drotto

I think current laws suggest that an individual owns their likeness and voice, so in essence we are all our own personal IP's. As such companies can not use them without permission. As such, the actors union should insure that companies can not sneak any language counter to that in any stock contracts. If anyone elects to sell their personal IP with full knowlwdge, that is one them.

And to think, how much time the media spent accusing fans of review bombing. Best conspiracy I heard was the critic scores for Dinsey films started dropping, when Disney started to run out of money.

I know comic adjacent not comics. I am seeing surprisingly good response to this show, but am reluctant to watch after the disaster that was Cowboy Bebop. Is anyone watching?

This is a poop show.

Sorry missed it.

https://www.vulture.com/article/rotten-tomatoes-movie-rating.html

Rotten Tomatoes is being accused of paying critics for positive reviews. This could explain the multitude of critics from websites that nobody has ever heard of. Also if these smaller movies are getting this treatment, I am sure the big studios are doing it also. So does the tomatoe mean anything? https://www.ign.com/articles/rotten-tomatoes-under-fire-after-pr-firms-scheme-to-pay-critics-for-positive-reviews-uncovered?utm_campaign=trueAnthem%3A+Trending+Content&utm_medium=trueAnthem&utm_source=facebook&fbclid=IwAR13Q-619DN6bzRitxZ9FHdX1IE9ouhGUwkbMWZTDQvVLe2BJn4Bnfg-ZqM

I have a big issue with the Ahsoka ans Sabine relationship. I watched all of Rebels, and the two of them did not seem to have any special relationship other than she was part of the crew. No training was ever shown or even implied. I can not even recall them having any personal or one on one conversations. So the master and apprentice relationship makes no sense as it was never established. Not to mention Sabine was never even hinted at having any force ability. I do also understand the motivation for Sabine you are referring too. This for me falls into the catagory of it would have been better to show it, and not have it put in as one line. Overall, the show is good not great, and it is issues like this that is holding me back from fully buying into this show. It is written on the same level as the cartoons, and to an extent suffers from the simplification and characters and plot that US cartoons often have. This is Rebels season 5, not really a new show. When this was translated to live action, I was hoping for some elevation from that level of writing to a more mature, safisticated, and complex plot.

Agree, this all will happen. People just need to be incredibly careful with what they sign. At minimum the studios have to clearly spell out if they are buying the rights to your likeness, and if they are, what are the terms, when can it be used, and how will that person get paid. I think it is somewhat far off for significant roles. Some big names have in fact signed over their likeness in limited circumstances. I believe Mark Hamill has done it in regards to Luke.

I really dislike aspects of the Sabine story line. It is actually my biggest gripe with the show. Much of it feels forced and unearned.

I am very split on this show. If I watch it through the eyes of a average watcher, I like it. It is very entertaining on a superficial level. If I watch it as a more hard core Star Wars fan, many aspects of the plot and characterization fall apart for me, and I get annoyed.

I do not like it, but if an actor signs the consent to allow the scanning, is that not their decision? What if the studio offers them a residual or fee each time the scan is used? From what I understand, in existing cases like Tarkin in Rouge One, the family signed off on it, and the estate was payed for likeness. I think several actors have already signed the use of their likeness over to studios.

So it is going to be an abysmal 4th quarter at the movies. Got it.

They are apparently retooling and reshooting parts of Ironheart. They want it to air closer to and to fit in better with the Armor Wars movie. Thus the reported reason for the delay.

I feel sorry for the people cought in the crossfire. The stage workers, carpenters, electricians, directors, caterers, etc. The ones not striking, the ones who need work and aren't making millions per year, that have no control. I even feel sorry for the lower tier actors and writers, who were struggling before this. I do not have much sympathetic for people on either side that have been making millions, will continue to do so, and these strikes will not really impact. But those are the people that need to stop the stairing contest and figure this out.

Plus, it makes me question how studios convinced themselves to kill so many secondary markets when they went agreesively into streaming. Disc, VOD, Cable airing rights, etc used to be a massive source of post box office income. They have given up a massive chunk of that by dropping it straight to streaming where it is "free" to subscribers. If a film is not at least close to even in the new market, it will likely never make money.

Yeah, they tend to make the studios look bad.

Always interesting when this stuff comes out. Forbes has managed to find the UK returns from Infinity War and Endgame. The reported budgets for these films were 300M and 400M respectively, so combined 700M. The new Forbes now says these twi films cost a combined 1.3B before tax incentives, and after incentives the cost was around 960M. So they are again under reporting numbers. So Forbes is saying Disney earned 1.4 B from these films, but for some reason they are leaving out the 400M to 500M in marketing for these movies. Meaning two of the biggest movies of all time with 4.8B box office, only made Disney 900M. Now, these are still big numbers, but they have now been repeatedly shown to under report production costs regularly. So how many of the recent offerings have lost more money than we though, or films that boarderline made money, were actually in the red. https://www.forbes.com/sites/carolinereid/2023/09/01/revealed-the-two-avengers-movies-that-made-14-billion-of-profit-for-disney/

I would also argue that AI is better than a lot of the current writers, unfortunately. I was listening to a podcast that said AI is already equal in quality to a first past -script for an inexperienced, average writer. Here is a Seinfeld episode that a Youtuber did a few months ago (skip to about 8:50). It certainly is not a top episode by any stretch, but the bones are there, and this is just a Youtuber playing around. Currently, it works best with shows with a lot of existing material to draw on, so they are a few seasons in, or procedural type shows like detective, medical, or law shows where they can "write" the technical portions very efficiently.

I agree, they need to go back to basics. Tell good stand alone stories. That is how the MCU started, and they seem to have forgotten that. Iron Man, Thor, and the first Captain America were 100% stand alone except for the credit scenes and maybe a few lines of dialog. It is also why Gardians worked as a trilogy, those 3 movie told there own story, and had their own vibe. They could have been completely pulled from the MCU with a few tweaks and been just as good. Which is another lesson for the current MCU. When everything is so interconnected and you get a few weak links, it all falls apart. That is what has happened with MoM, Ant man 3, and the D+ shows. People saw those, did not like and used as a jumping off point. Good stand alone can be a jumping on point.

I think the lesson of 2023 so far is audiences want new IP's. The movies that have done well are Barbie, Mario, and Oppenheimer. What do the first two have in common, very well known IP's with little to no big screen presence. People are ready for new stuff. Connected to that lesson is there are large audiences that are either not interested in superhero fare, or have tired of it. Barbie hit an undeserved feminine demographic. Mario hit a family demographic that was tired of the Pixar formula, and just wanted a light hearted fun movie. Oppenheimer hit a group that wants to see movies can still have true weight and impact. All things that had been somewhat pushed aside in the rush for everyone wanting their own hero shared universe. The same reason Top Gun did well last year. While that had nostalgia, at its core it was a high energy action flick, not a long running franchise. All the ones that have been a massive disappointments belong to long running universes, or obvious nostalgia bait.

They also let go of 2 of the 3 Rick and Morty writers, the one that did MoM, and the Ant Man 3 one (who was also slated to write the next Avenegers movie). The show runner from She-Hulk is still around.

https://www.tvinsider.com/1104134/marvel-reschedules-agatha-echo-x-men-97-what-if/ Echo has been moved to January 2024 Agatha now Darkhold Diaries is moved to fall of 2024 X-Men 97 is now early 2024 What if Season 2 is now December 2023 Daredevil and Wonderman are paused with no release date. Ironheart has been pulled from the release schedule (according to Collider)

They have already announced a Poly Pocket movie directed by Lena Dunham. I could se myself seeing Barbie, this however is a hard no.