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Marvel Studios' Black Panther Activity Packet
ACTIVITY PACKET Created in Partnership with Disney’s Animals, Science and Environment CONTENTS: Welcome to Wakanda 4 Meet the Characters 5 The Mantle of Black Panther 6 The Strength of Nature 8 Zuri’s Wisdom 10 Shuri’s Technology Hunt 12 Horns & Heroes 14 Acknowledgments Disney’s Animals, Science and Environment would like to take this opportunity to thank the amazing teams that came together to develop the “Black Panther” Activity Packet. It was created with great care, collaboration and the talent and hard work of many incredible individuals. A special thank you to Dr. Mark Penning for his ongoing support in developing engaging educational materials that arvel Studios’ “Black Panther” follows T’Challa who, after the death of his father, the connect families with nature. These materials would not have happened without the diligence and King of Wakanda, returns home to the isolated, technologically advanced African nation dedication of Kyle Huetter who worked side by side with the filmmakers and educators to help M create these compelling activities and authored the unique writing found throughout each page. to succeed to the throne and take his rightful place as king. But when a powerful old enemy A big thank you to Hannah O’Malley, Cruzz Bernales and Elyssa Finkelstein whose creative reappears, T’Challa’s mettle as king—and Black Panther—is tested when he is drawn into a thinking and artistry developed games and crafts into a world of outdoor exploration for the superhero in all of us. Special thanks to director Ryan Coogler and producer Kevin Feige, formidable conflict that puts the fate of Wakanda and the entire world at risk. -
Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off. -
Alan Horn Chairman, the Walt Disney Studios the Walt Disney Company
Alan Horn Chairman, The Walt Disney Studios The Walt Disney Company As Chairman of The Walt Disney Studios, Alan Horn oversees worldwide operations for The Walt Disney Studios including production, distribution, and marketing for Disney, Walt Disney Animation Studios, Pixar Animation Studios, Disneynature, Marvel Studios, and Lucasfilm, as well as Twentieth Century Fox Film, Fox Family, Fox Searchlight, Fox 2000, and Blue Sky Studios following The Walt Disney Company’s 2019 acquisition of 21st Century Fox. He also oversees Disney’s music and theatrical groups. Under Horn’s leadership, The Walt Disney Studios has set numerous records at the box office with global smash hits including Disney’s live-action “Beauty and the Beast” and “The Jungle Book”; Walt Disney Animation Studios’ “Frozen” and “Zootopia”; Pixar’s “Finding Dory,” “Coco,” and “Incredibles 2”; Marvel Studios’ “Avengers: Infinity War,” “Black Panther,” and “Captain Marvel”; and Lucasfilm’s “Star Wars: The Force Awakens,” “Rogue One: A Star Wars Story,” and “Star Wars: The Last Jedi,” among others. Prior to joining The Walt Disney Studios in 2012, Horn served as President and COO of Warner Bros., leading the studio’s theatrical and home entertainment operations, including the Warner Bros. Pictures Group, Warner Bros. Theatrical Ventures, and Warner Home Video. During Horn’s tenure from 1999 to 2011, Warner Bros. was the top-performing studio at the global box office seven times and released numerous critically acclaimed films and box office hits including the eight-film Harry Potter series, “Batman Begins,” “The Dark Knight,” “Charlie and the Chocolate Factory,” “Happy Feet,” “Sherlock Holmes,” “The Departed,” “Million Dollar Baby,” the second and third Matrix films and the Ocean’s Eleven trilogy. -
Marvel Entertainment LLC FACT SHEET
Marvel Entertainment LLC FACT SHEET FOUNDED PRODUCTS & SERVICES June 1998 Publishing: comics, trade paperbacks, advertising, custom project HISTORY • Licensing: portfolio of characters (Food, cloth, accessories, and more) Marvel Entertainment, LLC was formerly and toy licensing and production known as Marvel Enterprises, Inc. and • Film Production: motion pictures, changed its name to Marvel Entertainment, direct to videos, television, and video LLC in September 2005. As of December 31, games 2009, Marvel Entertainment, LLC operates as a subsidiary of The Walt Disney WEBSITE Company. www.marvel.com CORPORATE PROFILE AWARRDS Headquarter: Oscar Awards New York City, New York Nominations Annual Revenue Iron Man (2008) Disney Studio Entertainment 2014 Revenue: • Best Visual Effects 7,278 million • Best Sound Editing Iron Man 2 (2010) Number of Employees: • Best Visual Effects Over 250 employees The Avengers (2012) • Best Visual Effects MISSION STATEMENT Iron Man 3 (2013) • Best Visual Effects Our mission to expand enables our legends Captain America: The Winter Solider like Thor and The X-Men to come to life in (2014) unexpected ways. We also want to resonate • Best Visual Effects with people today and to evolve with X-Men: Days of Future Past (2014) generations to come. • Best Visual Effects Guardians of the Galaxy (2014) LEADERSHIP • Best Visual Effects • Best Makeup and Hairstyling Isaac Perlmutter CEO Learn more about Marvel Entertainment’s numerous awards at Alan Fine http://marvel.disneycareers.com/en/about-marvel/over President view/ Kevin Feige President of Production – Marvel Studios MARVEL CINEMATIC UNIVERSE PHASES POSITION See Official Timeline for Phase 1 to Phase 3 - FORTUNE named Marvel one of the on the next page. -
Captain Marvel Lands on the New Cover of Disney Twenty-Three
CAPTAIN MARVEL LANDS ON THE NEW COVER OF DISNEY TWENTY-THREE BRIE LARSON GOES HIGHER, FURTHER, AND FASTER FOR A BEHIND-THE-SCENES LOOK AT THE MAKING OF THE THRILLING NEW MARVEL STUDIOS FILM PLUS, D23 TAKES READERS UNDER DUMBO’S BIG TOP; AVENGERS: ENDGAME DIRECTORS ANTHONY AND JOE RUSSO TEASE WHAT’S IN STORE FOR EARTH’S MIGHTIEST HEROES; AND ANT-MAN AND THE WASP ARE READY TO BATTLE HYDRA IN THE NEWEST ATTRACTION AT HONG KONG DISNEYLAND BURBANK, Calif. – February 14, 2019 – This March, Marvel Studios’ epic new adventure Captain Marvel flies into theaters, and Disney twenty-three was on set during production. The new movie explores the origin story of Carol Danvers, who just might be the most powerful Super Hero ever. Stars Brie Larson and Samuel L. Jackson talk about making this groundbreaking film, as well as how they have become good friends—Jackson loves to show off the impressive iPhone video Larson sent him of the grueling training she endured to transform into the courageous character. Plus, every copy of Disney twenty-three, which is delivered to Gold Members of D23: The Official Disney Fan Club, will include an exclusive poster highlighting 10 amazing characters moviegoers will meet when the film opens in March. That’s not all the Marvel Universe has to offer in the Spring issue. Avengers: Endgame directors Anthony and Joe Russo preview what fans can expect in the follow-up to last year’s smash hit, Avengers: Infinity War. Marvel Studios’ executive vice president of production, Victoria Alonso, opens the doors to her impressive office. -
Female Representation in the Marvel Cinematic Universe
Volume 10 Issue 2 (2021) AP Research Superheroines and Sexism: Female Representation in the Marvel Cinematic Universe Folukemi Olufidipe1, Ms. Yunex Echezabal1 1Doral Academy Charter High School, Miami, FL, USA DOI: https://doi.org/10.47611/jsrhs.v10i2.1430 ABSTRACT The Marvel Cinematic Universe (MCU) is the highest-grossing film franchise of all time and since the premiere of Iron Man in 2008, it has risen to fame as a source of science-fiction entertainment. Sexism in the film industry often goes brushed aside but the widespread success of Marvel Studios calls attention to their treatment of gender roles. This paper explores the progression of six female superheroes in the MCU and what effect feminist movements have had on their roles as well as upcoming productions in the franchise. This paper used an interdisciplinary, mixed- methods design that studied movie scripts and screen time graphs. 14 MCU movies were analyzed through a feminist film theory lens and whenever a female character of interest was chosen, notes were taken on aspects including, but not limited to, dialogue, costume design, and character relationships. My findings showed that females in the MCU are heavily sexualized by directors, costume designers, and even their male co-stars. As powerful as some of these women were found to be, it was concluded that Marvel lacks in female inclusivity. Marvel’s upcoming productions, many of which are female-focused, still marginalize the roles of their superheroines which is a concern for the future of the film industry. Marvel is just one franchise but this study shows how their treatment of female characters uphold patriarchal structures and perpetuate harmful stereotypes that need to be corrected in the film industry as a whole. -
Iron Man 3 Notes
ADVANCE rom Marvel Studios comes “Iron Man 3,” which continues the epic, big-screen adventures of the world’s favorite billionaire-inventor-Super Hero, Tony Stark aka FIron Man. Marvel’s “Iron Man 3” pits brash-but-brilliant industrialist Tony Stark/Iron Man against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man? Based on the ever-popular Marvel comic book Super Hero Iron Man, who first appeared on the pages of “Tales of Suspense” (#39) in 1963 and had his solo comic book debut with “The Invincible Iron Man” (#1) in May of 1968, “Iron Man 3” returns Robert Downey Jr. (“Sherlock Holmes: A Game of Shadows,” “Tropic Thunder”) as Tony Stark, the iconic Super Hero, along with Gwyneth Paltrow (“Thanks for Sharing,” “Contagion”) as Pepper Potts, Don Cheadle (“Flight,” “Hotel Rwanda”) as James “Rhodey” Rhodes, Guy Pearce (“The Hurt Locker,” “Memento”) as Aldrich Killian, Rebecca Hall (“The Prestige,” “The Town,”) as Maya Hansen, Jon Favreau ( “Identity Thief,” “People Like Us”) as Happy Hogan and Ben Kingsley (“Schindler’s List,” “Gandhi,”) as The Mandarin. -
Activision and Marvel Entertainment Expand Alliance and Extend Interactive Rights for Spider-Man and X-Men Franchises; Deal Extends Relationship Through 2017
Activision and Marvel Entertainment Expand Alliance and Extend Interactive Rights for Spider-Man and X-Men Franchises; Deal Extends Relationship Through 2017 SANTA MONICA, Calif. & NEW YORK, Nov 11, 2005 (BUSINESS WIRE) -- Activision, Inc. (Nasdaq: ATVI) and Marvel Entertainment, Inc. (NYSE: MVL) jointly announced today that the companies have expanded their long-term, broad-based strategic alliance by signing a multi-year extension to their current video game licensing agreements for the Spider-Man(TM) and X-Men(TM) franchises through 2017. This agreement replaces all previous agreements between the companies. Under the terms of the agreement, Activision has extended its exclusive worldwide publishing rights to two of Marvel's most renowned comic book properties for interactive entertainment software products for console, PC and handheld platforms. The original agreements were set to expire in 2009. Activision's Spider-Man and the X-Men video games rank among the company's most successful franchises, having sold more than 25 million units across all platforms to date. "This announcement further underscores the strength of our relationship with Marvel and reinforces our leadership position in the superhero genre," states Mike Griffith, President and CEO, Activision Publishing, Inc. "Spider-Man and the X-Men are two of the most popular entertainment franchises today and some of the most coveted characters in interactive entertainment. This agreement will allow us to continue developing exceptional games based on these legendary characters well into the future." Tim Rothwell, Worldwide President, Consumer Media Group, Marvel Entertainment, added, "The interactive entertainment category continues to be one of Marvel's key strategic categories. -
The Walt Disney Studios Presents Upcoming Film Slate from Disney, Pixar, Marvel, and Lucasfilm at D23 Expo 2017
THE WALT DISNEY STUDIOS PRESENTS UPCOMING FILM SLATE FROM DISNEY, PIXAR, MARVEL, AND LUCASFILM AT D23 EXPO 2017 ‘Celebration of an Animated Classic: The Lion King’ Event Announced BURBANK, Calif., June 27, 2017 – The Walt Disney Studios presents an exclusive look at its unparalleled film slate at D23 Expo 2017 in Anaheim, California, taking place July 14–16. At two marquee Hall D23 presentations, the Studio will give fans a behind-the-scenes glimpse at its upcoming releases, with animated films from Walt Disney Animation Studios and Pixar Animation Studios showcased on Friday, July 14, and live-action projects from Disney, Marvel Studios, and Lucasfilm taking the stage on Saturday, July 15. Disney, Pixar, Marvel, and Lucasfilm are responsible for some of the world’s biggest movie hits, including recent blockbusters such as Disney’s Beauty and the Beast, Pirates of the Caribbean: Dead Men Tell No Tales, and The Jungle Book; Walt Disney Animation Studios’ Zootopia and Moana; Pixar Animation Studios’ Inside Out, Finding Dory, and Cars 3; Marvel Studios’ Guardians of the Galaxy Vol. 2, Doctor Strange, and Captain America: Civil War; and Lucasfilm’s Star Wars: The Force Awakens and Rogue One: A Star Wars Story. While the films to be featured in Hall D23 will remain under wraps until showtime, the Studio’s upcoming slate includes Pixar’s Coco; Marvel Studios’ Thor: Ragnarok, Black Panther, and Avengers: Infinity War; Lucasfilm’s Star Wars: The Last Jedi; Disney’s A Wrinkle in Time and Mary Poppins Returns; Walt Disney Animation Studios’ Ralph Breaks the Internet: Wreck-It Ralph 2; and more. -
Wakanda Rising: Black Panther and Commodity Production in the Disney Universe
Wakanda rising: Black Panther and commodity production in the Disney universe > Shenid Bhayroo Department of English, St Joseph’s University Philadelphia, Philadelphia, United States of America [email protected] ABSTRACT This article examines the superhero film Black Panther as a cultural commodity produced and distributed within an industrial capitalist system. The film has not only generated millions of dollars for the Disney Company, but has also stoked collective imaginations and energised the agency of audiences with its portrayal of the Afrofuturistic utopia, the kingdom of Wakanda, untouched by the ravages of colonialism and ruled by benevolent leaders endowed with superpowers. The film, is currently ranked first in terms of its lifetime gross revenues in the categories of comic book adaptation and superhero film and is the most successful of the Marvel Cinematic Universe characters’ films so far. Black Panther’s many firsts in the superhero genre reflect its non-financial feats: first to feature an almost entirely Black cast; first top-grossing film with an almost entirely Black cast; and biggest debut for an African American director (Disney 2018a). I demonstrate that while Black Panther showcases the work of African American filmmakers, storytellers and artists, and recognises Afrofuturism narratives, the film is also a commodity that sustains the system that produced it. Recognising and establishing the connections between commodity, cultural production and economics also offers a chance to identify opportunities for counter-hegemonies and challenges to the systemic erasure of Afro-histories. Keywords: Afrofuturism; Black Panther; commodity; Walt Disney Company; Marvel Comic Universe; political economy. Number 33, 2019 ISSN 2617-3255 page 01 of 20 DOI: http://dx.doi.org/10.17159/2617-3255/2018/n33a3 Creative Commons Attribution 4.0 International (CC BY 4.0) Introduction On 16 February 2018, four months after its record-setting opening weekend in the United States, global box office receipts forBlack Panther reached $1.4 billion. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
Transcript for #Talkdaredevil Episode 3: the Future of Mature Marvel TV
Transcript for #TalkDaredevil Episode 3: The Future of Mature Marvel TV VOICEOVER: You're listening to #TalkDaredevil, the official podcast of the Save Daredevil campaign. PHYLLIS: Hey, everybody. Welcome back to a new episode of our new Daredevil podcast, #TalkDaredevil. I am super-stoked to be joined by some different members of our team. I'll start off by introducing myself again. I'm Phyllis. You've heard me on the first two episodes, and I’m going to let the rest of the team introduce themselves now. KACEY: Hi, I'm Kacey. RHIANNON: Hey, I'm Rhiannon. You may have heard me before on other podcasts talking about Daredevil and all things Marvel, mostly at Marvel News Desk. KRISTINA: Hey, I'm Kristina. You might have seen me if you've seen our Team Save Daredevil panel from Save Daredevil Con. PHYLLIS: And today we are coming together to talk about the future of mature Marvel TV. Obviously, there's been a lot of changes at Disney, at Marvel, and obviously with this whole campaign's existence. We are doing a lot of work to try to figure out what's going to be the best way to see our show come back. But we're going to maybe take a quick break from just talking Daredevil and have a fun discussion about what we all want to see coming from Marvel, specifically with the mature content. So I think a good place for us to start would be looking back at what we did get from the previous age of mature Marvel.