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It's based on the musical and the book, not the movie. Alisha Weir as Matilda Emma Thompson as Miss Trunchbull Lashana Lynch as Miss Honey

VULTURE: Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’ Four Spider-Man: Across the Spider-Verse crew members say unsustainable working conditions are behind the success of the animated film. Over the past decade, Phil Lord and Chris Miller have distinguished themselves as the critically acclaimed writer-director-producers behind animated crowd-pleasers like their breakthrough Cloudy With a Chance of Meatballs and the billion-dollar Lego Movie franchise. (The duo have succeeded in live-action fare too though they were fired mid-movie from the stand-alone Star Wars prequel Solo. But it’s their work on the Oscar-winning Spider-Man: Into the Spider-Verse that set a new bar for the animation industry, borrowing from vintage comic-books, psychedelia, and street art to create a novel visual language for not just superhero films but computer-animated work generally. Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable. Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion. Four of these crew members agreed to speak pseudonymously about the sprint to finish the movie three years into the sequel’s development and production, a period whose franticness they attribute to Lord’s management style — in particular, his seeming inability to conceptualize 3-D animation during the early planning stages and his preference to edit fully rendered work instead. While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created. As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage. In these insiders’ telling, Across the Spider-Verse’s triumvirate of directors, Joaquim Dos Santos, Justin K. Thompson, and Kemp Powers, were overshadowed by the forceful presence of Lord, who sought final approval for every sequence in the film. Sony executives dispute these claims about Lord’s management style, including his alleged insistence on approving every sequence in the film, describing feature animation as a generally “iterative process.” According to Amy Pascal, the former Sony Pictures Entertainment chairperson who produced the three most recent live-action Spider-Man movies as well as both Into and Across the Spider-Verse, “over a thousand” artists and techs worked on Across the Spider-Verse alone, tasked with scripting, storyboarding, animating, editing, and visually enhancing the film. So it’s unsurprising, she says, that as many as 100 of the Across the Spider-Verse film crew would choose to depart the grueling project, which Pascal admits involved major overhauls to both the narrative and visuals, along the way. Michelle Grady, the executive vice-president and general manager of Sony Pictures Imageworks, agrees, claiming that Lord is not to blame for the delays. He, as the main messenger for editorial changes coming from the three co-directors, executive producers, Miller, and the studio, is instead a convenient target for worker ire. “It really does happen on every film,” she says of the revisions. “Truly, honestly, it can be a little bit frustrating, but we always try to explain that this is the process.” “One of the things about animation that makes it such a wonderful thing to work on is that you get to keep going until the story is right,” adds Pascal. “If the story isn’t right, you have to keep going until it is.” To the workers who felt demoralized by having to revise final renders five times in a row, the Spider-Verse producer says, “I guess, Welcome to making a movie.” Crew thoughts: It’s common for executives on a production to have a big say, but usually, they’re not as heavily involved as Phil was. As producer, Phil overrides all the directors. They are obviously in charge of directing, but if Phil has a note that contradicts their note, his note takes precedence. They have to do what Phil says. So there were constant changes and cuts. With Phil Lord, nothing is ever final or approved. Nothing was really set in stone. Nothing was ever done. Everything was just endlessly moving beneath our feet because they wanted it to be the best that it could be. For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. These are a lot of artists affected by one change. Imagine an endless stream of them. Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side. The majority of the crew were sitting idle for half a year because Phil was holding up sequences in layout. That’s a lot of money. Those people are sitting there getting paid to do nothing. Because we hired a massive team of artists to accomplish the October date and then we found out it was pushed. The water behind the dam kept growing because Phil was holding off sequences. Then at a certain point, we ran out of time. The dam broke, water came flooding in, and all the departments were swamped, doing overtime. But that didn’t stop all the changes from coming in. Things just kept getting changed and cut and redone over and over again, even though shots were getting pushed through all the departments. There are sequences that we started in 2021 that we just finished in May. That is a lot of artists’ hours and time and energy and stress. This production has been death by a thousand paper cuts. They’ve announced that Beyond the Spider-Verse will be released in March of next year. I’ve seen people say, “Oh, they probably worked on it at the same time.” There’s no way that movie’s coming out then. There’s been progress on the pre-production side of things. But as far as the production side goes, the only progress that’s been made on the third one is any exploration or tests that were done before the movie was split into two parts. Everyone’s been fully focused on Across the Spider-Verse and barely crossing the finish line. And now it’s like, Oh, yeah, now we have to do the other one. Of the claim that Across the Spider-Verse production was idle for three to six months, Grady says, “We did have more time than we would normally have on a film waiting for things, maybe to get feedback. And we did have time when the pipeline wasn’t chockablock full. But I got to say, from my perspective, that was a remarkable gift. We are often so back to back with work, we never get the time to stop and let a film breathe and let it develop into what it needed to be.” Sony representatives declined to comment on whether the third Spider-Verse film will be delivered on time. The biggest issue we’ve had is the writing. Phil had no idea what he wanted. Maybe he has difficulties making up his mind. I don’t know! Of course, it’s part of every movie where the director says, “What if we could do this or that?” And normally, it’s the producer’s role to push back. The problem is, Phil is the producer. He can’t push back against himself. In addition to Phil being all over the place and not settling on the story, he has a big issue with not being able to visualize layouts. When there’s a 3-D layout in front of him, I guess he can’t visualize what it’s going to look like afterward. Which is kind of a problem when you’re working in 3-D animation. In the animation industry, ask anyone he’s worked with: It’s his reputation. I know a ton of people who never want to work on a project with him again. On my last project, I worked with a few artists who had done the first Spider-Verse, and one of them said to me, “As long as I work at Sony, I’m never working on a Phil Lord movie ever again.” All these artists at Sony who worked on the first one and Mitchells vs the Machines were like, “My God, I don’t know if I want to put myself through this again. Is it worth it?” I was warned. It was like they were amping themselves up to run a marathon. Something like 90 percent of the shots in the trailer are not in the movie. We re-engineered or reanimated, had different characters doing the same thing. It was purely a sequence of cool ideas they made us slap together while they “rested” the production. We were “idle”; that’s what they called it. And that was probably the biggest de-motivator for a lot of people: some of them had been flown over to Vancouver, gotten an apartment to work on this movie and then sat on their hands for maybe three months. The worst thing you can do to an artist is hire them and then tell them to do nothing. These people were like, How do you expect us to make this huge movie in less and less time? Each week that went by idle meant that later on it was going to be more insane. An avalanche of work is waiting. Phil and Chris have a reputation. As producers, they used to come onto a project when it was 80 percent finished. Once they could ingest the movie properly and see what it is going to be like, they would come through with the guillotine and start enthusiastically editing. They’d come in and start to rewrite lines, throw out entire sequences, throw out animations all over the place, everywhere. And this is animation that people have been working on for a long time. Finished work, not some mock-up thing. I heard on Mitchells they did that. On Spider-Verse 1, they did that. Lego, same thing. What that means is you have artists who feel extremely vulnerable. Sony lowballs them on their salary with the promise that overtime pay will boost their income to the level that it should be. You have people living in a really expensive city who have bad job security, who don’t know what’s ahead of them. And then they’re put in a position where the production is pressuring them to work all of their waking hours and to basically keep their chin up while the conditions are really, really shitty because if they don’t keep their chins up — if they don’t work hard — then who knows if they’ll be kept around? Phil does have good ideas. He speaks creatively really well, and listening to Phil can be inspiring. But the process is not inspiring. The analogy for the way Phil works, it’s getting a whole bunch of construction workers to make a building without a blueprint. You get them to start putting bricks on top of each other. You get the wood guys to put the wood in, put the windows in, get some metal scaffold in there. And he’s like, “Nah, knock that part down.” Sony spokespeople deny that the studio “lowballs” animators’ salaries.

BUSINESS INSIDER: Inside Netflix's growing M&A machine, who's leading it, and what insiders think the streamer could buy next THE WRAP: Netflix Eyes Big Studios as It Ramps Up M&A and ‘A New Evolution’ (Report) Netflix could be eyeing a big acquisition like Paramount or another studio thanks in part to the big runup in its stock that could enable a pivot to growth through mergers and acquisitions, according to Business Insider. But now, for the first time since its founding 25 years ago, Netflix is looking for M&A to play a bigger role, the report said. Among the catalysts are the need to find new avenues for boosting subscribers, even as it separately efforts to sign up users who were avoiding payment by sharing passwords to access the streaming giant’s service. The streaming giant said it had more than $6.7 billion in cash at the end of the first quarter. And with shares soaring, Netflix has the powder needed to make some deals. The stock has gained roughly 50% since the start of the year, trading Thursday morning at $422.95, down a fraction in a bumpy market. With the runup, Netflix’s market capitalization is nearly $190 billion. Paramount Global has been seen as an acquisition target since the merger of Viacom and CBS in 2019 thanks to its relatively low market cap — it’s now $10.22 billion, down from $26 billion at the time of the merger — and deep library of content. Netflix reportedly held talks with Paramount Pictures in the past, but was interested only in that library and not the broadcast operation of CBS or its cable networks, which include Comedy Central, Showtime, MTV and VH1. Separately, Deadline reported Tuesday that Warner Bros. Discovery is offering some of its HBO library titles to Netflix. Paramount has been shopping BET Media Group, with high profile names from Sean “Diddy” Combs to Tyler Perry reportedly in the mix for the iconic network. Paramount Global CFO Naveen Chopra told investors earlier this month the company is “very open minded” about potential opportunities. “Whether Paramount is a seller of assets into consolidation or whether we are a consolidator of assets, we’ll have to see.”

HOLLYWOOD REPORTER: Warner Bros. Signs Deal for AI-Driven Film Management System (Exclusive) The movie division has signed a deal with Cinelytic to use the latter’s AI-driven project management system that was launched last year. Under the new deal, Warners will leverage the system’s comprehensive data and predictive analytics to guide decision-making at the greenlight stage. The integrated online platform can assess the value of a star in any territory and how much a film is expected to make in theaters and on other ancillary streams. While the platform won’t necessarily predict what will be the next $1 billion surprise, like Warners’ hit Joker, it will reduce the amount of time executives spend on low-value, repetitive tasks and instead give them better dollar-figure parameters for packaging, marketing and distribution decisions, including release dates. “The system can calculate in seconds what used to take days to assess by a human when it comes to general film package evaluation or a star’s worth,” says Queisser. Adds Tonis Kiis, senior vp distribution: “We make tough decisions every day that affect what — and how — we produce and deliver films to theaters around the world, and the more precise our data is, the better we will be able to engage our audiences.” Still, Hollywood fancies itself as a town that operates on gut instinct rather than algorithms, for better or for worse. And unlike Silicon Valley, the industry has been slow to use AI for more menial tasks like script breakdowns, fearful that it will take away jobs and make humans obsolete. Queisser counters that narrative. “Artificial intelligence sounds scary. But right now, an AI cannot make any creative decisions,” says Queisser. “What it is good at is crunching numbers and breaking down huge data sets and showing patterns that would not be visible to humans. But for creative decision-making, you still need experience and gut instinct.”

So after work i use to go to "Columbus" a french restaurant where the food is really good. And theres this beautiful guy who work there and who always ask me what do i want (he prepares the order) and each time i say "thank you" and leave to eat my sandwich in peace i'm frustrated because i want to tell him "hey you're very attractive, could i get your number ?" But i'm too shy for that and i'm scared he thinks i'm a predator/a weirdo. And theres like 3 other worker around him, he's not alone and i dont want to do it in front of them. He is sooo cute... What should i do to get his number ? Oh and by the way, sometimes he look at me with a smirky smile. (Or maybe it's just in my head). UPDATE : My bestfriend gave him the note with my number in it... I hope i will not be rejected. UPDATE : So... it's been 4 days and he didnt texted me... Not even a simple "i'm not interested"... i'm really sad about it... I'm like "maybe he just lost the note" which is possible because it's a very little piece of paper... but maybe not... The hardest will be to go to this restaurant again and see him.... it will be so awkward after that. Update : My bestfriend asked him at the restaurant to make sure he didn't just lose the note and he said to her that "i was cute but he has a girlfriend" and that "i was more than welcome to come back at the restaurant" So now i know why.

https://twitter.com/PopBase/status/1668495745790648320 Netflix you will be dealt with WTF

In recent years both Lana Del Rey and Sam Smith have faced backlash for scheduling performances in Israel and subsequently pulled out. Christina Aguilera has now also announced she'll be performing there. Before I say anything I want to clarify that I do not support the actions of the Israeli government towards Palestinians. With that said, is a singer performing in a country the equivalent of them supporting said regime and the actions of that country's government? If so then why do singers not face backlash for performing in the US, a country which funds the Israeli regime and has committed atrocities all over the world, especially in the Middle East? The UK wants to deport asylum seekers to Rwanda, Australia keeps illegal migrants in concentration camp style detention centres, Denmark sent all Syrian refugees back into a war zone, the list goes on. Yet no one bats an eye at an artist announcing to perform in any of these countries. Is this outrage selective?

https://forums.boxofficetheory.com/topic/31075-the-flash/page/2/#comments Charlie Jatinder is one of the most known box office analysts in the space and usually one of the first to get the numbers in. Pre-sales arent doing well either

Like? I never met a annoying Libra or a bad one. They're so sweet and have a good balance knowing how to serve you whilst also keeping it real and wanting the best for you Ever had a bad experience with a Libra and do you agrih?

HOLLYWOOD REPORTER: ‘Avatar 3’ Pushed a Year to 2025, Two ‘Star Wars’ Movies Head for 2026 and ‘Avengers’ Films Delayed Disney film empire has reimagined its theatrical release calendar in a major way. The studio announced a slew of changes on Tuesday, led by the news that it is setting two Star Wars movies for 2026 and pushing back Avatar 3 by a year, from December 2024 to December 2025. Additionally, Avatar 4 will now hit theaters in December 2029, followed by Avatar 5 in December 2031 — meaning each will now open three years later than previously announced. Other highlights: Ryan Reynolds fans will be happy to learn that his untitled Deadpool 3 will now open in theaters on May 3, 2024 instead of Nov. 8, 2024. Also on the Marvel Studios front, Avengers: Kang Dynasty has been pushed a year to May 1, 2026. The feature has embattled Jonathan Majors attached in the lead role. The actor is facing assault charges in New York court. The followup, Avengers: Secret Wars has also been pushed a year, to May 7, 2027. 20th Century has added another installment in the Alien franchise, dated for Aug. 16, 2024. Filmmaker Fede Alvarez is behind the feature, which stars Cailee Spaeny. The studio has also added the Rami Malek thriller The Amateur to Nov. 8, 2024. VARIETY: Disney Dates New ‘Star Wars’ Movie, Shifts ‘Deadpool 3’ and Entire Marvel Slate, Delays ‘Avatar’ Sequels Through 2031 Production delays are part of the reason behind the total overhaul of the release plan. Disney recently paused filming on “Blade” and “Thunderbolts,” which led to a ripple effect on the rest of the interconnected Marvel Cinematic Universe. In regards to “Avatar,” the space between the sequels will allow the post-production and visual effects department to continue expanding, developing and refining the different ecosystems across the vast world of Pandora. “Each ‘Avatar’ film is an exciting but epic undertaking that takes time to bring to the quality level we as filmmakers strive for and audiences have come to expect,” producer Jon Landau wrote on Twitter. “The team is hard at work and can’t wait to bring audiences back to Pandora in December 2025.” MARVEL: DEADPOOL 3 - May 3, 2024 - pushed forward six months CAPTAIN AMERICA: BRAVE NEW WORLD - July 26, 2024 - three month delay THUNDERBOLTS - December 20, 2024 - five month delay BLADE - February 14, 2025 - five month delay FANTASTIC FOUR - May 2, 2025 - three month delay AVENGERS: THE KANG DYNASTY - May 1, 2026 - year delay AVENGERS: SECRET WARS - May 7, 2027 - year delay AVATAR: AVATAR 3 - December 19, 2025 - year delay AVATAR 4 - December 21, 2029 - three year delay AVATAR 5 - December 19, 2031 - three year delay STAR WARS: UNTITLED - May 22, 2026 - fIve month delay UNTITLED - December 20, 2026 - announced UNTITLED - December 17, 2027 - announced ALIEN: UNTITLED - August 16, 2024 - announced ANIMATION: MOANA - June 27, 2025 - announced

Idolizing your favorite actor/singer even when you know for sure they are jerks in real life and its all 'acting'.....

Hi ATRL! This year is going to be my first time attending London Pride I've never went before but I know there will be floats, concerts and a big Oxford Circus LED pride thingy. I was wondering if yall can tell me the do's and don'ts at Pride and anything else to do with Pride

In your own words what makes a man naturally sexy to you? What attracts you? Physically and mentally? Generally speaking a plus: what are some odd things that suddenly got you interested in a guy? That normally you wouldn’t think of being attracted too.

Numerous actors endeavor to impart a sense of elevated artistic value to their productions by suggesting that, were these works to debut in the present, they would face severe scrutiny and criticism within the prevailing hypersensitive cultural milieu. What are some shows where this is actually true? Where, if they were released today, they would not make it past 1 season?

Why is it every body I want plays hard to get? but the guys that I'm not interested in... are the type of guys who chase me?

The Weeknd is said to not be planning a second season of “The Idol” — amid backlash over outrageous sex scenes on the controversial series and the singer’s “egomaniacal” behavior on set. The Weeknd, whose real name is Abel Tesfaye, co-created and co-stars in the show, which has been slammed as “comically bad.” Ratings for the second episode fell by 12%, or more than 100,000 viewers, from the June 11 premiere. But a source told Page Six: “This was never meant to be a long-running show, it was always … a limited series.” The source added that HBO was not shocked by reaction to the graphic show, which airs on its Max streaming service https://pagesix.com/2023/06/15/the-idol-wont-return-for-a-second-season-source/?utm_source=twitter&utm_campaign=pagesix&utm_medium=social

56, surpassing Cars 2 as the worst rated Pixar film! https://www.metacritic.com/movie/elemental-2023 https://www.metacritic.com/company/pixar-animation-studios

you just realize you won the lotto 1.234.567$... but you lost the ticket, what would you do? How would you work through that?

sooo a few days ago, I met my sister's boyfriend. They've been dating on and off for a little over a year and they've known each other since high school. They're both in college now and they've been navigating a long-distance relationship. He seems like a very sweet guy, he's extremely kind. He was kind of shy but my sister says that's because he was very nervous to meet me, which is understandable. First of all, I know it's not right to label someone based on a bunch of dated stereotypes BUT as a gay guy myself, I just couldn't help but notice the mannerisms. Secondly, I'm so happy that my sister is in love and is happy but at the same time, I don't want her to get her feelings hurt in the future btw she knows about me and we have a great relationship and I definitely don't wanna ruin that either so I'm really torn. Should I approach her about this or should I keep this thought to myself? I already lowkey hate myself for even thinking something like that after seeing the guy once He kinda reminded me of myself when I was their age and still in the closet tbh

"James Gunn chose Andy Muschietti to direct ‘BATMAN: THE BRAVE AND THE BOLD’ after watching ‘The Flash’." "Andy’s affinity and passion for these characters and this world just resonates through every frame... there was really only one choice." https://twitter.com/DiscussingFilm/status/1669516505690812417

Which of the main rice girls is your favorite ? Basmati rice: Jasmine rice: Japanese rice:

https://twitter.com/dailyloud/status/1669101176342601733?s=46&t=F2Kqdy7aScoPGAKFHNr8dQ https://twitter.com/dailyloud/status/1669101926649155586?s=46&t=F2Kqdy7aScoPGAKFHNr8dQ

Which one is your favorite? For me: Red > Chicken > Fish With yogurt sauce, cooked mushrooms and potatoes. Yum yum.

Note, this is where Hitler lived when he was 5 years old. Would you try to influence the future somehow and save ~50m lives? 2nd Note: The effect of what you do may be so great that you likely won't exist in the future