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A strike can be a scary time for creatives. No one is sure when it will end, and you can live off savings for only so long. But in Hollywood, many people are used to this kind of instability.

As a writer, I’ve always held a bunch of side jobs to make sure I can gather income, and I have had my fair share of lean years.


But one thing I have been thinking about, especially lately, is how we don’t have to wait on Hollywood to be fixed to work on projects. If you can work truly independently, you could be making stuff right now.

This idea has become popular lately, with actor Mark Ruffalo outlining how it would be done.

Ruffalo shared a Deadline article and wrote a thread on Twitter about how we could use this time to change Hollywood.

His first follow-up Tweet reads, “One sure way to strengthen our hand right now is to become very supportive & friendly to all independent projects immediately. Push every SAG-AFTRA member to join the ones that get SAG-AFTRA (WGA) WAIVERS immediately. The studios have no competition—this will change that.”

So how do we build competition for studios? Well, we have to make projects without them.

He advocated for a profit-sharing model where creatives share in successes. The basic idea is to get independent financiers or to raise money to make your projects. Right now, you can attract SAG-AFTRA talent to be a part of it, you just need to clear SAG-AFTRA waivers.

Obviously, you have to keep budgets low unless you find some mad millionaire to bankroll things at a higher level, but creating things you’re then able to sell to distributors or release yourself has always been the dream.

This is not an option for everyone, but if you have lower-budget projects already written or ready now, this is the time to put out feelers to see if any of these talented people who are suddenly available want to jump in and make something.

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A strike can be a scary time

Southbox Adds Former ICM Exec Chandler Heinz Laun and Finance Industry Veteran Jonathan Hecht to Leadership Team to Help Navigate Company’s Aggressive Growth  

The team in Cannes

Jon%20Gosier%20Headshot%20.preview.jpg

Chandler Heinz, Jonathan Hecht and Jon Gosier

Southbox Entertainment, a film and TV production company founded by investor Jon Gosier, has secured a $25 million partnership with sister company FilmHedge to greenlight scripted series and feature films. The company is in the process of raising an additional $55 million from private investors for a $80 million “first money” fund.

The company is also expanding its leadership team, bringing on former ICM executive Chandler Heinz Laun as Chief of Staff at Southbox Entertainment and financial services industry veteran Jonathan Hecht as Managing Partner at Southbox Entertainment and Partner at its parent company Southbox Capital. 

“Generous tax incentives, an incredible talent pool, and world-class studio facilities make Atlanta ideal for production,” said Jon Gosier, founder and CEO of Southbox Entertainment and partner companies Southbox Capital and FilmHedge. “Southbox and FilmHedge are in a stage of tremendous growth as the global demand for content surges. I’m thrilled to welcome Chandler and Jonathan to the team to help lead the organizations as we expand our foothold in the entertainment industry.” 

Southbox Entertainment is one of few companies greenlighting projects from Georgia and is capable of fully self financing productions through its own fund and partnerships with debt financier FilmHedge.

“Hollywood has long viewed Atlanta as the underdog. Yet, in the past 10 years, Atlanta has become the epicenter of the entertainment industry. There’s a certain rebellious spirit to being part of the film community of the South. We aren’t supposed to be here, yet here we are. Now more productions happen in Atlanta annually than New York and Los Angeles combined,” Gosier added.

Southbox Entertainment is committed to financing meaningful and impactful content that engages and inspires audiences everywhere. The company finances internal productions as well as independently financed projects. Both Southbox and FilmHedge finance series and features with budgets between $5 million and $35 million, which tend to be independent productions highly sought for acquisition by distributors and studios. 

“Film and TV is an undervalued and undercapitalized asset class,” according to Gosier. “By changing the way money works in the industry, notably by leveraging tech innovations to democratize funding, we can reach a new class of emerging producers in addition to those who are well-established.”

 

About Southbox Entertainment

Southbox is a motion picture and television finance company based out of Atlanta, Georgia. It is currently raising its ‘first-money’ fund for producers working on stories of all types and operates an internal content arm that develops original scripted content. 

 

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Southbox Adds Former ICM Exec Chandler

Peacock is the latest streaming platform to get a price hike, and the first for the NBCUniversal service since launching in summer 2020.

The studio said existing Peacock subscribers will see the price for the Premium service rise by $1 a month to $5.99, starting on August 17. And the Premium Plus tier — which offers viewers mostly no ads, episode downloads and live, local NBC channels — will increase by $2 monthly to $11.99.  

The price hike, which will also impact new customers, follows Peacock subscriber figures hitting nearly 22 million in the first three months of 2023, up 60 percent year-over-year. NBCUniversal said the price change will allow “Peacock to continue to invest in the best user experience and the highest-quality content while remaining competitive in the marketplace.”

The studio noted that, since its launch, Peacock has added over 80,000 hours of content, including exclusive movies from Universal Filmed Entertainment Group, new NBC and Bravo episodes launching the day after going to air on linear channels, streaming channels from Hallmark and Reelz, and daily morning news from CNBC and MSNBC.

Against that content offering, NBCUniversal has seen Peacock’s start-up losses continue amid a recent industrywide focus on efforts to boost profitability. Even with the price change, NBCUniversal has forecast 2023 will represent peak losses — about $3 billion — for Peacock as the Comcast division transitions to streaming.

Paramount Global also raised the monthly subscription price for its rebranded streaming service Paramount+ with Showtime in the third quarter of 2023 after Paramount+ posted strong subscriber gains thanks to such hit content as Top Gun: Maverick. The cost of the advertising-free premium streaming plan rose from $9.99 per month for Paramount+ to $11.99 for Paramount+ with Showtime.

And Warner Bros. Discovery unveiled a monthly price hike for Max to $15.99 per month. That followed services such as Disney+, Netflix, Apple TV+ and Amazon’s Prime Video raising their monthly prices by $2 to $3, signaling the end of a honeymoon period when entertainment companies, fully aware of the competitive streaming landscape in front of them, were willing to price their streamers low to attract subscribers. 

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Peacock is the latest streaming platform to

Gargoyles creator Greg Weisman doesn’t buy reports that Sir Kenneth Branagh is attached to direct a film adaptation of the cult-favorite animated series.

The Belfast Telegraph, Branagh’s hometown newspaper, recently reported that the Thor director would helm a feature film based on Disney‘s Gargoyles. The story has since been picked up by other outlets. On Twitter, a fan asked Weisman what he thought about the news. The creator replied, “I’m thinking … that it’s flat-out not true.” Weisman also retweeted a post dismissing the news as “not real.”

Disney’s Gargoyles originally aired for three seasons from 1994 to 1997. The first two seasons aired on first-run syndication. The third and final season aired on ABC starting in 1996 following Disney’s acquisition of the network. The animated series was a moderate success during its initial run, though has gone on to amass a dedicated cult following in the years since. The Gargoyles franchise has also expanded into other mediums, such as comic books and video games.

Previous talk of a Gargoyles movie

Notably, there have been murmurs of a potential big-screen adaptation of Gargoyles for many years now. In mid 2011, Disney tapped G.I. Joe: The Rise of Cobra screenwriters David Elliot and Paul Lovett to pen the script for a Gargoyles feature film. Acclaimed filmmaker Jordan Peele later pitched his own film treatment to the studio in 2018. However, neither version ultimately came to fruition.

Weisman discussed Peele’s unproduced Gargoyles movie pitch during an interview with ComingSoon in 2022. “The fact that he gave a damn about Gargoyles, knew what it was, knew who I am, was tremendously gratifying,” the creator said. “Nothing really came of it, unfortunately, but I can’t say I wasn’t thrilled by it. It was neat.”

All three seasons of Gargoyles are currently streaming on Disney+.

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Gargoyles creator Greg Weisman doesn’t buy reports

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Audible is one of the best places to stream and download audiobooks online, and now, the site is offering one of its best deals yet, with a 30-day free trial to its Audible Premium Plus tier.

The deal gets you access to thousands of podcasts, audiobooks and Audible Originals, from the latest summer fiction, to buzzy bestsellers, to releases from stars like Michelle Obama and Oprah Winfrey. Audible also has guided meditation programs, and curated playlists to help you relax or fall asleep.

30-Day Free Trial to Audible

Buy now

The new Audible free trial offer includes one audiobook download that you can keep, even after your free trial is over. A bonus: Amazon Prime members get two free downloads with their trial (sign-up for Amazon Prime here).

You can also take 30% off any additional titles you want to download, plus access any member-only deals that go live during your month-long free trial. Listen to everything online or through the Audible app for your phone or tablet.

30-Day Free Trial to Audible

Buy now

The current Audible deal gets you 30 days of free access to their Premium Plus tier (Audible’s best subscription plan). The price goes up to $14.95 a month afterwards or you can cancel before your free trial is over without being charged. There is no promo code required to claim this deal online.

Audible has quickly become one of the leading entertainment sites online, with a number of Hollywood stars partnering with the company to launch exclusive content. Former First Lady Michelle Obama’s The Light Podcast launched in March and was the first Audible Original project from her and President Barack Obama’s Higher Ground production company. Viola Davis also recently signed an exclusive multi-project deal with Audible, to create both scripted and unscripted original audio programming for the site.

See the full selection of current Audible content and sign up for Audible’s 30-day free trial here.

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If you purchase an independently reviewed product

Tom Cruise
Photo: James Gourley (Getty Images for Paramount Pictures)

As we all know by now, Tom Cruise may be able to drive a motorcycle off a cliff and climb the Burj Khalifa, but he cannot convince a studio executive to consider making less than $27 million a year.

With Mission: Impossible—Dead Reckoning Part One and its very long title now in theaters, it’s finally time to reveal the tale of the impossible mission Tom Cruise could not accomplish: Stopping the SAG-AFTRA strike. Per The Hollywood Reporter, the man who saved Hollywood’s ass and loves his popcorn Zoomed into negotiations between SAG-AFTRA and the Alliance of Motion Picture and Television Producers (AMPTP). However, he could not land the plane.

Cruise reportedly lobbied the AMPTP on several issues, urging the assortment of studio representatives to listen to the guild’s positions on A.I. guardrails and stunt performers. He also asked the guild to consider allowing performers to participate in promotional campaigns for upcoming projects, which Hollywood Reporter sources described as “uncomfortable.” According to Deadline, his interest in promotion had nothing to do with Mission: Impossible, as that film’s rollout ended ahead of the strike. Instead, he was concerned about the post-vaccine return-to-theaters initiative that he’s been instrumental in promoting and argued that actor promotion matters to box office results—which eagle-eyed readers might recall as being the point of the strike.

SAG-AFTRA is striking over a litany of issues, particularly on raising residuals on streaming content and A.I. usage. Though, during the strike’s announcement, SAG-AFTRA’s description of the AMPTP’s asks were nothing short of ghoulish. SAG-AFTRA national executive director and chief negotiator Duncan Crabtree-Ireland said studios were offering a single day’s pay in exchange for a digital scan of background actors’ likeness for indefinite use in future projects without further compensation or consent. The union’s president, Fran Drescher, described them as “greedy.”

“We are being victimized by a very greedy entity,” SAG-AFTRA President Fran Drescher said upon the strike’s announcement. “I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly, how far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

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Tom CruisePhoto: James Gourley (Getty Images for

Does the success of a film hinge on the audience’s ability to understand the subject matter? As viewers, we enter into an unwritten contract with the film we’re watching. We know it might be necessary to suspend our expectations of reality or grapple with concepts that may otherwise be impossible.

However, for films that are based on true events, there seems to be a need for a certain amount of exposition. Too much and the film becomes obtuse. Too little and viewers won’t understand the basics of what’s happening.

Real Events Need Real Explanations

There are various genres where a grounding in the fundamentals is necessary for viewers to understand the plot. Casino-based films are a case in point. Take the movie 21. The film dramatized the real-life story of blackjack players from MIT. They were math experts with the ability to track patterns and get an edge over the casino. The early part of the film sees Micky Rosa explain the basics of blackjack to Ben.

This doesn’t take up much time in the film. Indeed, the card values in blackjack and the game’s fundamentals are simple to explain. However, they’re essential to the plot because, without understanding the basics, you can’t develop a potentially profitable blackjack strategy. As noted by experts, “calculating hand values is central to getting the most out of the game.” That’s because, at its core, blackjack is a game of odds. You’re assessing your hand’s chances of winning based on the dealer’s card (that you can see). Therefore, for 21 to make sense as a film, the director had to insert a short sequence explaining the basics.

The same strategy is used in Jurassic Park. We all have a general understanding of dinosaurs, but the nuances of DNA sequencing are less familiar. That’s where Mr. DNA comes in (see video above). The animated character appears during a presentation shown to Alan Grant (Sam Neill), Ellie Sattler (Laura Dern), and chaotician Dr. Ian Malcolm (Jeff Goldblum) when they first take a tour of Jurassic Park.

We assume they understand the basics of DNA but, as an audience, we need some education. Only once we know this can we start to see why the concept of Jurassic Park is possible and, from there, why things start to go horrifically wrong as the film progresses.

Context Matters as Much as Exposition

These movies did well at the box office. 21 grossed $159.8 million, while Jurassic Park made almost $1 billion ($978.1 million, to be exact). This suggests exposition is important. Movies with little exposition, such as Hereditary which grossed $82 million, suggest this is the case. However, we can counter this with examples of movies with very little in the way of exposition, such as A Quiet Place (see video below). It’s not until the very end of the film that we find out why sound is dangerous. That film grossed $314 million and has an audience score of 83% on Rotten Tomatoes.

 

Therefore, it’s not a clearcut case. What we can do is distinguish between the types of film that require clear exposition and those that don’t. 21 was based on true events so knowing the basics of blackjack is non-negotiable. With exposition, we’d just be watching people playing cards without knowing why. It’s the same story as Jurassic Park. Although it’s not real, the plot is plausible. Thus, we need some foundation to work from.

A Quiet Place is based on suspense. It’s a sci-fi thriller, so keeping us in the dark is part of the process. Telling us too much too soon would render it predictable. Context matters. We can all agree that too much exposition pulls out of the fantasy. It makes a movie feel stilted and unrealistic. However, if we don’t get any exposition in certain contexts, deciphering the plot becomes impossible. So, while success might not hinge on the right amount of exposition, it’s a dramatic technique that can’t be overlooked.

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Does the success of a film hinge

Parents are speaking out about their daycare being unavailable for weeks due to the ongoing strike at Capilano University.

“I know financially for us and others, finding child care and being able to go to work has the been the biggest struggle,” parent Robin Norris told Global News.

MoveUp Local 378, which represents about 350 unionized inside workers at the university, started job action in May after talks with the university collapsed over the issue of having remote work added to their collective agreement. The Capilano Faculty Association joined the strike in solidarity on June 6, halting classes at the school’s campuses.

However, mediation did not result in an agreement and the university said on July 13 that it has requested a report from the mediator to confirm areas of agreement and outline outstanding issues, if any.

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Due to the strike, the on-campus daycare has not been open and available for parents.

It is a $10-a-day facility, but Norris said some parents have had to hire additional child care for around $25 an hour just so they are able to go to work.

“I know many child care runs minimum 25 bucks an hour, so at times eight hours, that’s $200,” he said. “So many people have now taken on upwards of $5,500 since the start of the strike. There’s 70 families there. So that’s approaching $400,000 in terms of, you know, an overall impact to the local families on the North Shore.”

Norris added that he and his wife have also taken time off work to care for their child, but overall they have had to pay about $5,000 more in child care since the start of the strike versus if the daycare had been open.


Click to play video: 'Low wages leading to daycare staffing crisis in B.C.'


Low wages leading to daycare staffing crisis in B.C.


He said they were given one day’s notice that a strike could be looming.

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“It’s definitely been a struggle,” Norris said, “and been an impact on us and others in terms of quality of life and other factors as well.”

In addition, he said the summer camps at the university in which they enrolled their two older children were also cancelled so they had no care for their three children.

“I think the full scope of this impact and how long we could sustain it is unknown at this point.”


Click to play video: 'B.C. daycares struggle with severe staffing shortages'


B.C. daycares struggle with severe staffing shortages


Sharon Gregson, the provincial spokesperson for the successful $10-a-day child care campaign working with the Coalition of Child Care Advocates of B.C., told Global News said this situation is not good for anyone involved.

She said this increase in cost to find other child care options illustrates just how important the $10-a-day program is.

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“It confirms what we’ve been hearing since 2018 when $10-a-day child care sites were first launched. That it is life-changing for families,” she said.

“It is something that is now the standard that everybody who’s got young children wants and needs to be able to access. It is fundamental to families, being able to participate in studies or in the workforce. It is now the standard for child care affordability.”

In a statement, Christy Slusarenko, MoveUP6’s vice-president of combined units said the university administration refused their offer for binding mediation, which would have ended the strike quickly.

“Our members want to be back at work providing service for the campus community, including vital childcare services, but we need a fair deal that respects our members and the work they do,” she said.

“The university administration needs to come back to the bargaining table and get a deal done instead of trying to attack workers who are standing up for their rights.”


Click to play video: 'Powell River daycare operator left in limbo by immigration backlog'


Powell River daycare operator left in limbo by immigration backlog


In a statement to Global News, Capilano University said it is working to resolve the strike and get employees back to work.

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“CapU sympathizes with the hardships faced by parents of the Children’s Centre as a result of the strike,” the statement read.

“The University is using every available labour relations tool to try and resolve this dispute so that employees come back to work and services people depend on like child care, can resume.”

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

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Parents are speaking out about their daycare

Kevin Costner’s Estranged Wife Christine Baumgartner Denies Stripping ‘the House Bare’ Amid Divorce | Entertainment Tonight
































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For the first time since Peacock debuted in 2020, NBCUniversal is hiking the monthly prices on the streaming service.

Starting at midnight ET Monday evening, NBCU will notify existing Peacock customers that their rates will be increasing as of next month. Effective Aug. 17, for existing users on their next billing cycle and immediately for new customers, the price of Peacock Premium (with ads) will increase by $1, to $5.99 per month, and Peacock Premium Plus (which is mostly commercial-free) will rise $2, to $11.99 per month.

In the three years since Peacock’s launch, the platform has added more than 80,000 hours of content, and will reach nearly 100,000 hours total over the coming year, according to NBCU. That includes exclusive pay-1 window movies from Universal Filmed Entertainment Group; NBC and Bravo episodes next-day; streaming channels from Hallmark and Reelz; and daily mornings news from CNBC and MSNBC.

As of the end of the first quarter of 2023, Peacock had 22 million subscribers, up more than 60% year over year, per Comcast.

According to the media company, by increasing the price of Peacock, it will be able to invest in content and the user experience while remaining competitive in the marketplace. Other streamers have recently hiked prices, too, including Disney+, Paramount+, Max (formerly HBO Max) and YouTube TV. Netflix most recently raised prices in the U.S. in early 2022.

NBCU has taken previous steps to accelerate the profitability of the Peacock biz, after losses are expected to peak at about $3 billion in 2023. The company earlier this year shut off access to Peacock’s free tier to new users, and in June stopped bundling Peacock Premium for free for Comcast’s Xfinity customers.

Peacock’s lineup includes more than 5,000 hours of live sports, which NBCU says gives it the most live sports of any direct-to-consumer streaming service in the U.S. Sports content on Peacock includes the FIFA Women’s World Cup (July), Sunday Night Football, an NFL Wild Card Playoff Game (January 2024), Premier League soccer, Big 10 football (beginning fall 2023), Notre Dame football and WWE’s SummerSlam.

 Library film and TV titles on Peacock include “Yellowstone,” “The Office,” “Parks and Recreation,” “New Girl,” and the Harry Potter movie series. Peacock’s original series include “Poker Face,” “Mrs. Davis,” “The Continental,” “Bel-Air,” “Dr. Death,” “Based on a True Story” and “Bupkis.”

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For the first time since Peacock debuted

YouTube is experimenting with a way to help sickos like me watch videos as fast as humanly possible. The test, which YouTube Premium subscribers can opt in to, lets you long-press on the video player to set the playback speed to 2x, according to YouTube’s experiments page (via 9to5Google).

To me, this sounds like a huge upgrade; currently, moving up the playback speed on YouTube can take a few annoying steps. On the mobile app, you need to tap the video, tap the three dots menu, tap playback speed, and then you can pick from the different options. It’s a similar set of steps on the mobile and desktop web. (Though, on desktop, you can use Shift and the less than or greater than keys to speed up or slow things down without digging into the menus.) The new feature seems to take some inspiration from TikTok: if you long-press a TikTok video, the app will bring up a bunch of different options, including a playback speed menu.

YouTube’s test of the long-press is available until August 13th, the experiments page says. I’m not a Premium subscriber, so I can’t test it myself, but I dearly hope that YouTube rolls the feature out to everyone sometime after the experiment ends. (And if anyone at YouTube is reading this, please let me watch videos at something faster than 2x speed.)

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YouTube is experimenting with a way to

Peacock is phasing in the first price hike in its three-year history, which will increase the rate for the streaming service’s Premium tier by $1 a month and that of Premium Plus by $2 a month.

After the increase, the new prices will be $5.99 for Premium and $11.99 for Premium Plus. The latter tier is virtually ad free and also includes access to live, local NBC channels and the ability to download programming. The update will take effect on August 17 for existing subscribers and immediately for new ones.

NBCUniversal parent Comcast will report new figures later this month as part of quarterly earnings, but as of March 31, Peacock had 22 million subscribers. The service has grown more rapidly than most since a strategic shift in 2021 from its free, ad-supported origins toward a focus on paid subscribers. Still, it remains a laggard compared with traditional company-backed rivals Disney+, Max and Paramount+, not to mention pure streamers Netflix and Prime Video. Red ink continues to spill (as for most in the streaming arena), with losses projected by the company to peak at $3 billion this year. Upon launch, execs predicted the service would reach break-even by 2024; last year, they conceded that the move to profitability could take a bit longer than that.

The financials of Peacock are well-known to NBCU’s new overseer, Mike Cavanagh, the Comcast president who was previously chief financial officer. He took responsibility for NBCU three months ago when former CEO Jeff Shell exited the company amid disclosures of an inappropriate relationship with a colleague.

Peacock is certainly not alone in raising streaming prices, with some rivals implementing multiple step-ups in the time it has taken for NBCU to pull that lever for the first time.

Programming on Peacock, both live and on-demand, has continued to expand as NBCU has navigated both a competitive direct-to-consumer field and ongoing viewer migration to streaming and away from linear pay-TV. Original programming took time to gain traction but recent additions to the roster like Poker Face, Mrs. Davis and Bupkis have resonated. Along with onboarding full networks and experiences from WWE, Hallmark and Reelz, the platform has also taken the pay-1 film release window that used to belong to third-party premium cable networks and laid claim to NBCU titles that used to go to Hulu in next-day windows (notably Bravo and NBC fare).

Comcast is negotiating with Disney for an exit to its longtime interest in Hulu. The company still has a one-third stake in the service stemming from NBC’s initial role as a founding partner in it.

Live sports are also part of the lure for Peacock, with Premier League soccer and events like the Olympics and the Women’s World Cup having extensive offerings. NBCU also snared exclusive rights to an NFL playoff game next January.

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Peacock is phasing in the first price

Britney Spears and Will.I.Am will reunite on a new single that’s set to arrive tomorrow (July 18), the Black Eyed Peas member confirmed via social media on Monday.

Will.I.Am shared the news with a video teaser that was posted to his social media with the caption reading “Uh Oh!!!” In the seconds-long clip, the artists’ taglines are heard: “You are now, now rockin’ with Will.i.am and Britney, bitch.”

Meanwhile, Spears is heard singing what is presumably the song’s chorus — “Mind your business, bitch” — over an up-tempo beat. The teaser ends with the announcement that the single arrives tomorrow and Will.I.Am also included the hashtag, “MindyourBusiness.”

The duo has previously worked together on “Big Fat Bass,” a 2011 release that appeared on Spears’ “Femme Fatale” album, and “Scream & Shout,” the lead single from Will.I.Am’s “Willpower” record. The latter was released alongside a music video that gave Spears her first entry into YouTube’s Billion Views Club. Will.i.am also executive-produced Spears’ 2013 album, “Britney Jean.”

This track will be Spears’ first release since she joined Elton John for “Hold Me Closer,” a re-imagined remix of his classic hit “Tiny Dancer.” The track earned Spears her first appearance on the Billboard charts after nearly a decade away.

News of the new single comes on the heels of Spears setting a date and revealing the title of her upcoming, much-buzzed-about memoir “The Woman in Me.” Spears’ book is slated for release on Oct. 24 and will be published by Gallery Books, an imprint of Simon & Schuster. The book is said to tell Spears’ story “on her own terms, at last,” according to the publisher’s announcement.

Spears had been living under a court-ordered conservatorship placed by her father, Jamie Spears, since 2007. Though the singer continued to work, touring and holding a Las Vegas residency, the conservatorship remained in place. Rumors spread among fans that the pop star was being held in the conservatorship against her will, spawning the “#FreeBritney” movement which ultimately led to her release.

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Britney Spears and Will.I.Am will reunite on

We’ve got some exciting news for Guardians of the Galaxy fans! Marvel Studios has just released a trailer announcing that Guardians of the Galaxy Vol 3. will be making its streaming debut on Disney Plus (Disney+) on August 2, 2023. 

You can check out the awesome announcement below: 

If you didn’t have a chance to see it in theaters, you’ll want to mark your calendars because Guardians of the Galaxy Vol. 3 is simply not to be missed.  For those unfamiliar, Volume 3 marks the return of our favorite band of misfits are back but there have been some changes!  The crew is still coming to terms with the loss of Gamora, and Peter Quill must rally his team around him to defend the universe and protect one of their own.  A mission that, if not completed successfully, could quite possibly lead to the end of the Guardians as we know them. 

Guardians of the Galaxy Volume 3 DLP

Photo: Disney

James Gunn returned to direct the third installment of Guardians along with cast members Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel as Groot, Bradley Cooper as Rocket, Sean Gunn, Chukwudi Iwuji, Will Poulter and Maria Bakalova. Kevin Feige produces and Louis D’Esposito, Victoria Alonso, Nikolas Korda, Simon Hatt, and Sara Smith are executive producers.

Readers are encouraged to follow MickeyBlog for further Disney-related news and updates. We’ll be coming to you LIVE! from the theme parks each and every week. 

MickeyTravels

Photo: MickeyTravels

Have you heard the news? MickeyTravels just earned the incredible distinction of being a Diamond Earmarked Agency!

Whether it’s a visit to the theme parks, a Disney cruise, a stay at Aulani in Hawaii, or the trip of a lifetime with Adventures by Disney, I can’t wait to help you plan your vacation utilizing all of our incredible concierge-level services. This injdjdjdcludes discount monitoring, itinerary planning, flexible booking, and more.  Best of all my services are 100% FREE!

Find out more or get your FREE no-obligation quote at mroden@mickeytravels.com at 1.800.801.4025 or via Facebook

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DC just revealed which TV shows fans need to watch ahead of James Gunn’s Superman: Legacy.

Superman: Legacy has been on a casting spree lately, with DC Studios slowly assembling its stellar cast. In fact, David Corenswet and Rachel Brosnahan have already been tapped to play Clark Kent/Superman and Lois Lane respectively. 

Moreover, four new actors were also recently announced to join the Superman reboot movie.

4 DC Shows to Watch Before Superman: Legacy

Max recommended four DC shows to watch as “homework” before Superman: Legacy: 

“Never too early to start doing your homework. Dive into these DC Super Heroes on Max.”

This comes after the announced castings for the upcoming DCU reboot movie. 

1.) Justice League 

Hawkgirl

Main focus: Hawkgirl 

Justice League is an animated series from Cartoon Network that is part of the DC Animated Universe. The show’s Justice League consists of Superman, Batman, Wonder Woman, Green Lantern, Flash, Hawkgirl, and Martian Manhunter.

In the series, Shayera Hol aka Hawkgirl is one of the founding members of the team and a former member of the Thanagarian military. The DC heroine’s most prominent storylines from the show are the Thanagarian invasion (where she played an important role on both sides) and her romance plot with John Stewart aka Green Lantern. 

The DCU’s version of Hawkgirl is not the same one from the animated series. Instead of the Shayera Hol version, the live-action reboot’s iteration will be Kendra Saunders, set to be played by Isabel Merced. 

2.) Justice League Unlimited

Justice League Unlimited
Mister Terrific 

Main focus: Mister Terrific 

Justice League: Unlimited, the successor series to Justice League and the final entry to the expansive DC Animated Universe. 

Mister Terrific played an important role in Justice League: Unlimited, serving as the team’s genius inventor and reliable member. Moreover, the DC hero also successfully coordinated the League in several missions, such as Darkseid’s invasion and Wade Elling’s rampage through Metropolis. 

In the DCU, Edi Gathegi is lined up to play the live-action version of Mister Terrific.

3.) Young Justice

Young Justice
Metamorpho

Main focus: Metamorpho

While the Young Justice animated series explored the stories of young superheroes, it still managed to highlight other members of the Justice League, such as Metamorpho. 

In the show, Metamorpho was loyal to Batman, with him joining the Dark Knight’s team which is composed of former members of the Justice League. 

Metamorpho has the ability to alter the shape of his entire body or parts thereof while also being able to transmute his body into different elemental compounds.

The DCU’s version of the hero will be played by Barry star Anthony Carrigan.

4.) Green Lantern: The Animated Series

Green Lantern: The Animated Series
Guy Gardner

Main focus: Guy Gardner

Although the Green Lantern: Animated Series primarily focused on Hal Jordan and his partner Kilowog, the Cartoon Network animated series also introduced other Green Lanterns across space, such as Guy Gardner. 

In the series, Gardner is an Honor Guard of the Green Lantern Corps. The character’s promotion was the fastest ever for any Lantern in the Corps. 

While Gardner and Hal initially butt heads with one another, the pair resolved their differences after defeating the crisis involving three Manhunters. 

Nathan Fillon will portray the DCU’s Guy Gardner, although neither Hal Jordan or John Stewart have been confirmed or cast yet.


All four DC shows are available to stream on Max.

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That tiny webcam on your laptop has probably gotten more use in the last few years than it ever has before. Even if you’re going back into the office for meetings on occasion, chances are frequent video conference calls are a permanent part of your professional life. Once an afterthought, your computer’s webcam has become one of its most important components — and the fact remains that most built-in cameras are not able to provide consistent, high-quality video chat experiences.

This is where external webcams come in. They can do wonders for people who spend most of their working hours on video conferences, and those who picked up a new hobby of streaming on Twitch or YouTube over the past couple of years. But as with most PC accessories, it can be tough to sort through the sea of options out there and find the best webcams for your needs. We get it, so we tested out a bunch of the latest webcams to see which are worth your money and which you can safely skip.

What to look for in a webcam

Resolution and field of view

While some newer computers have 1080p webcams, most built-in cameras have a resolution of 720p, so you’ll want to look for an external webcam that’s better than that. FHD webcams will give you a noticeable bump in video quality; ideally, you’re looking for something that can handle 1080p at 60fps or 30fps. If you’re considering a cheap 720p webcam, make sure to get one that supports at least 30fps (most will) or, even better, 60fps. However, if your primary concern is better picture quality during video calls, 1080p is the way to go.

Some webcams can shoot in 4K, but that’s overkill for most people. Not to mention most video conferencing services like Zoom, Google Meet and Skype don’t even support 4K video. When it comes to streaming, Twitch maxes out at 1080p video, but YouTube added 4K live streaming back in 2016. Ultimately, with 4K webcam shots having such limited use, most people can get by with a solid 1080p camera.

Field of view (FOV) controls how much can fit in the frame when you’re recording. Most webcams I tested had a default field of view of around 78 degrees, which captured me and enough of my background to prove that I really need to organize my home office. On cheaper webcams you’ll usually see narrower fields of view (around 60 degrees), and those aren’t necessarily bad. They won’t show as much of your background, but that also means you won’t be able to squeeze as many friends or family members into frame when you’re having Zoom birthday parties. On the flip side, more expensive webcams may let you adjust the field of view to be even wider than average.

Valentina Palladino / Engadget

Autofocus and other “auto” features

Webcams with autofocus will keep the image quality sharp without much work on your part. You should be able to move around, step back and forth, and remain in focus the whole time. Some standalone webcam models let you manually adjust focus, too, if you have specific needs. Devices with fixed focus are less convenient, but they tend to be more affordable.

In the same vein is auto framing, a feature that some high-end webcams now offer. Similarly to Apple’s Center Stage feature, the camera automatically adjusts to keep you in the center of the frame even as you move around. This used to be a feature only available on the most premium webcams, but now you can find it on sub-$200 devices.

You’ll also see other “auto” features listed in webcam specs, most notably auto light correction. This will adjust the camera’s settings to make up for a dimly lit room. If you don’t have bright lights, or often take calls in places where you can’t control the lighting, this feature will be valuable.

Microphones

Most webcams have built-in microphones that, depending on your setup, might end up being closer to you than your computer’s own mics. Check to see if the model you’re considering has mono or stereo mics, as the latter is better. Some even use noise-reduction technology to keep your voice loud and clear. While audiophiles and streamers will want to invest in a standalone microphone, most others can get by using a webcam’s built-in mic.

Design

There aren’t a ton of fascinating breakthroughs when it comes to external webcam design. Most are round or rectangular devices that clip onto a monitor or your laptop screen. Some have the ability to swivel or screw onto a tripod stand and others can simply sit on your desk beside your computer. But unless you really like having people stare up your nose, the latter isn’t ideal. We recommend clipping your webcam to your monitor and ensuring that it’s at or slightly above eye level.

A few webcams go above and beyond by adding hardware extras like built-in lights and lens covers, too. The former can help you stand out in a dark room, while the latter makes it so hackers can’t view you through your webcam without your knowledge.

Price

Most external webcams that are just good enough to be a step up from your computer’s built-in camera cost between $60 and $150. If the webcam has the same resolution as the internal one on your laptop, you should look out for other specs like auto light correction, a wider field of view or an extra-long connecting cable that can provide a step-up in quality or ease of use.

Spending $150 or more means you might get advanced features like 4K resolution, vertical and horizontal recording options, stereo mics, customizable video settings and more. But unless you’re spending hours on video calls each day or streaming multiple times each week, you can settle on a budget webcam and safely skip most of those high-end options.

Best overall: Logitech Brio 500

Best overall
Logitech Brio 500

Logitech

Logitech Brio 500

$130

The Logitech Bio 500 is essentially an upgraded version of the beloved C920s HD Pro. It shoots the same quality of video, but it has a wider FOV, an upgraded zoom, improved auto-light correction and a USB-C connecting cable.

The Logitech Bio 500 is essentially an upgraded version of the beloved C920s HD Pro. It shoots the same quality of video — up to 1080p 30fps — but it has a wider field of view, an upgraded zoom, improved auto-light correction, a better mic array and a USB-C connecting cable. The biggest difference I noticed in testing the Bio 500 was the improved light correction. My home office can feel very cave-like when the blinds are shut or when it’s raining, but you wouldn’t know it when on a video call with me. Logitech’s RightLight 4 technology does a great job of brightening the whole shot when you’re in a dim or dark environment.

The Bio 500 works with the LogiTune software, which lets you customize camera settings like field of view, autofocus, contrast, brightness and more, plus lets you enable Show Mode and RightSight features. The former lets you present things on your desk just by tilting the camera down while the latter will automatically keep you in frame during calls even if you move around. RightSight works much like Apple’s Center Stage feature does on iOS devices, and most people will likely get more use out of this feature than Show Mode. If you prefer to keep things more consistent (or control how much of your background is visible), you can choose from 90-, 78- or 65-degree field of views instead of enabling RightSight.

Logitech also updated the design of the Bio 500. It’s made of recycled plastic and it comes in three different colors that you can match to other Logitech peripherals. The camera attaches magnetically to its base and it easily swivels from side to side when you need to adjust its position, plus it has a built-in lens cover for extra privacy when you’re not using it. Overall, it has the best mix of essential features and handy extras of any webcam we tested.

But $130 might be a lot for some people to spend on a webcam. We think it’s worth it if you’re primarily a hybrid or remote worker, but there is a cheaper option for those with tight budgets. The Logitech Brio 300 has many of the same core features as the Bio 500: 1080p resolution, auto light correction, a built-in privacy shutter and USB-C connectivity. However, you won’t get HDR support, an adjustable field of view, Show Mode or omnidirectional mics (although it does have a noise-reducing microphone of its own). It’s a pared-down version of the Bio 500 and it’ll only cost you $70.

Runner Up: Anker PowerConf C200

Runner up
Anker PowerConf C200 2K Webcam

Photo by Valentina Palladino / Engadget

Anker PowerConf C200 2K Webcam

$60

Anker’s cube-like webcam has a default 2K resolution which you can customize, plus a 95-degree field of view and a built-in lens cover.

Anker’s cube-like PowerConf C200 webcam has has a lot of the same perks as our top pick, along with a few extras. Setup is equally as easy – just plug it into your computer or docking station and start using it. You can download the AnkerWork software to edit things like brightness, sharpness and contrast ratio, but I just kept all the defaults.

You’re also able to control the camera’s resolution and field of view with this software, too. The C200 webcam defaults to a 2K resolution, but you can bring it down to 1080p, 720p or even 360p if you wish. Same goes for field of view: The default is 95 degrees, but I bumped mine down to 78 degrees to spare my colleagues a wider view of my messy home office.

I was immediately impressed with the C200’s video quality: 2K is likely more than most people need (1080p should do just fine), but the extra sharpness and clarity is a nice touch. The webcam’s autofocus is quite fast, and its larger f/2.0 aperture captures more light so you stay illuminated even in darker settings.

In addition to a built-in lens cover that you can slide closed for privacy, the C200 has dual stereo mics that actually do a good job of capturing your voice loud and clear. You can also choose directional or omnidirectional vocal pickup in the AnkerWork settings, with the latter being better if you have multiple people speaking on your end.

My biggest complaints about the C200 webcam are that it’s a bit cumbersome to adjust its angle when it’s perched on your screen. Unlike most webcams, Anker’s doesn’t have a short neck of sorts that connects the camera to its adjustable base – it’s just one, chunky piece of plastic that I had to use both hands to adjust. Also, the C200 comes with a USB cable that’s much shorter than others. This won’t be a problem if you’re connecting the webcam directly to your laptop, but it’s not as flexible if you have a standing desk converter or a more complicated setup that requires long cables.

Best webcam for streaming: Razer Kiyo Pro Ultra

Best webcam for streaming
Razer Kiyo Pro Ultra

Razer

Razer Kiyo Pro Ultra

$300

Streamers will not only appreciate the high quality image coming from this cam, but also its face-tracking autofocus that swiftly transitions from zeroing-in on their face to whatever object they may be showing off.

Razer built the Kiyo Pro Ultra for streaming and that’s immediately apparent as soon as you take the webcam out of the box. It’s huge. Its circular frame measures three inches in diameter and about two inches thick. It follows the design language of other Kiyo webcams, but it’s definitely the biggest of the bunch and that’s probably because Razer stuffed a lot into this peripheral. It has the biggest sensor of any Kiyo webcam (1/1.2 inches to be exact), and the company claims it’s the largest in any webcam, period. The Pro Ultra has a F/1.7 aperture lens as well, which lets in a ton of light and results in a super crisp image. It certainly delivered the best quality image of all the webcams I tested, which isn’t a surprise since it can capture raw 4k/30fps (or 1080p/60fps) footage.

Streamers will not only appreciate the high quality image coming from this cam, but also its HDR support, tasteful background blurring and face-tracking autofocus that swiftly transitions from zeroing-in on their face to whatever object they may be showing off to their viewers. It works with Razer’s Synapse software, too, so you can customize your image to your liking, tweaking things like zoom, pan, tilt, ISO and shutter speed. Just know that Synapse only works on Windows devices, so you’ll be stuck with default settings if you’re on macOS or Linux.

The Kiyo Pro Ultra is compatible with Open Broadcaster Software (OBS) and XSplit, so most streamers will be able to unbox it and get right to producing content. We also appreciate that you can twist the camera’s frame to physically shutter the lens, giving you more privacy when you need it. Undoubtedly, the Kiyo Pro Ultra is one of the most powerful webcams we tried out and it may even be overkill for streamers just starting out (our final pick might be better for those folks), but serious and professional content creators will love the quality video and customization options they get. If you want a similar level of quality and the ability to tweak settings on a Mac, Elgato’s Facecam Pro is a good alternative. It costs the same as the Razer Kiyo Pro Ultra, can record video at 4K/60fps and its Camera Hub software works on macOS and Windows.

Runner up: Logitech Streamcam

Runner up
Logitech Streamcam

Photo by Valentina Palladino / Engadget

Logitech Streamcam

The Streamcam is one of the most fun webcams to use, and we like that it lets you shoot in both portrait and landscape orientations.

Of all the webcams I tested, I had the most fun using Logitech’s Streamcam. While it’s a bit weird to say I “had fun” with such an innocuous piece of tech, I found the Streamcam to be remarkable in many ways. First and foremost, the video quality is excellent, coming in at a sharp 1080p/60fps. Details in my clothing came through much better and, whether I liked it or not, so did some of the texture on my skin. The Streamcam was also one of the best webcams I tested when it came to color reproduction.

All of those perks remain the same even when you’re shooting in low-light conditions. The Streamcam’s auto-exposure feature made up for the darkness in my office on gloomy days. And it has the best kind of autofocus — the kind that you never notice in action.

The dual omnidirectional mics inside the Logitech Streamcam delivered my voice loud and clear during video calls. If you stream often and find yourself without an external mic, it’s nice to know that you could get by with the Streamcam’s built-in ones in a pinch. The microphones also have noise reduction to keep your voice font and center.

As far as design goes, the Streamcam is a bit larger than your standard cam. It’s a chunky almost-square that can easily be positioned on a monitor or on a tripod, and a unique feature of its design is its ability to shoot either vertically or horizontally. I kept mine in the standard 16:9 format, but some content creators and streamers who post to social media often will like the 9:16 format that’s best for Instagram and TikTok. Logitech also made sure the Streamcam was optimized for OBS, XSplit and Streamlabs, so you can use it directly out of the box for your next live session.

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That tiny webcam on your laptop has

 

By Alex Deleon for filmfestivals.com

The Golden Apricot Film Festival,  now in its twentieth year, always tends to spotlight films from countries in the region which are not likely to get much exposure at other festivals.  This, in addition, of course, to a wide selection of other films from around the world and prize winners from top festivals such as  Cannes and  Venice.

On Bastille Day, July 14th, I caught up with two off-beat Georgian features at the Big red Hall in Kino Moskva.

 

The first, “Magic Mountain” (by Mariam Chachia and Nik Voigt)was a documentary  about a remote Tuberculosis Asylum in the mountains of Eastern Georgia.  Director Mariam Chachia, was herself a TB patient here many years ago when, under Soviet domination it was shameful to be burdened with this highly contagious disease, and felt it was finally time to talk about it now.

The edgy cinematography by Irish German collaborator Nik Voigt reveals a bleak white building with  stark bare floors and unadorned white walls wherein reside a collection of terminal, or near terminal TB victims who gradually form a tight sub society.  Much of the film focuses on their uneasy relations with the hospital staff and the members of the staff itself. Doing their best to keep their charges alive.

Along the way we find out that this building was originally a villa built by the last member of the Russian Romanov dynasty when, on a trip to India, he was told of this “magic mountain” where his own TB could be cured.  His cure was achieved there but at the age of 28 he was kiiled in a bicycle accident.  

This is hardly an uplifting film emotionally but it focuses on the need to deal with 

Unpleasant old memories in an unflinching way.  The relatively short running time of 73. Minutes seems twice that long because of the density of the events recounted.

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  By Alex Deleon for filmfestivals.com The Golden

EXCLUSIVE: The Chosen creator Dallas Jenkins has said he is thankful that SAG-AFTRA has granted one of its first interim agreements to season four of his hit faith drama, allowing it to continue filming despite the strike.

Jenkins told us today: “As an independent show with two weeks remaining to film our current season, we appreciate SAG’s recognition that not all productions are the same. We’ve agreed to all the terms of their current interim agreement.”

Utah-shot series The Chosen barely missed a beat, only having to shoot a day or two without cast before filming resumed today. The series includes multiple SAG actors, including star Jonathan Roumie who plays Jesus.

Producers were keen to point out the current season’s indie credentials, emphasising that it is “entirely funded by fans” and that it “currently has no licensing deals”. The show initially airs for free on its own website and app. Previous seasons have been carried by streamers and yesterday the first season of the show had its network premiere on The CW.

Lionsgate has distribution rights to the first three seasons but producers declined to comment whether the indie-major also controls the fourth season, only noting that their Lionsgate deal was not an impediment to getting the interim agreement.

So far, there are only two known productions to have been granted interim agreements: The Chosen and movie Bride Hard. We understand that at least half a dozen others have been given the green light and SAG-AFTRA told Deadline today that “hundreds” have applied. We’re expecting the union to release a preliminary list of approved productions in the next 48 hours.

Interim agreements — or waivers, as many in the industry are calling them — are being granted to “truly independent producers” as long as they are not affiliated with the Alliance of Motion Picture and Television Producers and agree to be bound retroactively to whatever contract terms eventually are achieved with the AMPTP when the strike is settled. 

The Chosen certainly has indie roots given it is widely regarded as one of the most successful crowdfunded TV series of all time. According to a Wall Street Journal profile, two years ago viewers had already contributed $40M towards its production. Texas-based indie Out Of Order Studios produces.

The historical drama tells the story of Jesus through the eyes of those who knew him, charting his teachings and ‘miracles’ as he embarks on his ministry to change the world.

As we reported yesterday, being granted an interim agreement is one thing, and hard enough. There are then other hurdles that need to be overcome to get cameras rolling.

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EXCLUSIVE: The Chosen creator Dallas Jenkins has

In light of Pixar’s losing streak at the box office, Disney CEO Bob Iger recently addressed the studio’s overall difficult situation, with one comment appearing to hint specifically at Lightyear‘s failure. Despite mixed critical reception, the Toy Story spin-off underperformed in theaters, becoming one of the few major flops in Pixar history. Far from being an isolated incident, Lightyear is representative of the animation studio’s current downward trend, which has already been reinforced by the very modest profit grossed by its latest release, Elemental.


Centered around the movie starring the character inspired Toy Story‘s Buzz Lightyear (Chris Evans), Lightyear struggled to find its footing among audiences and is by far the weakest link in an otherwise wildly successful franchise. The state of affairs for Pixar’s latest underwhelming projects has been recently discussed by Disney CEO Bob Iger, who provided his take on the legendary company’s downfall. Among his comments on the root causes of Pixar’s issues, one is especially significant for Lightyear‘s future (and beyond).


Bob Iger might have implicitly pointed to poor creative decisions as the ultimate reason for Lightyear‘s fiasco. In an interview with The Wrap, the Disney CEO largely attributed Pixar’s latest commercial fails to the studio’s drive to increase content output for Disney+ and the direct-to-streaming model but openly admitted that there were some “creative misses” as well. Being related to the very quality of the ideas behind the films, this comment stands out among the others and is very likely aimed at Lightyear.

The choice of a Buzz-centered prequel was met with a fair share of skepticism from the start, with the original Toy Story director being critical of Lightyear because of how the character was handled. Moreover, Iger pretty much cannot be referring to other recent releases, as Turning Red, Soul, and Luca all received consistently good reviews despite still being a far cry from Pixar’s golden age. This leaves out Onward and Lightyear, but the latter had a generally worse reception and was the most blatant fail between the two.

Related: Why Lightyear Failed For Pixar – What Went Wrong

Disney Knows Lightyear Didn’t Work

Lightyear Zurg

Whether because of strategy or creativity issues, Disney is aware that Lightyear was a failed attempt. As much as the box office bomb was essentially unanticipated, the general feeling is that the company knows that the Space Ranger origin story did not meaningfully add to the Toy Story franchise and its premise was simply not strong enough to hold up to the studio’s standards. In this sense, Pixar executive Pete Doctor’s statements about Lightyear‘s flop confirm this perception.

Disney’s attempt to batten down the hatches was not long in coming. Despite Toy Story 4 delivering a satisfying ending to Woody and Buzz’s story, Toy Story 5 has already been announced and is in the works. The intention to continue a successful franchise is not surprising in and of itself, but the timing and the last installment’s ending make it at least a bit suspicious. Other than being an awkward attempt at a redemption arc, this decision is also a big testament to Disney’s awareness of the Lightyear debacle.

Lightyear 2 Isn’t The Only Casualty Of Pixar’s Creative Failure

Lightyear pixar elemental

At this point, it’s clear that Lightyear is not going to get a sequel, which is probably not such an unexpected choice given the movie’s failure. However, Pixar’s failure at delivering a successful Buzz origin story might have much larger implications for Disney’s animation studio as a whole. Lightyear‘s poor critical reception and box office bomb, in fact, set a negative precedent for prequels, spin-offs, and pretty much any story that takes familiar characters out of their usual worlds. While Pixar’s strength has always been finding unique stories around which beloved movies are built, the studio has seemed to have lost its touch in that area in the past few years.

In this respect, Lightyear ruled out the chances of many other projects ever being brought to fruition, with Disney showing that it wants to be more selective about the projects it greenlights moving forward. With the latest underwhelming results, Pixar and Disney are not going to want to take other big risks by pursuing similar creative directions. While it is impossible to know whether the future holds greener pastures for the company, the idea that Disney is going to want to play it safe for a while, which is confirmed by Toy Story 5, does not sound like a great prospect.

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In light of Pixar's losing streak at

EXCLUSIVE: SAG-AFTRA is on strike, but not all members of the union won’t be working.

Since the 160,000 strong SAG -AFTRA officially declared on June 14 that it was joining the Writers Guild on the picket lines, the Fran Drescher-run group has been working on granting waivers to indie productions.

“We put the application process up on the first day of the strike,” said SAG-AFTRA chief negotiator Duncan Crabtree-Ireland today outside Netflix. “And we’ve already got hundreds of applications …we will be responding to all of them,” the union leader added, noting the project can’t have “any AMPTP fingerprints on them” if they hope to be granted an interim agreement a.k.a. waiver.

In fact, with projects like The Chosen already claiming to have been given the greenlight, a preliminary list of approved productions is expected to be made public by SAG-AFTRA later today or tomorrow, I hear.

“We will give as many interim agreements as we can, so long as they are truly independent,” Crabtree-Ireland state on the picket line Monday as the first full week of the union’s latest strike kicked off. “Our staff has to read each and every one to make sure that they are truly independent …we’re working through that as fast as we can,” the National Executive Director went on to say.

Duncan Crabtree-Ireland, Adam Conover and Rep Adam Schiff

Rosy Cordero

Union rules permit provable independent, non-AMPTP productions that desire to film under SAG-AFTRA’s now expired TV/Theatrical Agreements and related contracts could be eligible for an interim agreement to keep filming. Successful applicants for an interim agreement will be bound retroactively to whatever contract terms eventually are achieved with the studios and streamer when a new contract is ultimately reached — whenever that may be.

No interim agreement/waiver is required for productions filming under several of the guild’s lowest budget agreements. Why? Because they are not being struck. Those exemptions include the Short Project Agreement, the Micro Budget Agreement, the Student Film Agreement, and the Independent New Media Agreement.

Having said that, in a tense time in Tinseltown and expecting some to try to abuse the agreements SAG-AFTRA also make clear that their board has “discretion with respect to rules/conditions governing the strike and they have the ability to adjust strike rules as necessary.”

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EXCLUSIVE: SAG-AFTRA is on strike, but not

Last week, prominent Twitter Blue accounts began posting screenshots of thousand-dollar payouts they received through the platform’s newly launched ad revenue-sharing program. 

The program grants high-engagement Twitter users who’ve paid for verification “a share in ad revenue starting in the replies to their posts.” To qualify, users need to have at least five million impressions on their posts in each of the last three months.

Figures like Andrew Tate, a misogynistic media personality who is currently facing charges of human trafficking in Romania, took home more than $20,000. Other influential right-wing accounts like Ian Miles Cheong, Benny Johnson, and QAnon influencer Jacob Creech netted several thousand. But it’s not all sunshine and checks, a number of prominent conservative accounts are furious that they were excluded from the first round of payments — some even think the system will make the website worse. 

The account @Catturd2, an anonymous right-wing shitposter whose real-world identity is concealed by pseudonymous cat, boasts almost two million followers. Previously a Musk sycophant, Catturd has soured on the billionaire in recent months, and wrote on Monday that “most, not all, of the hand-picked Twitter accounts who were given big checks, not because of their ad revenue potential, but for being teacher’s pets are becoming insufferable.”  

Catturd complained that he had “tried to figure out how I could get paid at first because of the size of my engagements and the years of work I’ve put in, but now that I see what’s going on, I’m good.” 

“I don’t want my account to become a suck-up cringefest,” he added. 

In the comments of Catturd’s post, a crowd of verified users complained that they too had not been included in the program. “We didn’t get a check either, and we signed up back in February,” wrote the pro-Trump comedic duo The Hodge Twins, whose shared account has more than two-million followers. 

Dr. Anna Maria Loupis, a Danish medical professional who regularly trafficks in anti-vaccine conspiracy theories, wrote to her half a million followers that Twitter “has become so bad and unfair – Paying and boosting some influencers while destroying others.” 

Loupus included a screenshot of the website Twitter Shadowban Test, allegedly showing that her account engagement was being artificially restricted by the platform. “If  @elonmusk decides to keep his promises of free speech, I’ll start tweeting again,” she wrote. 

The Covid vaccine conspiracy group Vaccine Safety Research Foundation, which has accumulated just short of 30,000 followers, wrote that they have “been trapped in a never-ending ‘subscription review’ on Twitter for months.” 

“While @elonmusk enjoys raking in our Twitter blue fees, it seems he’s blocking monetization for our movement,” they wrote. 

Turning Point USA personality Drew Hernandez complained that he hadn’t “received a penny and have millions of impressions past 3 months, pay for Twitter Blue, and been activated for Subscriptions.” 

The griping from mid-tier influencers who feel jilted by Musk is not unfounded. According to The Washington Post, plenty of creators are privately irked by what they see as Musk playing favorites and arbitrarily granting monetization to accounts he likes. One anonymous former Twitter executive told the Post that the numbers used to calculate an account’s engagement metrics “are totally and completely bogus” and that it “feels like they’re arbitrarily writing checks to people they like, which is not a sustainable creator strategy.”

“Any kind of content monetization we’ve done in the past was based on a revenue model,” the executive added. “This just feels pulled out of thin air for a specific subset of creators that [Musk] wanted to placate.”

The subject of revenue looms large over Twitter. The company is facing a slew of lawsuits from former employees who claim they are collectively owed millions in severance agreements that Musk never followed through on. On Monday, former employees of Twitter Africa revealed to CNN that the company had “ghosted” them after promising months of severance, and help with relocation expenses and legal fees. 

Trending

On top of the lawsuits, Musk publicly confirmed on Saturday that the company is still experiencing “negative cash flow,” citing a “~50% drop in advertising revenue plus heavy debt load.” 

“Need to reach positive cash flow before we have the luxury of anything else,” Musk wrote.

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Last week, prominent Twitter Blue accounts

Cillian Murphy said during an interview on Marc Maron’s “WTF” podcast that Christopher Nolan’s “Oppenheimer” was made on a relentlessly fast schedule. “We made the movie unbelievably quickly. We made it in 57 days,” the actor revealed. “The pace of that was insane.”

By comparison, Nolan’s World War II survival thriller “Dunkirk” shot for 68 days, and his massive spy movie “Tenet” shot for 96 days. Murphy is front and center in a majority of “Oppenheimer” scenes, making the shorter shooting schedule all the more intense for the actor.

“The sets are huge, but it feels like being on an independent movie,” Murphy added about working with Nolan, which he has been doing for over 20 years now. “There’s just Chris and the cameraman — one camera always, unless there’s some huge, huge set piece — and the boom op and that’s it. There’s no video village, there’s no monitors, nothing. He’s a very analog filmmaker.”

Even though “Oppenheimer” shot for 57 days, which is one of Nolan’s shorter shoots, the film runs three hours and is the longest of the director’s career. The cast and crew lived together in the same hotel during the film’s production, but Murphy never joined his fellow ensemble for dinner due to the intensity of playing the lead role.

“Of course he didn’t want to come and have dinner with us,” Matt Damon recently told People magazine. “He couldn’t. His brain was just too full.”

Emily Blunt reasoned that Murphy did not attend cast dinners because “the sheer volume of what he had to take on and shoulder is so monumental.”

For Murphy, “Oppenheimer” marks the biggest leading role of his film career thus far. That kind of pressure isolated the actor. “You know that when you have those big roles, that responsibility, you feel it’s kind of overwhelming,” he told People.

Nolan and Murphy’s working relationship now includes six movies: Three Batman films, “Inception,” “Dunkirk” and “Oppenheimer.” Notably, the upcoming atomic bomb drama marks Murphy’s first time headlining a Nolan picture in the lead role. He told the Associated Press earlier this year that he “was desperate” to lead a Nolan movie.

“I have always said publicly and privately, to Chris, that if I’m available and you want me to be in a movie, I’m there. I don’t really care about the size of the part,” Murphy said. “But deep down, secretly, I was desperate to play a lead for him.”

“Oppenheimer” opens in theaters July 21 from Universal Pictures.

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Cillian Murphy said during an interview on

For the first time since 1960, both the WGA and SAG-AFTRA(then only the SAG) have simultaneously gone on strike.  While that’s been commonly expressed to every major outlet, there’s a lot to note of such occurrences.  Of course, there are key differences in some of the goals of both; primarily in regards to streaming and AI.  However, the conditions leading to such a dual strike to occur have more similarities than one may expect.  As such, it’s worth comparing the events of both 2023 and 1960, as it could provide an idea of how this could affect the industry moving forward.

History of the 1960 Strike

While a common place in homes now, television was to 1960 what streaming is to 2023.  Being a massive game changer, nearly 45 Million Americans owned a TV in 1960.  From an executive perspective, those in Hollywood saw both the threat, and potential in television.  This especially as the film industry had been in decline throughout the 1950s, despite a few big hits.  This in part was due to the release of many high budget films, which saw little returns, and smaller independent productions, social shifts, and of course, television, providing new competition.

Likewise, writers and actors’ believed residuals should be owed to them if showing their work on television, especially in regards to reruns.  Many executives and producers felt the opposite of this.  As a result, January 16, 1960 saw the WGA go on strike against the ATFP.  SAG, led at the time by Ronald Reagan, followed soon after on March 1.  In total, the strikes lasted 21 weeks, ending with huge victories for both unions.  SAG would get its new contract on April 18, with the WGA following later until June 12.

SAG would manage to gain residuals for any movies made after 1960, and a one-time payment of $2.25 million for use as a pension and health plan for its members.  The WGA meanwhile got a contract which would allow for 4% residual fees for TV reruns, and a 1.2% cut of TV broadcast license fee’s for any movies they wrote, in addition to money used for healthcare and pension.

Looking over all of this, at least in regard to residuals, it’s easy to see the similarities to what is seen today with streaming.  Still, there are a few differences.

Background of the 2023 Strike

 

Raindance

Compared to residuals of television, streaming residuals for both actors and writers are far, far less.  In part as a result of the 2007 strike, subscriber count is how residuals are primarily decided, rather than viewership.  In addition, utilizing fewer episodes for streaming shows leads to reducing the amount of residual writers receiving.  Another issue writer’s face is streamers drastically cutting down the size of writers’ rooms.  These ‘mini-rooms’ make it much harder for up and coming writers to get their foot in the door, as show runners are likely only to focus on getting quality writers, as opposed to those inexperienced.  All in all, streaming is simply a bad deal for writers all around.

Of course, actors don’t have it much better.  For an original streaming program, residual pay is only available for 90 days after going live.  Of course, any residuals that one does receive are often pennies, and in total, may not even make more than a few hundred dollars.  Even big name actors are affected by this, as most of their payment goes towards agents, lawyers, managers, etc.  For up and coming actors, the payment is often so small, they can barely afford to pay for their homes.

Of course, there is a major difference between the 1960 strike and 2023… technology and AI.

The Threat of AI

The Hollywood strike is changing with the vastly expanded ranks of the actors' union joining picket lines.

 

Hollywood is a business.  The ideal business goal, is to make as much money as possible, while spending as little as possible.  AI presents such a frightening opportunity.  Of course, it still has some ways to go, but its potential is clear.  With programs like ChatGPT and AI Actors, major studios would be all too likely to utilize this tech in place of real people, if only for the fact that money doesn’t need to be spent.  The Alliance of Motion Picture and Television Producers(AMPTP) has shown little interest in discussions with both the WGA and SAG-AFTRA in this regard.  Simply put, rather than these studios cutting cost by reducing their unnecessarily high budgets for films that are more likely to under perform, they’d rather cut jobs and fast track technology as a solution.

In the case of writers, studios could simply generate a script, and only hire writers to clean up a script into something usable.  As such, no residuals needed.  Likewise, simply using an actor’s digital likeness means no payment needed, as this actor’s likeness would technically be their property.  It’s easy to understand why many, both in the industry and consumers, find it a terrible prospect.

What’s Next?

The last time the dual strike occurred, it ended mostly in success for writers and actors.  Such a major disruption in the industry was enough to force the hand of producers and executives to meet back for negotiations.  Now, the same may just occur.  Weeks ago, it was indicated that major studios and producers were going to wait out the WGA until they were desperate, perhaps even losing their homes.  With both unions joining forces, and more public support for both writers and actors, it may be enough to force the AMPTP to reconsider negotiations.  Only time will tell, but if 1960 is anything to go by, prospects are promising.

For information on both, check out the websites of SAG-AFTRA and the WGA.

For the first time since 1960, both

CBS is tearing up its fall schedule.

The network has set a new lineup for fall that acknowledges the actors and writers strikes and relies on a mix of unscripted shows, acquired scripted series — including Yellowstone and the British version of Ghosts — and news programming. CBS had previously announced a business-as-usual fall slate ahead of May’s upfronts, despite the fact that writers had already gone on strike against studios and streamers in seeking a new contract.

All that remains of that earlier schedule are expanded, 90-minute episodes of Survivor and The Amazing Race on Wednesday nights and long-running newsmagazines 48 Hours and 60 Minutes in their usual weekend spots. In addition to Paramount Network’s Yellowstone and the U.K. Ghosts, CBS will import SEAL Team — which was formerly a CBS show — and docuseries FBI True from Paramount+ and has added three original unscripted shows: Buddy Games, Lotería Loca and Raid the Cage. Primetime editions of The Price Is Right and Let’s Make a Deal will also help fill out the slate, and summer shows Big Brother and The Challenge: USA will extend into fall.

CBS will air edited episodes of Yellowstone (which freely employs profanity not allowed on broadcast airwaves) on Sunday nights, starting with the show’s first season. In weeks when the network doesn’t have an NFL doubleheader, two episodes will air starting at 8 p.m.; in doubleheader weeks, it will expand 60 Minutes to an hour and a half and have a single Yellowstone at 9 p.m., leading into the Sunday Big Brother.

Game show Lotería Loca, hosted by Jaime Camil, will lead off the week at 8 p.m. Monday nights, followed by NCIS reruns and a to-be-announced Paramount+ original. Big Brother, FBI True and repeats of FBI will air on Tuesdays.

Buddy Games, a competition show hosted by Josh Duhamel and based on summer camp games, will follow Big Brother on Thursdays in the early fall, with The Challenge: USA completing the night. Once those three shows finish, repeats of Young Sheldon and Ghosts will lead into an hour of the British Ghosts (which is the source material for the network’s hit) and SEAL Team.

The Price Is Right at Night and Let’s Make a Deal Primetime will share the 8 p.m. Friday slot, leading into Raid the Cage and encores of Blue Bloods.

CBS’ revised fall schedule below; all times are ET/PT. Premiere dates will be announced later.

Monday
8 p.m.: Lotería Loca
9 p.m.: NCIS reruns
10 p.m.: Paramount+ original TBD

Tuesday
8 p.m.: Big Brother
9 p.m.: FBI True
10 p.m.: FBI repeats

Wednesday
8 p.m.: Survivor
9:30 p.m.: The Amazing Race

Thursday (early fall)
8 p.m.: Big Brother
9 p.m.: Buddy Games
10 p.m.: The Challenge: USA

Thursday (late fall)
8 p.m.: Young Sheldon reruns
8:30 p.m.: Ghosts reruns
9 p.m.: Ghosts (U.K. series)
10 p.m.: SEAL Team

Friday
8 p.m.: The Price Is Right at Night/Let’s Make a Deal Primetime
9 p.m.: Raid the Cage
10 p.m.: Blue Bloods reruns

Saturday
8 p.m.: Encores/sports
10 p.m.: 48 Hours

Sunday (NFL singleheader weeks)
7 p.m.: 60 Minutes
8 p.m.: Yellowstone (two episodes)
10 p.m.: Big Brother

Sunday (NFL doubleheader weeks)
7:30 p.m.: 60 Minutes
9 p.m.: Yellowstone
10 p.m.: Big Brother

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CBS is tearing up its fall schedule. The

It seemed the whole world watched when Billie Jean King defeated Bobby Riggs. When LeBron James went for the all-the scoring record, even non-NBA viewers were caught up in the chase. And just about every punch in Muhammed Al’s decorated career was chronicled for the world’s enjoyment.

When it comes to the sports world’s biggest, most dramatic moments, there is a certain larger-than-life theatricality to the athletes and their work that many have long tried to capture onstage — often to mixed results.

So far, plays about, well, players have had mixed critical and commercial success. “Rocky the Musical” was a financial failure, known, in the end, for its set, which in the final act featured a boxing ring that extended out into the orchestra. “At last, after two lackluster hours, ‘Rocky’ finally delivers suspense, excitement, drama!” TheWrap’s Robert Hofler wrote at the time. 

But such misfires as “Rocky” 10 Broadway seasons ago haven’t deterred theater makers from continuing to zero in on some of sports’ greatest figures — and times might be changing for the better, at least if this past season is evidence. Audiences just filled the La Jolla Playhouse for a show called “Love All,” about the life of Billie Jean. And they flocked to the Kirk Douglas Theater in Culver City, where Debbie Allen directed Will Power’s play, “Fetch Clay, Make Man” — both of which wrapped their runs earlier this month. The latter drama is about the boxer Cassius Clay, who would become Muhammed Ali, and a little-known friendship he enjoyed. “King James,” which recently played at Off Broadway’s Manhattan Theatre Club, tells a story about NBA royalty, as in King LeBron James. 

Fortunately, those are all plays helmed by top playwrights who realize the limitations of the sports stage genre. Producer Harriett Leve’s coup was landing Anna Deavere Smith (“Twilight”) to write “Love All.” Smith cleverly divided the play into vignettes from key decades: Billie Jean as a child with a big serve and bigger ambitions; Billie Jean as a six- time Wimbledon singles champion; Billie Jean as the main proponent behind Title 9; and Billie Jean as a founder of The Women’s Tennis Association, which gave professional women equal pay. Little is left out, including her complicated relationship with her sexuality.

In “Fetch Clay, Make Man,” the script by Will Power (who New Y0rk Magazine heralded as “the best verse playwright in America”) explores the improbable bond that formed between Cassius Clay and vaudevillian, comedian and actor Stepin Fetchit as the boxer prepared for one of his biggest fights — two men remembered as drastically different and influential cultural icons of the 1960s. (Ironically, “Fetch Clay, Make Man” was commissioned by LeBron James’ Spring Hill company). 

“Years ago, I saw a book about Muhammed Ali in an African American bookstore,” Power told TheWrap of his deep-dive on his subject. “There was a photo of him with Stepin Fetchit. One was the epitome of manhood, the other who played stereotypes that denigrated our race. But in the book, he was named Ali’s ‘secret strategist.’” 

Allen — one of our great choreographers — said the project grabbed her immediately as a director. “I had no idea about this story and this relationship,” she said, “but mostly, the writing was so extraordinary. It sings like a song. The issues it deals with — race, identity and religion, are the fabric of everything we talk about today. And hey, what are basketball and boxing but forms of dancing?”

It seems the staged sports dramas that work are ones that move beyond the scoreboard. Pulitzer Prize finalist Rajiv Joseph (“Bengal Tiger at the Baghdad Zoo”) has taken “King James” from Chicago to Los Angeles to New York. A native of Cleveland, he didn’t feel a bio-play of James would be adequate, so it became a play about a male friendship centered on James and his sport. 

“LeBron was a presence in my life for some 20 years,” Joseph said. “I was interested in his impact on the city and how it erupted when he came, when he left, when he returned. His is a tempestuous and yes, dramatic, story.”

One of the two leads (the second being “Abbott Elementary” star Chris Perfetti) was Glenn Davis, an actor who also serves as the artistic director of Chicago’s famed Steppenwolf Theatre. He believes basketball is not inconsequential in the show, but that it represents a lot more than the action on the court. 

“It is also about a particular brand of fandom,” he said. “People come to blows over sports, but they may in fact be expressing other things. People change religions more often than teams.”

Any successful sports stage drama should be taking notes from Broadway’s Tony-winning “Take Me Out.” Getting men and women alike to commit to an athletic-based show can be a challenge, but that was not an issue for Richard Greenberg’s play, which recently finished its third Broadway run. 

A clever, touching piece about a baseball star’s revelation that he’s gay, “Take Me Out” also spotlighted the other side of the sports field — the locker room. Audiences had to check phones before entering the theater due to full-frontal male nudity. It served as a scintillating promise for curious theatergoers — but ultimately acted as a Trojan horse for its themes of acceptance, which any non-sports fan could relate to. 

And how about those Yankees? We’ve had some regrettable Broadway bombs centered on the Big Apple’s hometown team — the less said of 2014’s four-week run of “The Bronx Bombers,” the better. But arguably the most successful sports-related production in history was “Damn Yankees,” which won Best Musical and was adapted many ways, many times. It dealt with a rabid fan who literally sold his soul to the Devil to see his team win. 

Hopefully, theater folks with dreams of making sports stories relatable and successful, won’t have to sell their souls, too. 

Michele Willens reports on theater and hosts “Stage Right… or Not” on an NPR affiliate.

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It seemed the whole world watched when

Judith James, producer of “Quiz Show” and “Mad Dog Time” and Richard Dreyfuss’ longtime collaborator, died in Santa Barbara after a bout with cancer. She was 86.

James’ friend, Alex. B Block, confirmed the news to Variety.

James’ was an accomplished producer who worked alongside Dreyfuss on projects including “Funny, You Don’t Look 200: A Constitutional Vaudeville,” “Prisoner of Honor” and “The Lightkeepers.”

“From the minute I met Judy James at the Mark Taper Forum, I knew I had found someone who had the same passion for storytelling that I did,” Dreyfuss said in a statement. “In all the years we were producing partners, we were of like mind, not gender, and we always found a way to agree and wouldn’t have done anything without each other’s approval. She was a wonderful woman and a great friend.”

James was born in Worcester, Mass., and graduated from Vassar College in 1959 before moving to New York to work in theater. There, she produced the 1963 off-Broadway play “In White America,” which won a Drama Desk prize.

She would go on to work on various television series including “The Brotherhood of Justice,” “American Playhouse” and “Eleanor: In Her Own Words,” with the latter earning her an Emmy nomination. 

James was married to Billy James, the American publicist whose clientele included Bob Dylan, Jackson Browne and the Doors. The couple was married from the 1960s until their divorce in 1982.

James’ first collaboration with Dreyfuss came with the 1987 documentary “Funny, You Don’t Look 200: A Constitutional Vaudeville,” which she also co-wrote. She executive produced “Quiz Show,” which nabbed four Oscar nominations, and joined Dreyfuss on “Mr. Holland’s Opus,” which landed him an Oscar nomination. 

Aside from film and television, James produced “Having Our Say: The Delaney Sisters’ First 100 Years,” which starred Mary Alice and Gloria Foster in a production partnership with Camille Cosby. 

She was a member of Women in Film and helped the organization form a partnership with General Motors in support of women filmmakers. James also taught classes at UCLA and Santa Barbara City College. 

James is survived by her son, Jackson James; daughter-in-law, Caroline; granddaughter, Josie; and stepson, Mark.

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Judith James, producer of “Quiz Show” and

Last Updated: July 17, 2023, 21:58 IST

Ileana D’Cruz shares photo with BF; Karan Johar takes a dig at Katrina Kaif’s Merry Christmas

From Ileana D’Cruz finally revealing her boyfriend amid pregnancy to Karan Johar taking a dig at Katrina Kaif’s Merry Christmas release date clashing with Sidharth Malhotra’s Yodha, here are the biggest headlines of the day.

Last month, Ileana D’Cruz finally shared the first picture of her boyfriend. Taking to Instagram, the pregnant actress shared a black-and-white photo of the couple. The silhouette like frame helped Ileana to keep his identity under the wraps. Now, she has posted pictures with her alleged beau and captioned the photos, “Date night”. Fans couldn’t help but notice that the man in the photos had an eerie resemblance with the man whose silhouette she had earlier shared. Check out the photo here:

For More: Ileana D’Cruz FINALLY Shares 1st Photo With Boyfriend Amid Pregnancy; Know Who He Is

Karan Johar seems upset with Katrina Kaif-Vijay Sethupathi starrer Merry Christmas clashing with Sidharth Malhotra’s Yodha. The latter is backed by Dharma Productions. The actor took to the newly launched social media platform, Threads, to pen a cryptic note expressing his displeasure of films announcing a clashing release date without informing in advance. The note comes just hours after it was announced that Merry Christmas will release on December 15, the same day as Yodha.

For More: Karan Johar Takes Dig At Katrina’s Merry Christmas Over Yodha Clash: ‘Without Courtesy of Call…’

Alia Bhatt, who is all set to make her Hollywood debut with Heart Of Stone, has reportedly joined YRF’s spy universe. The Bollywood actress will be headlining the first female-led spy film in the spy universe created by Aditya Chopra. According to the sources close to the entertainment portal Bollywood Hungama, Alia Bhatt will play a de-glam hero not constrained by gender stereotypes. The source told the portal, “Alia will play a gender-free spy.

For More: Alia Bhatt To Play A Gender-Free Spy In Yash Raj’s Spy Universe? Here’s What We Know

Kajol has taken the internet by storm with her kissing scenes in her new web series The Trial: Pyaar, Kanoon, Dhokha. In the show, Kajol her co-stars Ally Khan and Jisshu Sengupta. The Trial revolves around a housewife, played by Kajol, who is forced to take full responsibility of her family after her husband (Jisshu) is jailed over a sex scandal. Ally plays Kajol’s ex-lover from college. While Kajol has been receiving rave reviews for The Trial, her kissing scenes with Jisshu and Ally have been leaked on the internet.

For More: Kajol Breaks 29-Year-Old ‘No Kiss’ Policy for Ajay Devgn’s The Trial, Video Goes Viral

Kiara Advani confessed she was affected by the negativity that surrounded SatyaPrem Ki Katha ahead of its release and Sidharth Malhotra stepped in to support her. The actress starred with Kartik Aaryan in the film and ahead of the film’s release, the film and Kiara were subjected to trolling. While the film faced flak for the remake of Pakistani hit song Pasoori, Kiara tackled naysayers online after she shared stills from the movie in which she was seen decked up as a bride and sitting at a mandap with Kartik.

For More: Kiara Recalls Crying Over ‘Negativity’ Around SatyaPrem Ki Katha: ‘Sidharth Told Me, What’s Wrong…’

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Last Updated: July 17, 2023, 21:58 ISTIleana

According to new info, MCU fans will not have to wait much longer for Guardians of the Galaxy Vol. 3‘s Disney+ debut. 

The Phase 5 blockbuster and third and final film of the Guardians of the Galaxy trilogy just became available for digital purchase on July 7 and is expected to drop on Blu-ray, DVD, and 4K Ultron HD on Tuesday, August 1. 

With Disney changing its release strategy, the question now is when should audiences expect Vol. 3 to begin streaming on Disney+. 

When Will Disney+ Start Streaming Guardians of the Galaxy 3?

Marvel

A new promo released by Disney+ and Marvel Studios revealed when Guardians of the Galaxy Vol. 3 will start streaming on Disney+. 

The brief teaser lists the threequel’s Disney+ debut as Wednesday, August 2, 89 days after its theatrical release. 

The announcement trailer came alongside a new poster for the movie that also sports that August 2 release date.

Guardians 3
Marvel Studios

This comes after Guardians director James Gunn had hinted that it would be some time before Vol. 3 hit the streaming service. In an Instagram comment, responding to a fan who asked about the film’s streaming launch, Gunn remarked “Not for a little while.”

What Guardians 3’s Disney+ Release Means For Disney?

This Guardians 3 release date comes amid Disney’s reshuffling of how it does its streaming release.

Gone are the days of the studio putting its latest blockbusters on Disney+ less than 50 days after release. 

The initial change in Disney’s home release and streaming strategy not only lines up with Marvel Studios’ transition from Phase 4 to Phase 5 but also the return of former Disney CEO Bob Iger in place of the streaming-focused Bob Chapek. 

And with so many changes from the studio, it has been hard to predict when its big-screen blockbusters would come to Disney+

However, this August 2 date may be the start of a new precedent for Disney (or at least Marvel Studios) releases. It comes one day after the threequel’s physical release date, exactly as the studio did with fellow Phase 5 threequel, Ant-Man and The Wasp: Quantumania.

This was a first since, prior to Ant-Man 3, Marvel Studios films had become available for streaming the same day as their digital purchase.

While so much remains in flux when, as Disney retools its Disney+ strategy, these two releases, may be a first glimpse at what the studio’s Marvel Studios release plans will look like going forward. 

Guardians of the Galaxy Vol. 3 is now available for digital purchase. 

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One of the most-watched series on Max, The Sex Lives of College Girls, is about to go through some major changes. The gifted actress and singer Renée Rapp, who is most known for playing Leighton Murray in the Mindy Kaling-created comedy, has announced her resignation from the project.


Rapp shared this information with her followers on social media and thanked everyone from the bottom of her heart for the experience, and the enormous influence that playing Leighton has had on her life.

In a sincere and emotional post on Instagram, Rapp wrote,

“College girls moved me out to L.A. and introduced me to some of my favorite people. Two and a half years later—it’s given me y’all and this community. Thank you, Mindy, Justin, and everyone at Max for believing in me.”

She emphasized the significance of Leighton as a representation of queer identity and how the role has personally transformed her. Rapp also expressed her excitement for the upcoming season, hinting at surprises in store for Leighton and the rest of the girls.


Renée Rapp Is Leaving The Sex Lives of College Girls to Focus on Her Music Career

HBO

The Sex Lives of College Girls’ Rapp has left the show, marking the end of her tenure as a series regular. Rapp’s depiction of Leighton, a legacy student at the fictitious Essex College, struggling under the weight of her mother’s expectations throughout the course of the first two seasons, resonated with viewers and received excellent praise.

The departure aligns with Rapp’s burgeoning music career as she prepares for her Snow Hard Feelings Tour, a promotional endeavor for her highly anticipated album, Snow Angel, scheduled for release on August 18. The tour will span from September 25, 2023, to March 4, 2024, taking Rapp on a journey across various cities and countries. Variety has reported that Rapp will make recurring appearances during the third season before bidding a final farewell to the show.

Related: Max: Which HBO Originals Could Come to Netflix?

Mindy Kaling, the mind behind The Sex Lives of College Girls, expressed her unwavering support for Rapp’s new ventures through her Instagram Story. Kaling’s words echo the bittersweet sentiment surrounding Rapp’s departure from the show. Apart from her stellar performance in the series, Rapp has been making waves in the music industry.

She inked a deal with Interscope Records last year and released her debut EP, Everything to Everyone, in November. Her upcoming album, Snow Angel, is eagerly anticipated by fans. Additionally, Rapp has been cast as Regina George in the movie musical adaptation of the iconic Mean Girls.

Fans of The Sex Lives of College Girls have expressed intense desire in response to Leighton Murray’s departure and the tangible anticipation for the impending release of the highly anticipated third season. They long for the engrossing tapestry of stories that have grown intimately entwined with the very heart of this program to continue inexorably in the upcoming episodes.

The series promises to dig further into the perplexing world of collegiate living, delicately probing the ever-shifting interplay of camaraderie and self-exploration as the various individuals prepare themselves for new challenges and set out on personal odysseys of progress.

What Is The Sex Lives of College Girls About?

The Sex Lives of College Girls, Mindy Kaling, and Justin Noble’s great creation, has received a ton of praise for accurately portraying the complex tapestry of college life. This outstanding series deftly conveys the nuanced relationship dynamics, the sexual experimentation, and the profound path of human development while deftly fusing relatability and comedy in perfect harmony. The program has unquestionably carved itself a special place in fans’ hearts, solidifying its status as a beloved jewel with its thunderous critical acclaim and unwavering popular support.

Related: Best TV Series Coming to Max in July 2023

Leighton Murray is being departed by fans, but they may take comfort in knowing that the first two seasons are still available to watch on Max. Leighton’s departure has an evident impact, but the story never stops delving into the complex web of the surviving identities. Enter the mysterious Kimberly, played by Pauline Chalamet’s unbridled talent, the enigmatic Bela, depicted by Amrit Kaur’s fascinating talent, and the seductive embodiment of Whitney, courtesy of Alyah Chanelle Scott’s enchanting talent.

This television production submerges viewers in the confusing world of college life while delicately examining the struggles associated with forming relationships, self-discovery, and the ongoing transformation of the academic environment.

Rapp’s departure is accompanied by a combination of thanks, joy, and optimism for her musical career and next film role. Fans may still enjoy the previous two seasons of the program and enthusiastically look forward to the future advancements and evolution of the remaining characters as they prepare for Leighton’s departure. The Sex Lives of College Girls maintains viewers’ attention with its accurate depiction of college life, and the upcoming season promises more exploration and amusement.

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One of the most-watched series on Max,

Ubisoft isn’t currently planning to release Assassin’s Creed Mirage DLC.

That’s according to the game’s creative director, Stéphane Boudon.

“For now, Mirage has no plan for DLC or extensive post-launch [support],” he said during a recent Reddit AMA.

Mirage’s development is being led by Ubisoft Bordeaux, the studio behind the Wrath of the Druids expansion for Assassin’s Creed Valhalla.

Billed as a love letter to the original Assassin’s Creed, gameplay is focused on parkour, stealth and assassinations, marking a return to the action-adventure style of games released prior to the more expansive RPG-style series entries Origins, Odyssey and Valhalla.

Ubisoft showed off eight minutes of Assassin’s Creed Mirage gameplay last month.

The game is scheduled to release on October 12, 2023, for PC, PlayStation and Xbox consoles.

Ubisoft revealed the future roadmap for the Assassin’s Creed franchise last September.

It said the next two flagship games after Mirage, codenamed Red and Hexe, would be released as part of the new Infinity franchise hub, the live service initiative announced in 2021.

Red, which is being made by Odyssey developer Ubisoft Quebec and has the same creative director, will begin what Ubisoft is calling “period three” in the Assassin’s Creed series, which has sold over 200 million copies since it launched in 2007, according to its publisher.

Ubisoft is reportedly targeting a 2024 release for Assassin’s Creed Codename Red.

An Assassin’s Creed Codename Jade beta will launch for Android and iOS on August 3, it was announced today.