Kamis, 14 November 2019

Why Is It Taking Disney+ So Long To Arrive In Europe? - Showbiz Cheat Sheet

Some found it perplexing that Disney decided to launch first in The Netherlands during the early fall to test the waters of European public reaction. For many, that seemed strange from a business perspective when the U.S. has been chomping at the bit for the service to release.

The real reason for the debut in The Netherlands was because they have superior internet infrastructure, plus it is a densely populated country. Disney figured it would be a good beta testing ground in advance for American audiences.

No doubt the rest of Europe thought they’d be getting Disney+ not long after. Reports say the platform won’t be in the rest of Europe immediately due to some complicated European Union rules. Also, Disney+ across the pond may look slightly different from the U.S. library as a result.

Disney has to include 30% European Union sanctioned content

The Disney+ (Plus) logo is seen displayed on a smartphone.
Disney+ | Rafael Henrique/SOPA Images/LightRocket via Getty Images

Europe still has a lot of national pride in the content they offer to the masses in their respective countries. Some of it sometimes exceeds American content in terms of quality, particularly in U.K., a country the U.S. still pillages from.

Because of the new streaming universe, Europe has had to look at what that means in terms of providing the same type of national content they produce. Should they have capitulated to the newest avalanche of streaming services this month alone, they would have been watching 98% American-produced content.

Apple TV+ is mostly American-produced shows, and Disney+ will be as about as American as it gets. Recent European Union rules say 30 percent of any streaming content there has to be produced or acquired in Europe.

Disney+ now has to wait to debut in Europe to figure out how they’ll capitulate to these rules. There’s every indication they’ll have to produce some content there, which would make Disney+ differ from what American audiences see when traveling overseas.

Will Disney produce new content overseas, or just acquire it?

Disney may just pay out surcharges to acquire content being produced in Europe that fits the studio bill. These surcharges can become quite expensive, though, which might make the Mouse House balk a little more.

Netflix has been fighting the same thing in Europe, including going to court in Germany to override the charges. They ultimately lost and had to capitulate to the EU rules after all.

With Disney already being one of the wealthiest corporations in the world, some might wonder why they’d choose to fight these surcharges when the benefits may outweigh the financial inconveniences. Most likely, they won’t fight them in court and just find some creative ways to work around the issue.

Millions of more subscribers are at stake here, giving the potential for Disney+ to become a global leader in entertainment streaming. What can Disney acquire there, though? Should they produce new content, and would American audiences have a chance to see it?

One thing seen with Netflix is some internationally-produced shows sometimes catch on through the American version of the platform.

What do the European people want from Disney+?

At this point, it would be interesting to see polling data on what the European populace would prefer to see on Disney+ next year. Since the service won’t debut in most parts of Europe until next year — Western Europe reportedly next March — would the people there prefer seeing all American content, or do they really want locally-produced movies/shows?

When it comes to the classic Disney catalog, it’s always been universally acclaimed. Based on this, it seems most Europeans would want the majority of what Disney+ is offering here. No doubt this includes the original Marvel and Star Wars content.

If Disney creates new shows in Europe to fill the 30 percent quota, those shows might not be nearly as popular. Then again, it could spark a runaway hit that Disney+ will place on the American platform someday. Coming from Europe, it might be more human-oriented programming than anything from Marvel or the Star Wars realms.

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https://www.cheatsheet.com/entertainment/why-is-it-taking-disney-so-long-to-arrive-in-europe.html/

2019-11-14 11:01:58Z
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CMAs 2019 winners: Garth Brooks named entertainer of the year - KABC-TV

NASHVILLE, Tenn. -- Garth Brooks took home the top honor at the 2019 CMA Awards, beating out four huge names in country music for entertainer of the year.

Eric Church, Chris Stapleton, Carrie Underwood and Keith Urban were also nominated. Had she won, Underwood would have been the first woman to win entertainer of the year since 2011, when Taylor Swift took home the honor.

Brooks singled out Kelsea Ballerini and Luke Combs during his acceptance speech as some of the country artists he respected the most.

Scroll down to see a full list of winners from Wednesday night's show.

During a special early presentation on "Good Morning America" earlier in the day, Maddie & Tae revealed which acts prevailed in two categories: "Old Town Road (Remix)" by Lil Nas X feat. Billy Ray Cyrus won CMA Musical Event of the Year, and "Rainbow" by Kacey Musgraves took home the trophy for CMA Music Video of the Year.


FULL LIST OF 2019 CMA AWARDS WINNERS, NOMINEES

ENTERTAINER OF THE YEAR
WINNER: Garth Brooks
Eric Church
Chris Stapleton
Carrie Underwood
Keith Urban

SINGLE OF THE YEAR
Award goes to Artist(s), Producer(s), and Mix Engineer

"Burning Man" - Dierks Bentley Feat. Brothers Osborne
Producers: Ross Copperman, Jon Randall, Arturo Buenahora, Jr.
Mix Engineer: F. Reid Shippen
"GIRL" - Maren Morris
Producer: Greg Kurstin
Mix Engineer: Greg Kurstin
WINNER: "God's Country" - Blake Shelton
Producer: Scott Hendricks
Mix Engineer: Justin Niebank

"Millionaire" - Chris Stapleton
Producers: Dave Cobb, Chris Stapleton
Mix Engineer: Vance Powell
"Speechless" - Dan + Shay
Producers: Dan Smyers, Scott Hendricks
Mix Engineer: Jeff Juliano

ALBUM OF THE YEAR
Award goes to Artist and Producers

Center Point Road - Thomas Rhett
Producers: Dann Huff, Jesse Frasure, Thomas Rhett, Julian Bunetta, The Stereotypes, Cleve Wilson
Cry Pretty - Carrie Underwood
Producers: David Garcia, Jim Jonsin, Carrie Underwood
Dan + Shay - Dan + Shay
Producers: Dan Smyers, Scott Hendricks
Desperate Man - Eric Church
Producers: Jay Joyce, Arturo Buenahora, Jr.
WINNER: GIRL - Maren Morris
Producers: busbee, Maren Morris, Greg Kurstin

SONG OF THE YEAR
Award goes to Songwriters

WINNER: "Beautiful Crazy"
Songwriters: Luke Combs, Wyatt B. Durrette III, Robert Williford

"GIRL"
Songwriters: Maren Morris, Sarah Aarons, Greg Kurstin
"God's Country"
Songwriters: Devin Dawson, Jordan Schmidt, Michael Hardy
"Rainbow"
Songwriters: Natalie Hemby, Shane McAnally, Kacey Musgraves
"Tequila"
Songwriters: Dan Smyers, Nicolle Galyon, Jordan Reynolds

FEMALE VOCALIST OF THE YEAR

Kelsea Ballerini
Miranda Lambert
Maren Morris
WINNER: Kacey Musgraves


Carrie Underwood

MALE VOCALIST OF THE YEAR

Dierks Bentley
WINNER: Luke Combs
Thomas Rhett
Chris Stapleton
Keith Urban

VOCAL GROUP OF THE YEAR

Lady Antebellum
Little Big Town
Midland
WINNER: Old Dominion
Zac Brown Band

VOCAL DUO OF THE YEAR

Brooks & Dunn
Brothers Osborne
WINNER: Dan + Shay
Florida Georgia Line
Maddie & Tae

MUSICAL EVENT OF THE YEAR
Award goes to Artists and Producer(s)

"All My Favorite People" - Maren Morris (feat. Brothers Osborne)
Producers: Maren Morris, busbee
"Brand New Man" - Brooks & Dunn (with Luke Combs)
Producer: Dann Huff
"Dive Bar" - Garth Brooks & Blake Shelton
Producer: Garth Brooks
WINNER: "Old Town Road (Remix)" - Lil Nas X feat. Billy Ray Cyrus
Producers: YoungKio, Michael Trent Reznor, Atticus Matthew Ross

"What Happens In A Small Town" - Brantley Gilbert & Lindsay Ell
Producer: Dann Huff

MUSICIAN OF THE YEAR

WINNER: Jenee Fleenor, Fiddle
Paul Franklin, Steel Guitar
Mac McAnally, Guitar
Ilya Toshinskiy, Banjo/Guitar
Derek Wells, Guitar

MUSIC VIDEO OF THE YEAR
Award goes to Artist(s) and Director

"Burning Man" - Dierks Bentley Feat. Brothers Osborne
Director: Wes Edwards
"GIRL" - Maren Morris
Director: Dave Meyers
"God's Country" - Blake Shelton
Director: Sophie Muller
WINNER: "Rainbow" - Kacey Musgraves
Director: Hannah Lux Davis

"Some Of It" - Eric Church
Director: Reid Long and John Peets

NEW ARTIST OF THE YEAR

Cody Johnson
WINNER: Ashley McBryde
Midland
Carly Pearce
Morgan Wallen

"THE 53RD ANNUAL CMA AWARDS" - FINALISTS FOR BROADCAST PERSONALITY OF THE YEAR


NATIONAL

"The Blair Garner Show" (Blair Garner and "Off Eric" Garner) - Westwood One
WINNER: "The Bobby Bones Show" (Bobby Bones, Amy Brown, "Lunchbox" Dan Chappell, and Eddie Garcia) - Premiere Networks
"The Mayor of Music Row" (Charlie Monk) - Sirius XM Satellite Radio
"Nash Nights Live" (Shawn Parr and Elaina Smith) - Westwood One
"The Storme Warren Show" (Storme Warren) - Sirius XM Satellite Radio

MAJOR MARKET

"Chris Carr & Company" (Chris Carr, Kia Becht, McKaila Granning, and "Maverick" Jeffrey Bolen) - KEEY, Minneapolis-St. Paul, Minn.
"Mason & Remy" (Mason Schreader and "Remy" Zachary Hoesly) - WIL, St. Louis, Mo.
WINNER: "The Morning Wolfpack with Matt McAllister" (Matt McAllister, Emily Raines, and "Slow Joe" Wallace) - KKWF, Seattle-Tacoma, Wash.
"The Rob + Holly Show" (Rob Stone and Holly Hutton) - WYCD, Detroit, Mich.
"Tanner in the Morning" (Rob Tanner, Catherine Lane, Chris Allen, and "Captain Jim" Homa) - WSOC, Charlotte-Gastonia-Rock Hill, N.C.-S.C.
"Tony, Jake & Jenn" (Tony Russell, Jake Byron, and Jenn Hays) - KUPL, Portland, Ore.

LARGE MARKET

"Amanda and Jesse" (Amanda Valentine and Jesse Tack) - WUBE, Cincinnati, Ohio
"J.R. and Beth in the Morning" ("J.R." Jon Jaus, Beth Boehm, and Chris Cardenas) - KCYY, San Antonio, Texas
WINNER: "Q Morning Crew" (Mike Wheless and Janie Carothers) - WQDR, Raleigh-Durham, N.C.
"The Randy, Jamie, and Jojo Show" (Randy Carroll, Jamie Martin, and Jojo Meza) - KAJA, San Antonio, Texas
"Ridder, Scott and Shannen" ("Ridder" Shaun Ridderbush, Scott Dolphin, and Shannen Oesterreich) - WMIL, Milwaukee-Racine, WI

MEDIUM MARKET

"Clay & Company" (Clay Moden, Rob Banks, and Val Townsend) - WYRK, Buffalo-Niagara Falls, N.Y.
"The Doc Show with Jessie" (Ken "Doc" Medek and Jessie Roberts) - WGGY, Wilkes Barre-Scranton, Pa.
WINNER: "Mo & StyckMan" ("Mo" Melissa Wagner and "Styckman" Greg Owens) - WUSY, Chattanooga, Tenn.
"Scott and Sarah in the Morning" (Scott Wynn and Sarah Kay) - WQMX, Akron, Ohio
"Tony and Kris" (Tony Randall and Kris Rochester) - WIVK, Knoxville, Tenn.

SMALL MARKET

"Barrett, Fox & Berry" (Bill Barrett, Tim Fox, and Tracy Berry) - KKNU, Eugene-Springfield, Ore.
"Ben & Arnie" (Ben Butler and Arnie Andrews) - WCOW, La Crosse, Wis.
WINNER: "Dr. Shane and Tess in the Morning" (Shane Collins and Tess Connell) - WPAP, Panama City, Fla.
"Mackey and Miles in the Morning" (Jim Mackey and Deb Miles) - WBYT, South Bend, Ind.
"Officer Don & DeAnn" ("Officer Don" Evans and DeAnn Stephens) - WBUL, Lexington-Fayette, Ky.

"THE 53RD ANNUAL CMA AWARDS" - FINALISTS FOR RADIO STATION OF THE YEAR

MAJOR MARKET

KILT - Houston-Galveston, Texas
KPLX - Dallas-Ft. Worth, Texas
WINNER: WIL - St. Louis, Mo.
WKLB - Boston, Mass.
WYCD - Detroit, Mich.

LARGE MARKET

KCYY - San Antonio, Texas
KUBL - Salt Lake City-Ogden-Provo, Utah
WFMS - Indianapolis, Ind.
WLHK - Indianapolis, Ind.
WQDR - Raleigh-Durham, N.C.
WINNER: WSIX - Nashville, Tenn.

MEDIUM MARKET

CKRY - Calgary, Alta.
KXKT - Omaha-Council Bluffs, Neb.-Iowa
WBBS - Syracuse, N.Y.
WINNER: WIVK - Knoxville, Tenn.
WXCY - Wilmington, Del.

SMALL MARKET

KCLR - Columbia, Mo.
KFDI - Wichita, Kan.
KKNU - Eugene-Springfield, Ore.
WBYT - South Bend, Ind.
WINNER: WYCT - Pensacola, Fla.

Copyright © 2019 KABC-TV. All Rights Reserved.

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https://abc7.com/entertainment/2019-cma-award-winners-see-who-took-home-a-trophy/5695113/

2019-11-14 04:15:15Z
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The Surprising Way 'The Office' Inspired the New 'High School Musical' Series on Disney Plus - Showbiz Cheat Sheet

The Disney Channel movie High School Musical premiered in 2006, followed by two successful sequels. After rumors swarmed about a potential fourth movie, Disney announced that instead, a television series would be the thing to fill the HSM-sized hole in our hearts. Tim Federle, an executive producer of the new series, sat down with Entertainment Weekly to discuss his role in High School Musical: The Musical: The Series. Surprisingly, a big inspiration for this new iteration of the show came from mockumentary-style comedies like The Office.

High School Musical: The Musical: The Series Cast
Cast of the Disney+ series ‘High School Musical: The Musical: The Series’ | Jeff Neira/Walt Disney Television via Getty Images

The ‘High School Musical’ series has a new crop of characters

Federle told EW he wanted to “keep the High School Musical franchise going” for Disney. Considering how well the HSM movies did for the network, they no doubt jumped at the opportunity. But the executive producer didn’t just want nostalgia-factor to carry the show, he wanted to bring in an original take.

“Federle didn’t want to carbon-copy Troy and Gabriella for a new generation,” Entertainment Weekly wrote.

High School Musical: The Musical: The Series Cast
Monique Coleman, Joshua Bassett, Tim Federle, and Olivia Rodrigo | Kevin Winter/Getty Images

He also wanted as many songs sung live as possible, meaning he needed a cast with true talent for the new series.

“I knew that if we cast the right talent who had the right chemistry and who were proud theater kids themselves, the audience would become engaged with their journeys,” Federle said. “Casting was key and we looked really, really hard for this group.”

Federle was inspired by TV series such as ‘The Office’

The new show is, according to Federle, heavily influenced by the comedies of Christopher Guest. If you’re not familiar with Guest’s work, he wrote the film This Is Spinal Tap, the mockumentary that basically defined the genre itself. He also directed documentary-style comedy classics Best In Show, Waiting For Guffman, and A Mighty Wind. Guest’s films laid the groundwork for more recent mockumentary-style television shows, such as The Office, Parks and Recreation, and Modern Family.

Much like these very popular sitcoms, the new HSM series breaks the fourth wall and gets self-referential.

Entertainment Weekly reports that the High School Musical series portrays theater students “who occasionally talk to the camera about how they’re staging HSM at their high school (the very one where the 2006 movie was filmed, both in real life and in the shows’ overwhelmingly meta universe).” Federle also confirmed that “every episode should contain Easter eggs and callbacks and references to the original.” He said we will see an original movie cast member drop in on the series as well.

“I can confirm [it] happens, I just can’t say who or when!” Federle told EW.

‘HSM’ series producer says it’ll have ‘winks at the original but ‘with new songs’

The Office cast
The Office | Paul Drinkwater/NBCU Photo Bank

Federle said that the mockumentary style allowed them to create their own creative vision within the High School Musical universe.

The Office approach allows us to include winks at the original but do it with new songs,” Federle told EW. “It’s not a remake, it’s not even a reboot—it’s a remix of the original.” Federle didn’t want to copy the source material, and he knew a distinct style would distinguish the two.

… I wanted to differentiate us from the original [movies] right away. I knew that camera-style-wise, if I could borrow some of the elements from The Office, with characters talking to the camera and whip pans and zooms, it would immediately announce it as not a copycat of the original, but a new way in. And the docu-style would allow me to revisit the original music but not feel like we’re doing direct karaoke covers.

The new High School Musical series was ranked at number 6 on Entertainment Weekly’s “Must List” in its November issue. Disney+ debuted Nov. 12.

Original ‘High School Musical’ cast member Vanessa Hudgens sang this nostalgic song at karaoke

Actress Vanessa Hudgens played Gabriella Montez in Disney’s hit original film High School Musical (as well as HSM 2 and 3, of course). On Nov. 10, Hudgens took to Instagram to share a video of herself singing a song Disney fans will know by heart.

Hudgens threw it back big time to the HSM classic ballad, “Breakin’ Free.” This is the song introduces us to Gabriela’s singing talent in the early scenes of the first High School Musical film.

“Um,” the Princess Switch star started off her post. Hudgens poked fun at her own “really bad, aggressive, and totally sober” rendition of the hit HSM song. She admitted in her caption, “it hurts my ears but it also makes me laugh.”

We hope the new Wildcats can live up to this energy.

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https://www.cheatsheet.com/entertainment/the-surprising-way-the-office-inspired-the-new-high-school-musical-series-on-disney-plus.html/

2019-11-14 09:33:02Z
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Rabu, 13 November 2019

The Known and Unknown Are in Delicate Balance in ‘The Mandalorian’ - The Ringer

The allure of a universe like Star Wars, for audience and storyteller alike, is its scale. Every casual reference to an unseen planet or offscreen conflict widens our sense of possibility and deepens our sense of immersion in the vast, richly detailed world George Lucas incepted more than 40 years ago. To Disney, Lucasfilm’s corporate steward since 2012, this is an opportunity: practically unlimited real estate from which to develop full-fledged properties, paying dividends for years to come. But picking one’s spots is an art, and one Lucas himself proved less than adept at. Darth Vader’s origin story was an obvious subject for the prequel trilogy, but did we really need more information about pre-Imperial trade policy and parliamentary process? (Only my colleague Justin Charity thinks so.) Some exposition is better left implied.

Disney’s own track record is more mixed. On the one hand, its new trilogy, set to conclude this December with The Rise of Skywalker, has been a phenomenal success; on the other hand, Solo, a stand-alone prequel with a troubled production, infamously underperformed. More recently, Game of Thrones’ David Benioff and D.B. Weiss abandoned plans to develop a new trilogy of their own, compounding the impression that while Lucas may have left plenty of gaps to fill, he and successors like J.J. Abrams also set an impossibly high bar for future installments. With Lucasfilm head Kathleen Kennedy’s 2014 decision to wipe decades’ worth of expanded universe from the continuity slate, there’s nearly unlimited potential to add to Star Wars’ master narrative. But what reality could measure up?

Fortunately, the demands of Disney’s larger business answered the question of where to take Star Wars next before these hiccups had a chance to reach a crisis point. In launching Disney+—streaming wars entrant, Netflix killer, vault cracker—Star Wars was the obvious choice for a centerpiece. The franchise has acquired a reputation for quality over quantity, with CEO Bob Iger all but apologizing for rushing out Solo mere months after The Last Jedi. So while the Marvel Cinematic Universe will soon populate Disney+ with everything from WandaVision to Hawkeye, Star Wars will kick things off with just one series: The Mandalorian, starring Pedro Pascal as the eponymous bounty hunter. As of Tuesday, the 40-minute premiere is online, along with the rest of Disney+.

Intuitive as a Star Wars series may be, it poses many of the same risks as a new feature. What corner of the Star Wars universe is still dark enough to be worth exploring but well-known enough to spark interest? Will there be room for individual expression, or must the final product bend to an inescapable house style? Can a show sustain the intensity and production value of a trilogy-style epic over eight episodes? The stakes may be lower on the small screen, but they can’t be that much lower without diluting the magic.

The Mandalorian’s answer is to spend $120 million, recruit a competent manager like Jon Favreau from another wing of the IP palace to write three-quarters of the season, and surround him with directors like Rick Famuyiwa (of Dope and, briefly, The Flash) and Taika Waititi (who also has a first-episode cameo as a bounty droid), slightly more auteurist names who nonetheless know how to navigate a sprawling property. As for setting, The Mandalorian zeroes in on the interregnum between the fall of the Empire at the end of the original trilogy and the rise of the similarly fascistic First Order, which dominates the newer films. An ideal entry into this lawlessness is the life of a mercenary, someone squarely in the cross-section between desperate violence and Hobbesian competition that tends to emerge in the absence of a state.

Much of The Mandalorian’s premiere, at least when it comes to plot, is pure table-setting. Pascal’s nameless Mandalorian is established as a ruthless, efficient predator; a similarly anonymous Client (Werner Herzog, phoning it in and having a blast) offers a lucrative, under-the-table deal to acquire a mysterious target for unknown ends; the target turns out to be a half-century-old infant with the same pointy ears and diminutive stature as one Jedi Master Yoda. (The baby seems to be nonverbal, but the jumbled syntax will presumably come later.) The Mandalorian reaches out a finger, suggesting he’s abandoned his mission and chosen to take the baby under his wing. In less than 40 minutes, the premise is set.

What little we see of the Mandalorian’s backstory is standard lone-warrior stuff, a jaded fighter whose new protégé puts him in touch with his own lost innocence, Lone Wolf and Cub–style. Where The Mandalorian excels is in world-building, fleshing out a Star Wars subculture until it has all the heft of Jedi lore. The Mandalorian quickly establishes itself as a PG-13, extraterrestrial answer to John Wick, a window into a “guild” with ancient traditions and all-important bylaws. We’re clued into the rules with dialogue that’s swift and deft, never clumsy: Mandalorians are a tribe that replenishes itself with initiates known as “foundlings”; the iconic armor, best known as Boba Fett’s costume, appears to have an almost religious significance. The raw material is accepted as a down payment for a job, and it’s suggested—though not confirmed—Mandalorians aren’t allowed to remove their helmets. (That’s pretty much the only excuse I’ll accept for hiding Pascal’s face. At least Rian Johnson did us the service of getting Kylo’s mask off!)

The Mandalorian also sketches out the contours of a fascinating political setup, though it remains to be seen how seriously it plans to take them. The overthrow of the Empire in Return of the Jedi is taken as an unambiguous triumph; in The Force Awakens and The Last Jedi, the First Order and its rapid ascent is given little explanation. The Mandalorian acknowledges that a world without authority is not necessarily an easier or more just one, and that the resulting vacuum can create a craving for stability, no matter the price. That’s what underlies the potentially boring spats about currency between the Mandalorian and guild chief Greef Carga (Carl Weathers). A social contract as essential as money is no longer agreed upon.

Star Wars has always had trace elements of the Western alongside the high fantasy and war tropes, part of the something-for-everyone smorgasbord that’s made the franchise such an enduring hit. Beyond themes, The Mandalorian’s post-Imperial premise shapes Pascal’s character into even more of a cowboy on the frontier, sparring in well-staged shootouts at Mos Eisley–style cantinas and dealing with alien farmers voiced by Nick Nolte. With so little of The Mandalorian to judge thus far, its influences take on an outsized importance in terms of what to expect later on. We’ll surely learn more about events like a mysterious “Great Purge,” but we’ll also hit the expected beats of an antihero discovering an unlikely moral center. Like the Force itself, unknown and known coexist in a delicate balance. With a streaming TV show set between trilogies, Star Wars—and its audience—is getting to have it both ways: technically entering new territory, but still sticking to familiar turf.

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https://www.theringer.com/mandalorian/2019/11/13/20962033/the-mandalorian-review-star-wars-disney-plus-series

2019-11-13 12:57:27Z
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Han Shot First, but leave Lucas’ edits in Star Wars forever - The Verge

Whew! Disney+ has launched and the only place with more content than its app is our website. Wow okay that was corny, I’m sorry, but something about Disney brings out the safe, anodyne jokes.

Really, though, we’ve got quite a lot of good things to read about how to watch it, if The Mandalorian is any good, and explaining what’s up with the new 4K HDR versions of the original Star Wars trilogy. You know, the ones that include yet another unasked-for edit from George Lucas, specifically of the most controversial edit he ever made on a special edition. Yes, George Lucas changed Han Solo’s scene with Greedo in Star Wars: A New Hope, Disney confirmed.

Technically, it seems as though both shoot in the same frame in this edit, though it happens after Greedo says “Maclunkey,” which is a word that doesn’t get translated on screen in subtitle because it probably means something too filthy to be displayed in a rated-PG movie. It also handily is pronounced “My clunky,” which is precisely how I like to imagine Lucas refers to the pacing of his edits.

I am about to give you the hottest of my takes, sealed away since the ‘90s in my own personal Disney Vault. Here goes nothing: Han shot first, but leave Lucas’ edits in. Never change it back to the original version, never release an edition that doesn’t have Greedo shooting first or — at minimum — simultaneously with Han.

Hear me out on this.

First of all, let me speak to my fellow old people, those of us who saw Star Wars in the theater or on VHS as it was first edited, before the Special Editions changed everything. Let’s tell each other a real truth: although you thought of Han Solo as a gruff rapscallion with a heart of gold, you emphasized the “heart of gold” part in your mind. It wasn’t until you heard about the edit that you thought about the possibility that Han Solo is a murderer. He straight up killed a dude who was probably going to shoot him but Han didn’t know that for sure.

Han shot first in the original movie, but it was a small moment of character introduction that didn’t have a hundredth of the impact of Han Shot First, the movement of outraged fans making internet memes before there were places to easily spread memes.

When George Lucas changed that scene, he didn’t make Han Solo suddenly nicer and safer, he made Han Solo more dangerous and scary. He literally Streisand-effected the moment of Han’s first shot when he tried to edit it away. Nobody paid attention to that moment of potential murder and what it meant for Han’s character until Lucas tried to erase it.

That idea is part of the culture of Star Wars now. There are generations of people who see the movie and only learn later that Han Shot First. It is a piece of apocrypha that is ironically the most canonized part of Han’s character now.

It’s sort of obvious to me from all the many tweaks Lucas has made to that scene over the years that Han Shot First annoys the hell out of him. Maybe it’s his desire to have his auteur’s vision define the canon of Star Wars instead of fans. Maybe he really doesn’t think of Han as that bad of a guy and really wants us to see him that way too.

But in changing the scene, Lucas has only continued to call attention to the meme. I think it’s part of Star Wars now. Han Shot First is outside the frame in our narrative but it’s also right there in the movie itself, revealed in the ever-more awkward cuts.

I don’t ever want there to be an edition where Han actually shoots first again, because that moment of meta-textual awareness when you see him shooting second or when somebody tells you for the first time that Han Shot First is important. It de-mythologizes the grand myth of Star Wars, turns it into just a thing that people made up and then kept tweaking. It helps you recognize that it could have been made other ways. It makes you think about story and character building in a way you might not otherwise.

One of the reasons I love Star Wars fandom — and really, any fandom — is that we chose to make this our myth. Knowing that the myth itself involves choices we can disagree about keeps that myth from becoming religion. It keeps the myth vibrant and alive. Most of all, staying aware of those choices makes that myth ours.

(Don’t talk to me about Blade Runner cuts though. There’s only one true one and I won’t accept any discussion about it.)


Disney+ launches

+ Here’s all the news in one spot:Disney+: news and updates on Walt Disney’s streaming service

+ How to stream Disney+

You may think this is a simple answer and in some ways it is, but in other ways there are so many, many little details that might matter.

+ Disney+ experiencing ‘unable to connect’ errors on launch day

Some time ago this newsletter featured an essay expressing hope that Disney would nail the technical side of its streaming service thanks to the high stakes and the bona fides of BAMtech, the streaming company Disney bought. Oh well, there’s always day two through two thousand to get it right.

+ The Mandalorian’s first episode shows that Star Wars can work on the small screen

I am here for this: putting more Western into the Space Western. Chaim Gartenberg reviews:

The heavily Western mood does suggest that Disney is learning from its blockbuster Marvel franchise, which has seen massive success by dropping the MCU formula and characters into different genres. Much like how Captain America: The Winter Soldier is designed in the vein of classic spy films or the Ant-Man films are modeled after superheroic heists, The Mandalorian wears its influences proudly.

+ Disney+ doesn’t have to sell anyone on streaming

Good analysis from Julia Alexander. There is no other company in the world that can simply say “if you want these movies -- and you know which movies I’m talking about -- subscribe to our service.”

+ How to get a year of free Disney+ from Verizon

You know that moment when you learn that there are multiple levels of infinity in math and you struggle to wrap your head around it and at some point you think you have it but it slips away? Whoever is in charge of Verizon’s naming scheme is Galaxy Braining that situation:

First, you have to subscribe to one of Verizon’s Unlimited plans, including Go Unlimited, Beyond Unlimited, Above Unlimited, Get More Unlimited, Do More Unlimited, Play More Unlimited, or Start Unlimited.

+ Disney will tolerate password sharing on Disney+ — for now

In context, this makes perfect sense and seems reasonable. But imagine Emperor Palpatine saying it in another context.

Disney has tools at its disposal if password sharing gets out of hand or becomes an obstacle that stunts Disney+’s growth. “We have created some technology that’s in the backend that we will use to understand behavior,” Paull said. “And when we see behavior that doesn’t make sense, we have mechanisms that we’ve put in place that will deal with it.”

Reviews

+ Snap Spectacles 3 review: reaching new depths

It seems clear from Casey Newton’s review (watch the video!) that Snap doesn’t have illusions of making this edition a mass market success. It’s embracing the nice nature and focusing on better content creation. That is, I think, actually very smart for this kind of product:

The marquee feature on Spectacles 3 is a new kind of Snapchat filter that takes advantage of the glasses’ depth perception to create a new category of 3D effects. There are 10 of these depth perception effects available at launch — adding disco lights that bend as they hit your body; big red hearts that pop as you move through them, and so on.

+ Disappointing:Master & Dynamic’s MH40 Wireless look and feel like $300, but don’t sound like it

+ The best smartwatch to buy for your iPhone

+ The best smartwatch to buy if you have an Android phone

More from The Verge

+ Impeachment podcasts are about more than Trump

Ashley Carman gets into the biggest trend in podcasting. I found this part fascinating:

Although, on the surface, it might seem like putting all this effort into an RSS feed for a show with an expiration date is unproductive, WNYC says the effort won’t go to waste, even if people stop listening to the impeachment show once the proceedings end. The feeds can be reinvented or used in the future to promote shows, according to WNYC spokesperson Brisa Robinson. Thinking about RSS feeds as promotional tools is “standard practice,” she says, even for shows the team knows will be short-run series.

+ This new HyperJuice 100W GaN charger could be the charger of your dreams

I think this has a better than even chance of successfully launching, given Hyper’s history. And if it does, it has a better than even chance of being the charger in my bag. My only hesitation is that I prefer chargers that don’t take up more than their fair share of space on the power strip.

+ The problem with Google’s health care ambitions is that no one knows where they end

You could summarize most of this by saying Google is building a search engine for health care providers, aka following its long-held corporate mission “to organize the world’s information and make it universally accessible and useful.” But it seems the Ascension deal also includes some far-reaching research, particularly using AI and machine learning. This is where we get to the second part of Google’s mission statement — making information useful — and it’s here that the company’s ambitions seem limitless.

+ E-bikes are coming back to San Francisco after Lyft resolves issues with battery fires

I’m glad the bikes were pulled, I’m gladder they’re coming back, but I’d be gladdest if San Francisco (and every city really) was more aggressive at creating more and safer bike lanes. The city’s main artery — Market St — is about to go bus and taxi-only, at least. It’s a start.

+ Twitch Studio, the company’s streaming software for new users, is now in open beta

After a couple months of big-name streamers bailing on the platform, this is a nice piece of good news.

+ Minecraft Earth is now available in early access in the US

Done right, this could have more staying power than Pokémon Go, even though it may not get the same big cultural moment.

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https://www.theverge.com/2019/11/13/20962261/maclunky-han-shot-first-george-lucas-edit-star-wars

2019-11-13 12:00:00Z
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People's 'Sexiest Man Alive' Celebrity Photographer Shares What He Thinks Is Sexy - Showbiz Cheat Sheet

People’s 2019 “Sexiest Man Alive” is musician John Legend, who has already shared that the “1995 John would be very perplexed to be following 2018 @IdrisElba as #SexiestManAlive.”

But according to celebrity photographer David Burton, who shot Elba for People last year, sexy isn’t just about what is on the outside. In 2018, People editors sought someone who was having a moment or a campaign. But they also wanted someone who was respectful of women and someone who had a kindness and a generosity of spirit.

Managing Editor for People Magazine Larry Hackett attends People Celebrates Iconic "Sexiest Man Alive" Issue in Times Square
Managing Editor for People Magazine Larry Hackett attends People Celebrates Iconic “Sexiest Man Alive” Issue in Times Square |Cindy Ord/Getty Images for People

Like Legend, Elba was humbled by the honor. “I was like, ‘Come on, no way. Really?’” he said, People reports.

Now Burton shares with Showbiz Cheat Sheet what is his idea of sexy and what it was like to photograph the “Sexiest Man Alive.” And what does Burton, who often photographs beautiful people, truly think is sexy?

This is what ‘sexy’ means to him

Burton shared that one quality he thinks makes someone sexy. “Confidence in who you are and what you stand for,” he said. “I am sure that is not the first time you have heard that but it is so true.”

He adds that working with Elba was a treat too. “Idris is a great guy and I loved working with him,” he shared. “He is very comfortable in front of the camera which I think shows in the pictures.” Although a number of Burton’s shots were featured in the “Sexiest Man Alive” issue, he shared an outtake to his Instagram.    

Burton also said he feels lucky to work with people who seem to be comfortable behind the camera too. “I am always lucky enough to work with great professionals who are very comfortable in front of the camera.”

Burton makes his shoots fun to uncover his subject’s true essence

Even though Burton’s subjects tend to be pretty comfortable in front of the camera, he still uses some tricks to set the scene and enhance the mood. “With every commission I accept I focus on letting my subject be true to themselves,” he said. “A great photographer lets the subject’s personality shine through.”

He also sets the mood at the shoot through music and finds ways to ensure everyone has a good time. “As a photographer, I always try to make my sets fun whether it be through the crew I work with or the music that is played in the background,” he continued. “I am one of the lucky ones who loves going to work everyday because there is always fun to be had.”   

Although Burton is used to drawing out the sex appeal in human subjects, he was recently asked to shoot “The Sexiest Appliance Alive” for Maytag. He said, “The shoot was unique because the Maytag Man is portraying a hardworking and dependable Maytag appliance versus a man, so capturing the essence of that was fun.”  

In fact, Burton had as much fun shooting the appliance as he does some of his sexy human subjects. “I loved working with Maytag on the ‘Sexiest Appliance Alive’ campaign. Shooting an appliance was something new for me, but I had fun highlighting the true appeal of the brand and appreciate the brand’s sense of humor.  Maytag is known for its combination of dependability and desirability which was fun to capture, all while maintaining the Maytag Man’s persona as a hardworking appliance.” 

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https://www.cheatsheet.com/entertainment/peoples-sexiest-man-alive-celebrity-photographer-shares-what-he-thinks-is-sexy.html/

2019-11-13 11:54:23Z
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John Legend is PEOPLE's 'Sexiest Man Alive'... and he's perplexed - CNN

The magazine announced that the "All of Me" singer would hold the title awarded last year to actor Idris Elba, a comparison he poked fun at.
"1995 John would be very perplexed to be following 2018 @IdrisElba as #sexiestman alive," he said on Twitter. "Hell, 2019 John is about as equally perplexed but thank you @People for finding me sexy. I'll take it."
Last year, Legend became one of the youngest people to win an Emmy, Grammy, Oscar and Tony and the first African-American man to win all four. Only 14 other people have accomplished the feat, including Audrey Hepburn, Mel Brooks and Whoopi Goldberg. He is also well known for his relationship with model Chrissy Teigen.
As could be expected, she had a lot to say about it on her Twitter.
The social(media)ite -- who now calls herself on her Twitter bio a "de-motivational speaker currently sleeping with people's sexiest man alive" -- tweeted in response to the Elba comparison.
"Yeah but let's see an @idriselba pic from 1995 (prob still very hot)," she said.
Legend, who PEOPLE called on their cover a good guy who got it all, released updated lyrics this week to the 1944 song "Baby it's Cold Outside" to include calling an Uber for the woman insisting she must go.

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https://www.cnn.com/2019/11/12/entertainment/john-legend-peoples-sexiest-man-alive/index.html

2019-11-13 09:56:00Z
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