mario film’s release date had been brought forward to April 5 in over 60 markets, including the US and the UK.

Nintendo and Illumination released the first trailer for Mario Bros. movie in October, giving fans the chance to hear Chris Pratt as the voice of Mario for the first time.

This was followed by a second trailer in November, which revealed the voices of Peach (Anya Taylor-Joy) and Luigi (Charlie Day). It also showed a racing scene inspired by Mario Kart.

A Nintendo Direct presentation themed around the movie aired this month. It featured the film’s third trailer, which included more footage of the Rainbow Road section, a Luma from Super Mario Galaxy, and Donkey Kong getting a Fire Flower and gaining its powers.

Illumination also released the following synopsis for the movie.

“While working underground to fix a water main, Brooklyn plumbers Mario (Chris Pratt; Jurassic World and The Lego Movie franchises) and brother Luigi (Charlie Day; It’s Always Sunny in Philadelphia) are transported down a mysterious pipe and wander into a magical new world. But when the brothers are separated, Mario embarks on an epic quest to find Luigi.

“With the assistance of a Mushroom Kingdom resident Toad (Keegan-Michael Key; The Lion King) and some training from the strong-willed ruler of the Mushroom Kingdom, Princess Peach (Anya Taylor-Joy;The Queen’s Gambit), Mario taps into his own power.”