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Elon Musk, who acquired Twitter in a debt-laden $44 billion deal a little over four months ago, said advertising revenue has dropped as much as 50% since he took over.

But the mega-billionaire tech mogul said a few large advertisers have continued to spend with Twitter, and he specifically called out — and thanked — Disney and Apple as remaining two of the biggest marketers on the social network, speaking Tuesday at the 2023 Morgan Stanley Technology, Media and Telecom Conference in San Francisco.

According to Musk, Twitter is improving its ability to serve timely and relevant ads. He said he recently was speaking with David Zaslav, CEO of Warner Bros. Discovery, who asked Musk why Twitter couldn’t put an ad with the trailer for HBO hit show “The White Lotus” next to every tweet that mentions “White Lotus.” Musk responded affirmatively, describing it as basic keyword-based ad buys that Twitter is now selling: “It’s just Google AdWords but applied to tweets.”

Musk painted a dire picture of Twitter’s finances. He said with the drop in ad revenue and the additional debt payments Twitter needs to make (on the roughly $12.5 billion in debt Musk needed to close the transaction), the company was on pace to go bankrupt in four months. The situation required “immediate and drastic action,” Musk said.

In addition to reducing Twitter’s headcount by more than 70%, from 7,500 to below 2,000, the company has consolidated into two data centers (down from three) to reduce cloud expenditures. All told, Twitter has reduced its annualized burn rate (excluding $1.5 billion in debt payments) to about $1.5 billion, down from $4.5 billion previously, while also executing “the fastest product evolution in Twitter’s history,” Musk said.

“There have been a few bumps in the road, but this is to be expected,” Musk said. “Now we have the opportunity to grow [Twitter] into something spectacular.” He added, “I don’t want to jinx it or anything, but I think we have a shot at being cash flow positive in the second quarter.”

Musk said Twitter has a lot of room to improve the way it monetizes time spent on the platform. On a daily basis, Twitter generates 130 million hours of attention from “the smartest people on Earth,” he claimed; currently, however, the company earns just 5-6 cents of ad revenue per hour of that time.

Musk said his goal for Twitter is to be the most timely and accurate source of truth available, “however unpleasant it might be.” A self-described “free speech absolutist” — who has reinstated the accounts of many accounts Twitter previously banned for violating its policies, including Donald Trump’s — Musk reiterated that he sees Twitter as an important vehicle to ensure free speech. “If we don’t have a strong foundation for free speech, I fear for the future of our civilization,” he said.

Today, “the media controls the narrative,” he said, while on Twitter “the public can control the narrative. And that’s a really big deal,” describing the social network as being a “forum for citizen journalism.”

Musk also joked about Twitter’s lack of a PR department. “The right thing for PR departments is propaganda,” he said, musing, “I think maybe we need a VP of propoganda, it would be more honest. Also a VP of witchcraft.”

On Monday, Twitter experienced a widespread technical problem that produced an error if users tried to click on links to third-party websites. Musk addressed the glitch briefly: “What was supposed to be a small change to 1% of the Twitter user base ended up being a catastrophic change to 100% of the Twitter user base.”

During the Morgan Stanley talk, Musk also spoke about developments at electric vehicle maker Tesla and SpaceX, both of which he leads as CEO, and reiterated his belief that humans could one day colonize Mars.

Separately, word emerged Tuesday that Endeavor, led by CEO Ari Emanuel, had made a small investment in Twitter in mid-January. The size of the investment wasn’t available but a source said it was not material to Endeavor’s business.

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Elon Musk, who acquired Twitter in a

Walt Disney Imagineering, the secretive unit responsible for Disney theme parks, cruise ships and shopping experiences, has reclaimed one of its own: Bruce Vaughn, who left the company in 2016, will return to Disney.

Vaughn will be installed as chief creative officer, working alongside Barbara Bouza, president of Walt Disney Imagineering. They will both report in to Josh D’Amaro, chairman of Disney Parks, Experiences and Products (known internally as DPEP).

“Together, Bruce and Barbara will partner closely to connect visionary creative thinking with project opportunities and flawless execution and delivery,” D’Amaro said in a memo to staff. “With significant developments under way and more on the horizon, this dedicated focus toward creativity and innovation will help us deliver next-level experiences well into the future. To best accomplish this, they will be working together to swiftly identify the most effective way to structure Imagineering.”

Vaughn joined Walt Disney Imagineering in the early 1990s. At the time Vaughn was working for Associates & Ferren, led by his mentor Bran Ferran, a special effects house who worked on “Star Trek V,” “Little Shop of Horrors” and Brian De Palma’s “The Untouchables.” At the time, Associates & Ferren were helping WDI on a new attraction for the Florida parks – The Twilight Zone: Tower of Terror. The work must have been pretty phenomenal, because Disney (at the time led by Michael Eisner and Frank Wells) bought them outright.

From there, Vaughn rose in the ranks. As D’Amaro described in his memo, Vaughn spent “two decades in leadership roles including with WDI R&D,” the highly technical, even-more-secretive group that was established by Wells around the same time that Disney purchased Vaughn’s old company. For nine years Vaughn served as chief creative executive, eventually leaving in 2016 after overseeing ambitious projects like the Shanghai Disneyland resort and the overhaul of Disney California Adventure, including the construction of Carsland.

In 2016 Vaughn WDI left to become CEO of virtual reality start-up Dreamscape and in 2021 joined another WDI vet Catherine Powell at Airbnb as part of an initiative to develop more “immersive” experiences.

Vaughn’s re-hiring comes at a time when WDI is in desperate need of seasoned creative talent and those with what has been described to us as “institutional knowledge” of how the unit, originally formed by Walt Disney himself, can operate in an increasingly competitive marketplace.

During the pandemic, WDI suffered major layoffs and a wave of “retirements” from key staff. Most of the most talented, most readily identifiable Imagineers are no longer at the company and those that have stayed are being forced to relocate to Lake Nona, Florida, away from the Imagineering headquarters in Glendale, California, down the street from the corporate headquarters in Burbank.

Universal is planning to open a huge, cutting-edge and wildly ambitious new park called Epic Universe in Orlando in 2025, just down the street from Disney’s vacation kingdom, with two more standalone experiences planned for the future – one family-friendly park in Frisco, Texas, and another horror-themed experience in Las Vegas, Nevada. Disney needs some firepower and rehiring Vaughn seems like a good idea. Not only does he have the institutional knowledge of how the building works but he could also sway other ex-Imagineers to return.

Vaughn starts on March 20.

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Walt Disney Imagineering, the secretive unit responsible

Following its March 4 live debut, Chris Rock’s “Selective Outrage” standup special opened to promising figures as Netflix’s first jump into live content. During the Feb. 27-March 5 viewing window, the special managed to land on the Netflix Top 10 US chart on the English-language TV list at No. 7 despite a small window of availability. (Because the show aired late on Saturday night, only the first day and a few hours of viewing were counted during this week’s window.)

Live from Baltimore’s Hippodrome Theatre, Rock’s first standup show following the infamous 2022 Oscar’s slap was one of several live offerings on Saturday as Netflix accompanied it with pre- and post-show coverage featuring appearances from Ronnie Chieng, Leslie Jones, Deon Cole and Arsenio Hall, among others, as well as appearances and commentary from Amy Schumer, Cedric the Entertainer, Ice-T, Jerry Seinfeld, Kevin Hart, Paul McCartney, Sarah Silverman and Wanda Sykes. The special first debuted in the US, and hasn’t been counted on Netflix’s global charts yet.

In other TV news, Season 3 of “Outer Banks” sat atop the English TV List for the second week in a row with 99 million hours viewed. Seasons 1 and 2 also remained on the list with 34 million hours viewed and 27.7 million hours viewed, respectively.

Also joining the list this week is Season 2 of the steamy drama “Sex/Life” at No. 2 with 43.9 million hours viewed. The freshman season of the series also returned to the list at No. 8 with 19.6 million hours

On the unscripted side, “Perfect Match,” (42.7 million hours viewed), “Murdaugh Murders: A Southern Scandal” (33.4 million hours viewed), Season 5 of “Formula 1: Drive to Survive” (26.2 million hours viewed) all returned to the list taking the third, fifth, and seventh place, respectively. Addtitionally, “Next In Fashion” Season 2 starring supermodel Gigi Hadid and designer Tan France just barely clawed its way onto the list at No. 10 following its March 3 premiere with 16.2 million hours viewed.

“We Have a Ghost” continued to lead the English Films List with 42.62 million hours viewed and appeared in the Top 10 in 93 countries. Meanwhile, “The Strays,” a new addition which debuted Feb. 22 had 14.57 million hours viewed. “Your Place or Mine” held on strong with 7.5 million hours viewed.

See Netflix’s Top 10 lists for the week of Feb. 27-March 5 below, beginning with English-language series and followed by non-English-language TV shows, English-language movies and then non-English-language movies.

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Following its March 4 live debut, Chris

Last Updated: April 16, 2020, 11:48 IST

Love Wedding Repeat

Director: Dean Craig

Cast: Sam Claflin, Olivia Munn

Based on the French film Plan De Table, Dean Craig’s Love Wedding Repeat on Netflix starts off with all the flair and promise of an enjoyable love story between Jack (Sam Claflin) and his sister’s friend Dina (Olivia Munn).

With the hint of an attempt to channel the cult film, Four Weddings & A Funeral, the opening scene has the two protagonists saying a reluctant goodbye after a chance weekend together. Just when it feels like Jack will express a romantic interest in Dina, fate interrupts and matters take a different turn.

Life moves on and Jack and Dina meet a couple of years later at Jack’s sister Hayley’s (Eleanor Tomlinson) wedding. Finally, the stage seems set for their love story to take off what with the romantic setting of the wedding in Italy.

In attendance are motley characters including a mothballed middle-aged man in a Scottish Kilt (Tim Key) and a glamorous Italian film director to add some colour to the romantic wedding.

As a precursor to what’s in store, a narrator’s voice tells you that the outcome of everything is dependent on the seating plan at the lunch table where Jack intends to rekindle the romantic flame between him and Dina. However, the guest list on the said table is explosive, to say the least- with Jack’s ex-girlfriend Amanda (Freida Pinto) seated along with her fiancé Chaz (Allan Mustafa). To add to the confusion there is a last-minute entry of Marc (Jack Farthing) Hayley’s coked-up school flame, obsessed with her also assigned to the same table. Marc intends to put a spanner in the wedding works and Jack has been assigned by Hayley to ensure that he makes no trouble.

So far, Craig’s screenplay lends veracity to the omniscient narrator’s aforementioned brief quite well. But going further, despite the comic ingredients all being in place, the proceedings feel quite labored. And the humor is way too subtle for the madcap set up.

A lovable lead pair and sundry quirky side-characters are key to the success of a romantic comedy. Love Wedding Repeat, unfortunately, does not tick against that box. The lead pair despite their good looks lacks chemistry and neither of the two entirely win you over. If anything it is the goofy oddball side-characters like Joel Fry’s ball-of-nerves Bryan or Aisling Bea’s foot-in-the-mouth Rebbeca who get your attention. Even Freida Pinto as Amanda makes more of an impact than the leading lady. Unfortunately, with a lackluster script, even the potential of the supporting cast is never fully exploited.

Another weak link is the Groundhog-Day-like treatment of the film. The renewed outcome when the seating plan at the table is changed, as dictated by the oracle’s voice, seems to add to the confusion. The viewer is left wondering as to how the characters retrace their steps back from an initial unfortunate ending. What is the narrator really saying? Has the choice been made for the protagonists by chance or the hand of God? Or has the changed outcome just been thrown in to prolong the film and give it a happy ending?

Quite like the romantic fate of its protagonists, Love Wedding Repeat is riddled with too many missed opportunities, preventing the audiences from falling in love with the film.

Rating 2.5/5

Follow @News18Movies for more

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Last Updated: April 16, 2020, 11:48 ISTLove

Rachael Ray’s ending her longtime talk show after more than a decade, but food content will still be her meat and potatoes.

CBS announced Friday that the “30 Minute Meals” star will conclude her self-titled talk show after its current 17th season.

“In my more than 20 plus years in television I have had 17 wonderful seasons working in daytime television with ‘Rachael,’” she said in a press release. “However I’ve made the decision that’s it’s time for me to move on to the next exciting chapter in my broadcast career.”

Ray’s announcement came hours after Deadline revealed Friday that the Food Network personality would launch Free Food Studios, a production company.

According to its website, Free Food Studios will focus on “original content in the food space.” In Friday’s announcement, Ray said her “passions have evolved” to a platform she says is “unencumbered by the traditional rules of distribution.”

Ray said she also intends to “develop new and upcoming epicurean talent.”

The cooking guru‘s daytime show debuted on Sept. 18, 2006. In its 17 years on air, “Rachael Ray” earned more than 30 Daytime Emmy nominations, and won outstanding talk show three times.

CBS has not yet revealed when the final episode of Ray’s show will air, but the longtime television host gave her fans something to look forward to.

“We still have more new shows this year and more smiles yet to come,” she captioned an Instagram photo on Tuesday. The pic was of Ray embracing husband and singer John Cusimano.

Ray’s announcement comes a month after CBS announced that Dr. Phil McGraw is also ending his daytime TV run.

“I have been blessed with over 25 wonderful years in daytime television,” McGraw, 72, said in the statement. “With this show, we have helped thousands of guests and millions of viewers through everything from addiction and marriage to mental wellness and raising children. This has been an incredible chapter of my life and career, but while I’m moving on from daytime, there is so much more I wish to do.”

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Rachael Ray’s ending her longtime talk show

After a set video from Joker: Folie à Deux revealed that Joaquin Phoenix was running from two other Jokers; are they delusions or multiverse-related?


Joker: Folie à Deux is going to feature multiple versions of the Clown Prince of Crime, which was revealed recently by a set video with star Joaquin Phoenix. They could be appearing in the movie as delusions from Arthur Fleck’s wandering mind or as the Joker gets mixed in with DC’s multiverse, which will be opened up by this year’s The Flash. Joker: Folie à Deux is a sequel to 2019’s Joker, which ended up its run in theaters as the highest-grossing R-rated movie of all time, with over $1 billion. Now, 2024’s Joker: Folie à Deux aims to go even further than the original.

SCREENRANT VIDEO OF THE DAY

A recent Joker 2 set video showed Phoenix’s character running away from two past versions of himself, which included one Arthur Fleck dressed in his Joker outfit from the original movie.

The scene is very interesting, as it can likely play out in two very different ways. Joker introduced the concept of Arthur being an unreliable narrator, which could be tied to the sudden appearance of multiple Jokers, or maybe DC really is embracing the multiverse across its different properties. One huge detail from the upcoming Joker: Folie à Deux helps to understand how the multiple Jokers can factor into the story.

Related: Joker 2 Story Updates Support The First Movie’s Shocking Ending Theory


Arthur Fleck May Be Having Delusions In Joker 2

lady gaga as harley quinn and joaquin phoenix as arthur fleck in joker folie a deux

Joker: Folie à Deux could be pulling a page from the original movie when it comes to the presence of the multiple Jokers seen in the set video. Joker 2 can answer the mystery of just how far Arthur changes reality in his mind to fit what he wants after the character had an entire relationship with a woman in the first movie, which was then shockingly revealed to not be true at all, rather happening completely inside Arthur’s mind. Lady Gaga’s role as Harley Quinn in the sequel, allied to at least part of the story taking place at Arkham Asylum, should enhance Arthur’s delusions from the original.

Another important factor that points to Joker: Folie à Deux‘s multiple Jokers being constructs of Arthur’s mind is that the sequel has been revealed to be a musical. Joker 2 can continue the bathroom dancing scene from the original, a turning point for Arthur’s transformation into the Joker, with a full-blown adventure through the character’s psyche. Joker: Folie à Deux being a musical allows the movie to have larger-than-life sequences, escaping reality and allowing audiences to see what goes on in Arthur’s mind. That theme is likely behind the presence of multiple Jokers as Arthur tries to wrestle with his own identity in the movie.

Will Joker 2 Deal With The DC Multiverse?

Superman Joker the batman DC multiverse

If the multiple Jokers set to appear in Joker: Folie à Deux are indeed real, then there might be some sort of multiverse plot involved in the movie. 2023’s The Flash is going to present a multiverse story that unites different characters from all over the DC Universe. The Flash movie includes multiple Batman actors, Michael Keaton and Ben Affleck, reprising their roles. That opens up the precedent for Phoenix’s multiple Jokers to be real, although that is unlikely, as Joker: Folie à Deux has been said to be an Elseworlds story — contained to its own universe — which means Arthur’s delusions are probably why the multiple Jokers appear.

MORE: Why Joker’s Romance With Harley Quinn Could Be Very Different In Joker 2

Key Release Dates

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After a set video from Joker: Folie

Take-Two has reportedly laid off staff at several divisions including its indie publishing label Private Division.

The Rockstar and 2K Games owner announced last month that was planning some layoffs as part of a $50 million “cost reduction program”.

And according to Bloomberg reporter Jason Schreier, the cuts have today hit staff at Private Division and other Take-Two business units.

Kerbal Space Program 2 Early Access Launch Cinematic

Private Division is the publisher of titles including the Kerbal Space Program franchise, The Outer Worlds and OlliOlli World. It also has unannounced projects in development with Moon Studios, Evening Star and Yellow Brick Games.

In a statement, Take-Two spokesperson Alan Lewis said the cuts “will better align our organization with our long-term priorities” and claimed that the impact on dev teams is “minimal.”

The company said last month that the cost reduction program would include “personnel, processes, infrastructure, and other areas, and will primarily focus on corporate and publishing functions”.

And in an interview with GamesIndustry.biz, Take-Two CEO Strauss Zelnick said the publisher wasn’t planning a “broad-based reduction” in its workforce.

“We continue to support and build our development teams, and where we have overhead, we have to be very diligent about looking at the overhead,” he said.

“We don’t expect any kind of broad-based reduction in force. We are going department by department and trying to drive efficiency.”