Search

The article explores U.S. Vice President Kamala Harris's frequent visits to Los Angeles, California, where she combines relaxation with high-profile socializing and fundraising efforts. Topics discussed include her integration into the city's social and political scene, the impact of her Los Angeles connections on her presidential campaign, and the logistical and security aspects of her time in the city.

The article discusses how Disney's film "Deadpool & Wolverine" navigated China's strict censorship rules to gain release in the country. The film, known for its explicit content and language, surprised entertainment executives by being released in China at all. To meet censorship demands, the movie's dialogue was creatively adjusted, replacing bawdy language with euphemisms and blunting edgier themes in the subtitles. Despite these changes, the film was successful in China, earning over $24 million in its opening weekend. The article also highlights the shifting relationship between Hollywood and China's movie market, as well as the economic considerations that may have influenced the loosening of censorship restrictions. [Extracted from the article]

Byline: Erich Schwartzel Jul 11, 2019 (The Australian - ABIX via COMTEX) -- Companies such as WarnerMedia and Walt Disney are entering the streaming video market with expensively- produced TV [...]

Byline: ErichASchwartzel Apr 11, 2019 (The Australian - ABIX via COMTEX) -- Walt Disney Company's CEO Robert Iger has described the media giant's new subscription video-on-demand service as his top [...]

Byline: ErichASchwartzel and Maria ArmentalFeb 06, 2019 (The Australian - ABIX via COMTEX) -- Walt Disney Company's new direct-to-consumer division has posted a loss of $US136m ($190m) for the December [...]

Byline: ErichASchwartzelDec 09, 2018 (The Australian - ABIX via COMTEX) -- A new report concludes that Walt Disney Company and Comcast will account for nearly 40 per cent of all [...]

Keywords: wsjcorp; leder; photo-illo; gfx-contrib; Audiovisual Production; Cinema Film Production; Broadcasting; Television Broadcasting; Media/Entertainment; Corporate/Industrial News EN wsjcorp leder photo-illo gfx-contrib Audiovisual Production Cinema Film Production Broadcasting Television Broadcasting Media/Entertainment Corporate/Industrial News N.PAG N.PAG 1 05/09/23 20230506 NES 230506 Taylor Sheridan writes most of the company's hits, giving him clout to dominate the big-budget productions through his network of commercial projects, pushing costs to among the highest in Hollywood No one on the set of Yellowstone could figure out why the show was paying a horse wrangler who was more than 1,600 miles away. Mr. Sheridan is seeking $50,000 a week to shoot the show there, far higher than other potential locales, people who work on his shows said. They said the company was cost-conscious but argued Mr. Sheridan's shows, particularly the "Yellowstone" franchise, are worth the cost as proven by their success. Mr. Sheridan's shows are described by executives and crew members as drenched in excess, from on-set catering bills double what would be expected to expensive shoots and overtime fees that take costs significantly over budget. [Extracted from the article]

Earlier this month, Disney started advertising movies including "Cool Runnings" (1993) and "The Parent Trap" (the 1998 version) as part of a throwbacks collection on Disney+, asking subscribers, "feeling nostalgic?" Shows and movies from the 1990s bring a sense of calm; "I have the dialogue pretty much memorized" Every night, Sebastian Soto gets ready for bed. Earlier this month, Disney started advertising movies including "Cool Runnings" (1993) and "The Parent Trap" (the 1998 version) as part of a throwbacks collection on Disney+, asking subscribers, "feeling nostalgic?" Photo: Sebastian Soto While shows and movies have long drawn on nostalgia, executives, show creators and psychologists say that the country's partisan rifts, the psychic cost of more than two years in a pandemic and now global conflict have contributed to the latest embrace of shows and films designed to make adults feel like kids again. [Extracted from the article]