**Summary Nuggets: Disney Live Action Remakes (2015–2023)**

**Why Disney produces live-action remakes & nostalgia’s role:**
- Disney’s catalog of animated classics represents some of the most powerful media brands in the world, which gives the studio a secure foundation for remakes.

- The decision to remake these films in live action is financially driven; nostalgia serves as a highly profitable motivator.

Adults who grew up with the originals bring not only their own viewership but also their children, ensuring built-in, multi-generational audiences.

- There is corporate recognition that nostalgia has immense power: returning to beloved stories rekindles emotional connections, maintains brand relevancy, and reinforces Disney’s cultural influence.

**Adapting timeless stories & balancing authenticity with relevance:**
- Remakes like *The Little Mermaid* (2023) highlight a conscious push to reflect modern values—such as diversity, inclusivity, and representation—while trying to honor the source material’s core.

- In the upcoming Snow White remake, Disney is “taking a different approach” to the seven dwarfs to avoid stereotypes, consulting with the dwarfism community to ensure sensitivity.

- Remakes sometimes shift character motivations, backgrounds, and storylines to fit contemporary sensibilities, e.g., *Mulan* (2020) removed the romantic subplot and the musical format for a more action-focused, culturally respectful narrative.

- The studio often weighs fan expectations of authenticity against opportunities to update problematic elements or add greater social nuance (e.g., *Aladdin* giving Princess Jasmine more agency, *Beauty and the Beast* featuring openly LGBTQ+ characters).

**Story & character changes:**
- Casting choices are frequently discussed, with efforts to reflect current cultural diversity (Halle Bailey as Ariel, Liu Yifei as Mulan).

- New scenes or songs are added to broaden character arcs (e.g., additional songs for Belle, Jasmine, or new subplots for secondary characters).

- Some films embrace technical innovation—like hyperrealistic CGI in *The Lion King*—to offer a fresh visual experience even as the narrative closely mirrors the animated original.

**Public reaction:**
- Audiences often express affection for the originals, resulting in intense scrutiny of remakes; some appreciate updates, while others reject changes as disrespectful to the “canon.”
- Updates aimed at modern sensibilities (diverse casting, cultural sensitivity) receive both praise for progressiveness and backlash from traditionalists.

- Critics frequently debate whether these remakes are creatively necessary or merely “safe” commercial bets lacking originality.

**Conclusion:**
Disney’s strategy with live-action remakes hinges on nostalgia-driven profits while seeking to adapt to evolving societal values and expectations.

The company continues to calibrate the balance between authenticity and relevance, with public reaction indicating that achieving both is a complex, ongoing challenge.

**Nuggets of Information from the Text:**

- **The Decision-Making Environment:** The text references ongoing disruptions in Hollywood, such as writers’ strikes, that affect production schedules.

Despite such challenges, studios like Disney maintain strict release timelines, illustrating a corporate commitment to consistent franchise output.

- **Nostalgia and Financial Motivation:** Numerous live action remakes are driven by the proven appeal of nostalgia.

Disney capitalizes on emotionally resonant classics, banking on older audiences’ familiarity and affection to ensure reliable box office returns and cross-generational engagement.

- **Production Pipeline and Prioritization:** Project development at Disney and elsewhere is often affected by demands of casting, directorial changes, and strike actions, but flagship properties (e.g., remakes) tend to move forward as priorities.

- **Changing Creative Landscape:** Writers and creatives face instability, being easily replaced in a system that prioritizes product over individual authorship.

This system enables studios to maintain control over IP adaptation and consistency across remakes.

- **Adapting Storytelling for Contemporary Audiences:** Some remakes (e.g., Mulan 2020) acknowledge differences in era and cultural sensitivity, altering or omitting dated elements.

Efforts are made to align characters and stories with modern values (as referenced in discussions about adaptations of Asian representation).

- **Emphasis on Younger Audiences:** Studios increasingly tailor content toward younger generations, evidenced by recruitment of young writers and focus on content that appeals to and reflects modern sensibilities and demographics.

- **Remake Strategies:** Remakes often adjust pace and structure to suit changing audience expectations cultivated by contemporary TV and streaming content, as well as reinterpreting side characters or subplots to better fit modern sensibilities or provide greater franchise potential.

- **Public and Critical Reaction:** Viewers and critics typically scrutinize remakes on the axes of authenticity, relevance, and creative risk.

There is both anticipation for new interpretations and skepticism regarding perceived corporate motives or lack of originality, leading to varied reception.

- **Maintaining Franchise Continuity:** Even within disruptions (like strikes), maintaining established franchise schedules remains a business imperative, underlining the importance of these properties to Disney’s bottom line.

- **Adapting Classic Properties:** Disney’s choice to pursue live action remakes is reinforced by market testing—nostalgic properties consistently draw public attention and offer opportunities to update themes for inclusivity, technological advancement, and alignment with cultural trends.

- **Key Example Films:** The text mentions several remakes and upcoming projects, emphasizing that Disney’s approach is now industry-wide, with multiple studios considering similar adaptations based on proven Disney methods.

- **Use of Modern Distribution:** Platforms like Disney+ are used to release major titles, emphasizing flexibility in delivery and audience reach.

Overall, the information extracted reflects that Disney’s live action remakes strategy hinges on leveraging nostalgia, updating content to fit present-day norms and expectations, and maintaining business imperatives despite industry upheavals.

Nuggets Summarizing Key Insights on Disney Live-Action Remakes and Nostalgia

**1.

Nostalgia as a Strategic Driver:**
Disney capitalizes on nostalgia by revisiting its extensive catalog of beloved animated classics, drawing in both new audiences and older fans who have emotional connections to the original films.

This is evident in productions like the nine-minute “Once Upon a Studio,” which assembles 543 characters from 85 films, serving as a “love letter” for Disney’s centenary and underscoring the company’s reverence for its legacy.

Financial Motivation and Box Office Performance:**
Live-action remakes like "The Little Mermaid" have topped box office charts even during challenging financial periods for Disney, signaling the commercial reliability of nostalgia-driven content.

Familiar, established stories present reduced financial risk compared to untested IPs, ensuring solid returns.

Adaptation and Modernization of Classic Stories:**
Recent remakes (e.g., Cinderella, The Jungle Book, Beauty and the Beast, Aladdin, The Lion King, Mulan, Pinocchio, The Little Mermaid) update original narratives and characters to fit contemporary social values.

For instance:
  - **Diversity & Representation:** Casting choices increasingly highlight multicultural ensembles (e.g., Halle Bailey as Ariel) and strong female protagonists (“Mulan” deepens Mulan’s sense of agency).

- **Thematic Updates:** Storylines are restructured to reflect current norms, such as reducing antiquated stereotypes, emphasizing empowerment, and sometimes removing problematic elements.

- **Technological Advancement:** Remakes blend digital imagery and live action to modernize the visual experience while honoring traditional aesthetics, juxtaposing hand drawings, CGI, and real actors.

Balancing Authenticity and Relevance:**
Disney faces the challenge of staying true to the source material (to appeal to nostalgic fans) while making the stories relevant for modern audiences.

Adaptations introduce new character arcs, backstories (e.g., exploring Mufasa’s origins), and sometimes expanded universes to deepen emotional and narrative engagement.

Public and Critical Response:**
Reception to live-action remakes has been mixed:
  - **Positive:** Audiences often celebrate technical achievements, updated representation, and musical reinterpretations.

- **Negative:** Critics sometimes fault remakes for lacking the “magic” of originals, being creatively redundant, or making unnecessary changes.

- **Commercial Success:** Despite criticism, most remakes perform well financially and generate significant media buzz.

Expanding the Franchise Universe:**
Disney leverages remakes as springboards for extended franchises (e.g., plans for a "Lion King" prequel about Mufasa), creating potential for sequels and series that further mine their IP’s storytelling potential.

**Conclusion:**
Disney’s strategy in producing live-action remakes is shaped by powerful nostalgia, financial incentives, and the need for continual cultural adaptation.

The company seeks to balance reverence for its classics with modernization to engage ever-evolving audience expectations, blending authenticity with relevance in a highly public and commercially successful way.

**Disney Live Action Remakes: Report Summary (Recent 2015–2023 Releases)**

**Why Disney Produces So Many Live Action Remakes:**
Disney’s legacy is built on iconic animated classics—their enduring popularity presents a low-risk, high-reward opportunity for remakes.

**Public Reaction:**
Audience and critical response is mixed.

**Summary Nuggets: Disney Live Action Remakes (2015–2023)**

**Why Disney produces live-action remakes & nostalgia’s role:**
- Disney’s catalog of animated classics represents some of the most powerful media brands in the world, which gives the studio a secure foundation for remakes.

Title:

Content: How Disney Brought Back Robin Williams' Genie for 2023's Once Upon a Studio (Exclusive)

By Russ Milheim Posted:

Two key producers from Disney Animation revealed how they brought the late Robin Williams’ Genie back for the company’s newest short, Once Upon a Studio.

In 2023, Disney is celebrating its 100th anniversary. To do that, the studio is dipping into its extensive history to create a new short that pulls from over 85 of the company’s previous feature-length films and shorts.

This new project is called Once Upon a Studio, and it will see 543 Disney Animation characters come to life in a whole new way. Not only that, but it will even feature crossovers that fans have only ever dreamed of.

Have you ever wanted to see Moana and Flounder share a moment together, or Tinker Bell with Mickey Mouse?

Many things became possible when Disney set its eyes on making this impressive new short a reality, which also served as the opportunity to bring together scores of classic characters.

Bringing Back the Genie

Brad Simonsen and Yvett Merino, the producers for Disney Animation’s newest short, Once Upon a Studio, spoke exclusively to The Direct about the new project and revealed how they worked to bring Robin Williams’ Genie back for a brief moment.

Robin Williams debuted as the voice of the legendary Genie in 1992's Aladdin but refused to return for 1994's Aladdin 2 due to a merchandising-related fallout. The disagreement was later settled and the comedy icon returned as the Genie for the 1996 direct-to-video threequel, Aladdin and the King of Thieves.

Simonsen shared that “[they] knew from the beginning” that Williams’ iconic Genie needed to partake in the fun, so the team “reached out almost immediately to [the late actor’s] estate:”

“... We knew from the beginning that the Genie needed to be in this movie, right? So we reached out almost immediately to [Robin William's] estate. And we started sharing with them what we were up to. And then what we did is we actually looked at outtakes. Dan Abraham, our director, looked at outtakes from the recorded sessions and then chose those lines.”

He continued, noting that they quickly “went back to the family” to “[make] sure that [they] were on the journey together:”

“And then we went back to the family and the estate and shared, 'Hey, this is the specificity. [Disney animator] Eric Goldberg is going to be part of this.' So it was really a collaboration with them. And us making sure that we were on the journey together.”

As for the short itself, Merino added how the “first cut was about 12 minutes long” and figuring the final version out quickly became “a balancing act:”

“I think [the] first cut [with Directors Dan Abraham and Trent Correy] was about 12 minutes long. It was like, we can't make a 12-minute short in this amount of time. So we had to really make sure, be careful, that every interaction that we have was timed specifically to that interaction. It became as like, 'Oh, we're spending a little bit more time on this, and it takes away from this.' So, it became like a balancing act of doing that.”

But with such an ambitious short, Merino confirmed that Once Upon a Studio unsurprisingly posed “a lot of unique challenges,” namely in marrying multiple styles of animation while also taking place in a live-action setting:

“There were a lot of unique challenges in this one. I think bringing in the various styles of hand-drawn and CG into our studio and making it feel like they actually are walking in our studio and walking the halls and making them blend seamlessly.”

The producer continued, pointing out the shot with “Moana and Flounder,” an interaction that was “difficult to make them look like they’re living in the same world:”

“There's the shot… the Moana shot because that's in the trailer; like the Moana and Flounder shot, right. And when you're interacting, you're not only having them in the same scene, which is difficult to make them look like they're living in the same world, but they're actually interacting, holding, and touching. And so it's really a credit to the incredible talent of artists and technicians and production people that we have here in the studio to make sure it all works together.”

Simonsen jumped in to explain how they worked closely with production designer Ryan Long, the directors, and animator Eric Goldberg “to make sure that everything was working:”

“I was just gonna say, Ryan Lang, our production designer, we worked really, you know, closely, Dan and Trent worked really closely with him and Eric Goldberg to really do these tests. So we'd take, like, a single frame, and he'd paint over, and we'd really work with the artists to make sure that everything was working together. So each shot had kind of that love.”

One key element of many Disney animated projects is the musical elements. While there is a moment towards the end of the short, fans shouldn’t expect these many characters to be consistently singing tunes as they glide through the halls of the Roy E. Disney Animation Building.

But were more songs ever considered? Simonsen shared that maintaining the balance between all these character moments and musical numbers “would be very hard to do:”

“What we realized was with every second you're with a character, you're taking away time from another character when you're trying to get as many in as possible. So it would be very hard to do musical numbers and still keep that pace that we have.”

Merino expressed how Once Upon a Studio “was a fun one to screen [internally]” because many of the notes would center around adding new characters or moments into the story:

“This one… was a fun one to screen [internally] because the notes were more about like, 'Oh, well, remember this character? Oh, try to get this character.' And there were some good story notes about making sure that we keep a drive alive within the short. It was really fun because we have so many great directors and writers in our studio who have such a history here. They were like, 'Oh, you can put this character in there. Oh, what about this?' So it was a lot of fun. Yeah.”

Brad Simonsen added how they “did a survey to the entire studio” that encouraged people to pitch their ideas to the team:

“Yeah... And we even did a survey actually, after the original pitch, we did a survey to the entire studio and said, 'Hey, if you have ideas, please, please pitch them.' And one of those ideas that came out of that was the moment near the end of the short as they're all gathering. Where Oswald actually tips his hat to Mickey, and Mickey says, 'After you.' That was literally--someone suggested that as one of our team members, yeah.”

The conversation then pivoted to two of Disney Animation’s biggest franchises and their future.

The first topic at hand was Encanto, a film that quickly became a fan favorite after it debuted in 2021. The Direct asked the producers what audiences should expect from the franchise going forward, to which Yvett Merino confirmed that the team is “[continuing] to kind of look at different ways that [they] can keep the world alive:”

“I think we will continue to work on what that actually means. But we are so blown away by the reaction and how 'Encanto' kind of connected with so many people. We continue to kind of look at different ways that we can keep the world alive. I know they teased a little bit of Destination D23 about something 'Encanto' coming, possibly to one of the parks. And we love that…”

The producer continued, admitting she “[doesn’t] have anything official to say” but she’s excited to see the franchise “expand across the company:”

“… There's different—we're working closely with our friends in publishing and consumer products to make sure—there's always different ideas and needs and wants for, for it to stay alive out there. But I don't have anything official to say, but I love the 'Encanto' world and can't wait to see it expand across the company.”

The Direct then asked about the studio's upcoming animated sequel Zootopia 2 to see if the producers could share any fun teases.

Brad Simonsen was able to say he “know[s] that this next one’s going to take it to another level” compared to the original:

“We're all super excited about it. And it's a world that, you know, I was part of the first movie, and it was one of the most amazing experiences in my life, to be honest. And I know that this next one's going to take it to another level and be, as you know, as good or better than the first. So we're super excited about that project.”

More Disney Crossovers to Come?

Once Upon a Studio is definitely different than Disney Animation’s usual shorts, but fans are undoubtedly going to fall in love with it. Seeing all of these classic characters interact in previously inconceivable ways scratches an itch many never realized they had.

Maybe if the short really catches on, Disney Animation could commission a larger project that would allow Disney’s large library of characters to interact in similarly unique ways. Hopefully, fans won’t have to wait another hundred years before some more crossovers like this happen again.

The next step in celebrating Disney’s 100th anniversary will be the release of Wish, the company’s next animated movie, which will be released on November 22. The film follows Asha, a young girl who wishes for a star, only to get a much more direct and magical response than she ever would have thought.

Once Upon a Studio will make its Disney+ debut on Monday, October 16.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

- The decision to remake these films in live action is financially driven; nostalgia serves as a highly profitable motivator.

Title:

Content: Disney+

‘Behind The Attraction’ Season 2 Coming to Disney+ Nov. 1

The highly anticipated second season of the original series Behind the Attraction is set to make its return on November 1st, exclusively on Disney+. This season promises to delight fans with six all-new episodes, each exploring the fascinating stories behind some of Disney’s most iconic attractions and experiences from around the world.

Produced by Disney Branded Television and executive produced by Dwayne Johnson, Dany Garcia (from Seven Bucks Productions), and Brian Volk-Weiss (from The Nacelle Company), the series is narrated by Paget Brewster, known for her role in Criminal Minds. Behind the Attraction offers viewers an exclusive backstage pass to the beloved attractions and destinations found within Disney Parks and Resorts.

In this second season, viewers can expect an in-depth look at six captivating storylines related to their favorite attractions, delectable food offerings, and enchanting nighttime spectaculars. Here’s a glimpse of what to anticipate:

  1. Pirates of the Caribbean: Explore the history of this beloved attraction, which began as a wax museum concept and evolved into a groundbreaking experience featuring state-of-the-art Audio-Animatronics figures. This classic ride has not only inspired a successful movie franchise but also various iterations in Disney parks worldwide.
  2. Big Thunder Mountain Railroad: Step onto the wildest ride in the wilderness, inspired by the American West. Learn about its origins and how it has been adapted in different Disney parks around the world, including unique versions and hidden secrets.
  3. Indiana Jones Adventure: Join Indiana Jones on an epic adventure while navigating snakes and thrilling action sequences. Discover how this attraction came to be and its various incarnations in Disney parks, including a roller coaster and thrilling adventures.
  4. EPCOT: Dive into the Experimental Prototype Community Of Tomorrow, where the future and the world converge. Explore the architectural marvel of Spaceship Earth and the cultural wonders of World Showcase, including new attractions like Remy’s Ratatouille Adventure and Guardians of the Galaxy: Cosmic Rewind.
  5. The Food: Delve into the delectable world of Disney park cuisine, from iconic snacks like churros and DOLE Whip to themed dining experiences. Uncover the stories behind these treats, such as the churro’s debut at a Disneyland teen nightclub and the secrets of the Flavor Lab at Walt Disney World.
  6. Nighttime Spectaculars: Experience the magic that unfolds after dark with Disney Parks’ spectacular nighttime shows. From classic fireworks displays to innovative technological showcases, learn how these nighttime extravaganzas have evolved and expanded over the years.

To get ready for the upcoming season, you can catch up on the first season of Behind the Attraction, which is currently available for streaming on Disney+. Season 2 promises to provide answers to questions like when the Pirates of the Caribbean first set sail for Anaheim, so mark your calendars for November 1st and get ready to embark on a captivating journey behind the scenes of Disney’s most beloved attractions.

About Post Author

administrator
In 2013, Skyler Shuler wanted to share his knowledge of Disney films and the magic behind the scenes. So, he created the Instagram account Disney Film Facts and the page quickly garnered a following. Soon after a Twitter was created, and not long after that DisneyFilmFacts.com was born. The page has been lucky enough to garner a wonderful following of such amazing Disney and movie fans, as well as been sourced in some of the biggest entertainment sites in the world. In 2018, the page was rebranded to The DisInsider, and the rest was history!

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

How successful was the 2019 live-action version of The Lion King?

Worldwide revenues exceeded one billion dollars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

Adults who grew up with the originals bring not only their own viewership but also their children, ensuring built-in, multi-generational audiences.

- There is corporate recognition that nostalgia has immense power: returning to beloved stories rekindles emotional connections, maintains brand relevancy, and reinforces Disney’s cultural influence.

**Adapting timeless stories & balancing authenticity with relevance:**
- Remakes like *The Little Mermaid* (2023) highlight a conscious push to reflect modern values—such as diversity, inclusivity, and representation—while trying to honor the source material’s core.

Title:

Content: Skip to main content Skip to header navigation

Peter Dinklage Has Every Right to Be Outraged Over the Live-Action Seven Dwarfs Movie Planned by Disney

Disney is finding itself in the hot seat after actor Peter Dinklage called them out for their upcoming live-action remake of Snow White and the Seven Dwarfs. It seems that the film company was patting themselves on the back for casting Rachel Zegler, who is of Colombian descent, as Snow White while not giving much thought to how the seven dwarfs would be portrayed.

Dinklage started the conversation on Marc Maron’s WTF podcast, sharing his displeasure with how Disney has handled the situation from the get-go. “Literally no offense to anyone,” he said. “But I was a little taken aback when they were very proud to cast a Latina actress as Snow White — but you’re still telling the story of Snow White and the Seven Dwarfs.” The four-time Emmy winner is right about this because without the seven dwarfs, there is no story. At the same time, the depiction of the characters doesn’t hold up in 2022.

“Take a step back and look at what you’re doing there. It makes no sense to me,” Dinklage explained. “You’re progressive in one way, but then you’re still making that f**king backward story about seven dwarfs living in a cave together? What the f**k are you doing, man? Have I done nothing to advance the cause from my soapbox? I guess I’m not loud enough.” Disney heard him loud and clear, but they were a bit vague in their response to The Game of Thrones actor’s concerns.

“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community,” the statement to The Hollywood Reporter read, “We look forward to sharing more as the film heads into production after a lengthy development period.” It sounds like they are having to do a hard pivot before they begin filming. Did they really give the dwarfs any thought before Dinklage’s comments were heard on the podcast? It seems like the characters were just an afterthought until Dinklage’s call to action woke Disney up from a deep sleep on their societal contributions as to how the dwarfs are portrayed in the media.

Before you go, click here to see all the nostalgic hits getting movie and TV reboots.

- In the upcoming Snow White remake, Disney is “taking a different approach” to the seven dwarfs to avoid stereotypes, consulting with the dwarfism community to ensure sensitivity.

How did Disney respond to criticism from Peter Dinklage regarding stereotypes?

Consulted members of the dwarfism community to avoid reinforcing stereotypes

- Remakes sometimes shift character motivations, backgrounds, and storylines to fit contemporary sensibilities, e.g., *Mulan* (2020) removed the romantic subplot and the musical format for a more action-focused, culturally respectful narrative.

- The studio often weighs fan expectations of authenticity against opportunities to update problematic elements or add greater social nuance (e.g., *Aladdin* giving Princess Jasmine more agency, *Beauty and the Beast* featuring openly LGBTQ+ characters).

**Story & character changes:**
- Casting choices are frequently discussed, with efforts to reflect current cultural diversity (Halle Bailey as Ariel, Liu Yifei as Mulan).

What aspect of Disney's strategy has been questioned due to the mixed reception of The Little Mermaid?

What controversy did Disney's The Little Mermaid spark globally?

Debate over both Ariel's casting and racial representation.

- New scenes or songs are added to broaden character arcs (e.g., additional songs for Belle, Jasmine, or new subplots for secondary characters).

According to John Musker, what should Disney prioritize in its remakes?

- Some films embrace technical innovation—like hyperrealistic CGI in *The Lion King*—to offer a fresh visual experience even as the narrative closely mirrors the animated original.

Title:

Content: Disney Caves to MCU Fan Demands, Returning Blu-Ray Offerings

in Entertainment, Featured

Credit: Disney / Inside the Magic

After much ado about plastic, merch, and fear of loss, Disney returns to Blu-Ray options (with a slight catch).

Disney Blu-Ray Returns, MCU Focus

The issues with plastic in the world led to Walt Disney opting for paper straws and moving away from Disney DVD options. Most everything is available on streaming through Disney+. Yet the thought of the Disney Movie Club losing its tactile ties to Walt Disney World left many dismayed.

The nostalgia of sliding in a VHS or Disney DVD lies in the touch, smell, and immersive experience, personal to everyone. That is something that no streaming service can offer. So, after much fan discontent, Walt Disney returned with Disney Blu-Ray. Yet this time, the focus is on the Marvel Cinematic Universe, despite them supposedly ‘abandoning’ the brand.

Disney Blu-Ray Offerings Have an MCU Focus

According to recent news reports, The Mandalorian, Loki Season One, and WandaVision are all getting a magic dose of Disney Blu-Ray. These features will be available to pre-order beginning on August 28, 2023.

The plan is to release the physical videos, marking the first time Disney+ turned an original, complete series into a home video. As for The Mandalorian season distribution, one and two are in separate packages. WandaVision is set to include the full series, but the Loki release will only have the first season available.

What This Means for Fans of 4K UHD Blu-Ray

While the human eye stays relatively the same, technology improves with every film. Now, we can access deleted scenes, full series, and bonus features with the touch of a button. The Blu-Ray disc ensures that viewers get the highest quality visual experience possible.

What the Disney Blu-Ray offers is the chance to use the physical disc to hold a direct tie to the magic of Loki, The Mandalorian, and WandaVision. While there are many changes in the air, the Walt Disney Company and its affiliates are willing to make changes to supply when there is clear demand.

What do you think about the return to plastic discs? Share your take in the comments below!

Be the first to comment!

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

**Public reaction:**
- Audiences often express affection for the originals, resulting in intense scrutiny of remakes; some appreciate updates, while others reject changes as disrespectful to the “canon.”
- Updates aimed at modern sensibilities (diverse casting, cultural sensitivity) receive both praise for progressiveness and backlash from traditionalists.

How did audiences react to the 2020 Mulan live-action remake?

Some positive reactions praising both changes and additions

What controversy arose from Disney's casting and updates in The Adventures of Pinocchio?

What controversy did Disney's The Little Mermaid spark globally?

Debate over both Ariel's casting and racial representation.

- Critics frequently debate whether these remakes are creatively necessary or merely “safe” commercial bets lacking originality.

According to John Musker, why does Disney rely on live-action remakes rather than producing new stories?

As a risk-reduction strategy
As a safer option

What does Disney's reliance on sequels and spin-offs instead of new IP suggest about its creativity?

A stalling of the company's creative engine.

**Conclusion:**
Disney’s strategy with live-action remakes hinges on nostalgia-driven profits while seeking to adapt to evolving societal values and expectations.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

The company continues to calibrate the balance between authenticity and relevance, with public reaction indicating that achieving both is a complex, ongoing challenge.

**Nuggets of Information from the Text:**

- **The Decision-Making Environment:** The text references ongoing disruptions in Hollywood, such as writers’ strikes, that affect production schedules.

Title:

Content: The screenwriter is also a person, or how the writers ’ strike in Hollywood is going
0
49
In May 2023, one of Hollywood ’ s largest unions, the Writers Guild of America (WGA), announced an indefinite strike.
About 15,000 people will not write and edit texts for feature and television films, series and television programs until their conditions are met.
Such a collapse in the seemingly well-functioning system of American film production has not been since 2007.
Rodion Chemonin, a columnist for the magazine “Abroad ”, tried to understand how it was almost 15 years ago, what the playwrights want now, what it can lead to and why it is impossible to imagine this in the Russian industry.
On May 2, the agreement between the Writers Guild of America and the Alliance of Motion Picture and Television Producers (AMPTP) expired, which spelled out such items as the minimum wage of WGA members, their working conditions, legal working conditions and other issues (the entire text of the agreement was more than 700 pages).
Once the contract lost its validity, the American writers went into a deep indefinite boycott and will not work with the Alliance as writers until it ends.
This means that such majors of television and cinema as Amazon, Disney, Netflix, Sony, Warner Bros Dicovery, were left without feathers.
However, abandoned pens and pencils do not mean that the Hollywood industry was left without hands.
Yes, until the end of the strike, writers and editors will not be able to write a single line, but some of them will not be left without work: no one will prohibit them from producing and directing.
Such an incident has happened more than once.
The last major strike of writers was in 2007-2008, when it lasted 100 days and caused damage to studios in the region of $2-2.5 billion.
15 years ago, members of the WGA were angry because the sale and rental of movies on physical media (then video on VHS and DVD was still relevant) does not bring them royalties, and the development of the Internet, the display and sale of films through online services and did not provide any royalties.
As a result, TV shows such as House, Breaking Bad, The Big Bang Theory, Desperate Housewives and other popular TV shows have been significantly reduced or put on a “stop list ” due to the boycott.
Even at that time, DC was seriously considering the creation of Justice League, and the alleged director George Miller had already recruited actors to play superheroes (for example, Armie Hammer was considered as Batman, Meghan Gale was supposed to become Wonder Woman, and Green Lantern could be played by rapper Common), but due to the strike, the script was reworked several times. The project was postponed to 2008, and later the project was completely closed.
The most revealing examples were the low fees of the blockbusters “X-Men: The Beginning.
Wolverine ” and “Quantum of Mercy ”, in the fall (or, in the case of the 22nd Bond film, in the repeated postponement of the release), which were blamed precisely for the inability of the writers to intervene in the weak final drafts.
What's going on now?
Negotiations between the writers and the production Alliance began in March, but did not lead to anything.
The members of the WGA demand, first, to increase financial conditions.
This is an increase in minimum fees, insurance, contributions to the pension fund and so on, as well as the equalization of payments to playwrights, equally working on both feature films and online projects.
Secondly, they want to increase the number of writers in the script rooms (the so-called team of writers working on the scripts of a show or film): at least six playwrights for television shows and six to twelve for TV series.
Third, scriptwriters demand minimum guaranteed working terms for TV shows, series, and movies.
And finally, perhaps the most unusual requirement: to bring clarity and understanding of how artificial intelligence and / or neural network can work on writing projects, that is, “we don ’ t mind, but let ’ s decide. ”
The strike in a couple of days has already led to problems, and it primarily affected daily or weekly television shows.
In the “stop ” mode for a few days went“ Jimmy Kimmel live ”, “Night show with Jimmy Fallon ” and others, will soon stop and Saturday Night Live.
So far, there are repetitions of these programs and many viewers do not yet notice this, especially since many stories or interviews were filmed in advance, but what will happen when the resources run out, and the audience will understand that they are watching the same thing in a circle?
Work on some series has already been suspended, including Hornets, Cobra Kai, Power in the Night City, the start of filming the long-suffering Blade with Mahershala Ali is postponed again (earlier this happened due to the choice of an actor for the main role, then they could not find a director, now this is how it is).
The big studios have no reason to complain yet.
Disney or the Warners have projects that have already been filmed, so they have something to show for the summer.
For example, the long-awaited “Flash ” from Warner Bros and DC will definitely be released on time: that they, in vain, rushed with the oddities of actor Ezra Miller and mounted and mounted yes and edited the project to the final state?
So, in this case, the premiere (already) does not move: June 16, exactly.
Deadpool 3 is also said to be set to begin on time, but given Ryan Reynolds and Hugh Jackman ’ s propensity to improvise on set, the scripts may be subject to minor changes.
In this case, the question arises: what prevents producers or directors from calling a screenwriter for a minute to write a couple of lines in the plot?
The boycott rules are in place.
They imply that none of the WGA members during the strike should appear on the territory of the studio and not talk to anyone from the crew, otherwise the violator of the rules threatens to fly out of the Guild (unless the author himself is the director or producer).
And yet what to do when you need a screenwriter, but all writers go with pickets in Los Angeles and do not want to hear about any edits or writing?
Should I call someone from other countries?
We do not know how this works in large film productions, but just such an option is a wand for large streamers.
Netflix not only has a huge number of unreleased series and films in stock, but it also invests a lot of money in production in other countries.
For example, in the next three to four years, Netflix plans to invest about $2.5 billion in South Korean cinema, as projects such as “The Squid Game ” and other Korean films bring huge profits.
Add to this the fact that expensive originals series are long-playing stories: such shows are watched and reviewed for several years.
It will be another matter if the strike continues.
While the giant studios and online platforms have a cushion in the form of delayed projects and already shot films that are either in standby mode or in the process of post-production, but who knows what will happen if the boycott lasts until the fall or even more.
That ’ s who it does not threaten, so it is the Russian film production.
Above, we wrote about the fact that American producers dream of a scheme where the author can be expelled at any time and in his place to call another.
It works great in Russia.
Some union of screenwriters we have, and its work even allocated some money from the Union of Cinematographers, read, from the state.
But no one bothers to call in some sleek and heady author not from the trade union.
This is how most of the “orphan ” series exist, all these endless“ eudokia ”, “medics ”,“ melodramas ” and other “cops ”.
In film and television, the number of members of the scenario rooms is not limited, and the more they are, the more convenient the producer is.
Remember how to call DiCaprio!
the hero of Sasha Petrov is going to borrow money from the writers, and what is the answer to him?
“That ’ s not what you ’ re talking about. ”
Who will American producers turn to if they run out of writers?
Hardly to the Russian authors: good playwrights we have so much gold, all disassembled, all at work.
They will not go to the Chinese either, the situation is not the same.
Koreans are busy with Netflix.
Then we'll see how it ends.
Rodion CHEMONIN
Source – the website of the network media artmoskovia.ru.
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Despite such challenges, studios like Disney maintain strict release timelines, illustrating a corporate commitment to consistent franchise output.

Title:

Content: Russian Federation
Moscow
+ 27 °
Economy16 June 2023 10: 30
Digital people: how to bring young people back to the cinema
What can attract those who grew up on the Internet?
How to fill the void in the minds and hearts of young people?
About the new division, created specifically for working with millennials and zoomers, tell the representatives of the film company “Triix Media ”
In the photo from left to right: radio presenter Dmitry Delinsky, development director of the production company "Triix Media" Anastasia Mironova and communications director of the production company "Triix Media" Svetoslav Zhadanov
D. Delinsky
- Suddenly, we talk about TV shows on the sidelines of the international economic forum in St. Petersburg.
In the open studio of the radio “Komsomolskaya Pravda ” Anastasia Mironova, director of development of the company“ Triix Media ” and Svetoslav Zhadanov, director of communications of the company “Triix Media ”.
Look, in my version of reality, the Triix Media studio is the same people who are behind the military films Rzhev and Sky, but still it is more about serial-building.
This is “Foundry 4 ”, this is“ Nevsky ”, “Wings of the Empire ”, the criminal series“ Chef ”.
C.
Zhadanov:
- "Magnificent five", "Strong nuts"... they can be listed a lot and really, you are right, the main content we produce for federal TV channels, mainly NTV, Channel Five.
For Channel One, we did Wings of the Empire.
In Russia-1 was released the same film "Sky".
But in general, the film company "Triix Media", of course, the viewers are associated as a producer of action-packed detective series.
It was established in 2006.
And over 17 years of work, more than 250 projects were filmed, and this is 4.5 thousand airtime hours.
And our projects are now not inferior in quality to those original series that are released on digital platforms.
Most recently, this was confirmed by the serial historical drama "Red Yar", dedicated to the 200th anniversary of the Yenisei province.
It is now available in the online cinema PREMIER.
Maybe in the process of conversation we will return to this series, because with the Krasnoyarsk region the TV company "Triix Media" is very much connected.
We are very friendly with him, opened our branch last year - Siberia Triix Media - everything is cool there.
We invite other film companies to our production base, which we made together with the state regional institution of culture "Yenisei Kino".
All thanks, of course, to the support of the leadership of the Krasnoyarsk Territory.
Therefore, in Siberia you can shoot a movie calmly.
We checked.
We shot special series of our projects “First Department ” and“ Magnificent Five ” there.
At the same time, at the moment, we pay a lot of attention to young people in our work.
D. Delinsky:
- Exactly, all that we have listed before is a movie, series, designed for a very adult audience.
But recently a lot, including at the state level, talk about the fact that young people in our country are a little forgotten, abandoned.
But people read, watch anime, manga, people live on the Internet - these are the same people who in 5, 6, 7, 8 will begin to replace us.
What to do with these people?
How does Triix Media participate in the process of educating young people?
C.
Zhadanov:
- I think that Anastasia will tell more about this, since she directly supervises this direction and this division created within our large film company "Triix Media".
We currently have over 1,500 employees.
D. Delinsky:
- Anastasia, an extremely immodest question.
I understand that I break every conceivable and unthinkable rule, but how old are you?
A.
Mironova:
- Over 35.
D. Delinsky:
- You look 25 years old.
A.
Mironova:
- Thank you very much, of course I am very pleased.
Yes, indeed, young people in our country are up to 35 years old, but I am young at heart, so I understand young people very well and that is why I was entrusted to lead this youth direction.
Triix Media has always positioned itself as a film company that creates films and TV series for TV channels.
Now we are moving to digital platforms, expanding.
It should be understood that the target audience of TV channels is not at all young.
D. Delinsky:
The TV audience is ageing rapidly.
A.
Mironova:
- That's what I'm talking about.
The next generation is a big part of our country.
Children, teenagers, young people.
It is very important what we put in their head, how and in what format.
Of course, our film company, being the largest in the North-Western region of the country, really did not want to leave this target audience without attention.
D. Delinsky:
- Children's cinema in our country has not been for a long time.
A.
Mironova:
- This problem is gradually starting to move.
At the state level, there are organizations that allocate money for the production of this content.
As for the film company “Triix Media ”, the decision to strengthen work with young people was made long ago.
In this regard, we have created a unit in which children from 19 years old and older work today.
And they are not only from the North-West, but also from other regions of the country.
And I want to tell you that we have amazing young people in the regions.
Now we have more than a dozen young writers with whom we cooperate on a regular basis.
These are people with living ideas that we really need right now.
It is necessary to constantly update both the content and its form, taking into account the rapidly developing technologies.
Therefore, our division is engaged not only in shooting serials, documentaries that are designed for a young target audience, but also in the production of those formats that are now, in my opinion, the most in demand.
D. Delinsky:
- For example?
A.
Mironova:
- Podcasts.
D. Delinsky:
- Video podcasts?
A.
Mironova:
- We have podcasts in both video and audio format.
We try to make sure that this content is watched and listened to by as many people as possible.
Accordingly, we place it on all kinds of platforms, in social networks.
In audio format – on Yandex.Music.
Thus, the maximum coverage of our target audience, which is almost all online today, is achieved.
D. Delinsky:
- And what do you do?
What do you call it?
What's that about?
A.
Mironova:
- The topics are completely different.
I immediately remembered the Year of Science.
It all started with the documentary project “Hunters for Science ”, which is aimed at attracting young people to science.
This is a series of 10 videos, shot in a completely new dynamic format.
The project is posted on all social networks.
Rolls 20-25 minutes.
According to user reviews, it looks easy and very interesting.
In the story, we went to laboratories, institutes and told young viewers about what research is being carried out, about the fact that scientists are often the same young people.
The project was supported by the Internet Development Institute.
We won the competition and received funding for production.
After the release of “Hunters for Science ” on the network, the effect was amazing.
But we didn't stop there.
Then the project was created in the format of podcasts, which now includes 7 seasons of 10 issues.
It ’ s called “science. ”
Young scientists come to our studio and talk about themselves and their works.
To be honest, before the implementation of such projects, I thought that the scientist was an older man, very intelligent, with glasses, a gray-haired man who sits behind books, and in general he is not interested in anything but his subject matter.
D. Delinsky:
Did the Big Bang Theory pass you by?
A.
Mironova:
- Yeah, looks like he passed me.
When I started to launch these projects, I met so many young people who are burning with science, inventing something, then issuing patents for it, want to bring light to the masses, develop our country, technologies.
They are just amazing people!
Communicating with them, you are charged with energy, and you want to tell more and more about them to others.
D. Delinsky:
It's a motivational story.
This is a story that calls for a bright future.
But young people, she is not only about the young man thinking, and this is also about the attitude, romance...
Is Triix Media doing something in this direction in order to bring up in the younger generation something related to traditional family values, which are now spelled out in the Constitution?
C.
Zhadanov:
- If we talk about the revival of moral values, I would like to cite as an example our film just for the younger generation called "Golden Bronze".
Children's and youth cinema is really in demand right now.
We have a wonderful director Igor Kopylov, who made this film.
The production was carried out by the film company "Triix Media" with the support of the Internet Development Institute.
The film has already won six awards at Russian and international film festivals.
The film tells about the life of children after the tragedy in Beslan.
Not about the tragedy itself, but about the growing up of those children who survived it, about their mutual assistance, mutual assistance, about the courage of the entire Ossetian people.
The film is available in the community of the film company "Triix Media" in the social network "VKontakte".
It can be found and seen there.
A.
Mironova:
This film turned out to be very bright.
Such a movie is lacking.
By the way, the film was shown in almost all schools of Russia.
C.
Zhadanov:
- The Ministry of Education has a program "Film lessons in schools of Russia".
Prior to its release, the film was watched by more than two million fifth-eleventh grade students.
Teachers and students were delighted.
As a result, after the premiere, the film received more than 12.9 million views and positive reviews.
That says a lot.
D. Delinsky:
- What is planned in the future in the education of young people?
A.
Mironova:
- We plan to revive traditional values through our work.
Everything related to family, moral relationships, empathy for each other.
By the way, we have a wonderful project about the charity fund “Svet.Deti ”.
These are four series about children who won cancer.
They are posted on all social networks and are still freely available.
After the project gained a fairly decent number of views, the charitable foundation began to receive more donations to support children with cancer.
There was a very good response from young people.
D. Delinsky:
- What's the purpose of this story?
A.
Mironova:
The goal is to increase empathy.
Young people can go to volunteer, become more attentive to what is happening around, in the end, just want to help someone.
C.
Zhadanov:
I remember one story related to another charity.
It happened quite recently.
In Smolensk, the film week “Children ’ s KinoMay ” was held.
Conducted her charity fund, which is headed by Lidia Petrovna Evtushenkova.
It is also called “Children ’ s Cinema ”.
Supports children's social institutions.
The Foundation held a video competition within the framework of the film week, in which five children won.
We decided to support them.
And the film company "Triix Media" will host the winners from July 5 to 6.
Accompanied by adults, they will arrive in St. Petersburg.
We will give them tours of the studio and our movie venues.
There they will meet famous actors, directors.
I think this is a very cool and good thing.
It will be very interesting for them.
And we will continue this practice together with this charitable foundation.
We really like it.
A.
Mironova:
- I'd also like to tell you something.
We have teams in the youth division that, relatively speaking, are “sharpened ” to generate ideas.
After the idea is correctly formulated, visually decorated in the form of a presentation and positively considered by the management of the film company, it goes to another team, which begins to transform it into a script.
And in this work we pay a lot of attention to the theme of the Great Patriotic War.
This is very relevant now.
It is necessary that young people have correct, undistorted information about our history.
D. Delinsky:
How do you talk to young people about war?
About the Great Patriotic?
The film, which was shot under the Soviet regime, is no longer relevant for today ’ s teenagers.
A.
Mironova:
That ’ s why we need to support our young writers.
They have a lively look.
The scenario will depend on how the audience perceives the content.
It is also very important where to place it.
That ’ s why we started gathering writers, looking at their ideas and work.
There are a lot of young people joining us now.
Interest in film production is huge.
C.
Zhadanov:
- I also want to note that a lot of attention is paid to those young professionals who work on film sets.
So, after the opening of the branch in Krasnoyarsk together with Yenisei Kino, St. Petersburg State University of Film and Television with the support of the leadership of the Krasnoyarsk Territory, we recruited and trained for free a group of the most popular specialists for film production in Siberia.
They came to St. Petersburg from Krasnoyarsk.
In three months, 23 people were trained.
These are the assistants of the director, and artists, and managers who are responsible for the selection of locations.
The theory took place at the university.
And practice is on our sets.
We also work closely with the Luhansk Matusovsky Academy of Culture and Art.
In February, two students of the directorial faculty together with the head of the department of film and television art completed a free internship on our film sets.
She also took an internship in order to then pass on her practical experience to her students.
This is a very good story and it is not limited to the Krasnoyarsk Territory or the new territories of the Russian Federation.
There is, for example, the Ulyanovsk region.
Last autumn there was held kinokorner "I-Ulyanovsk-Future", which we supported.
This is a creative space where master classes, castings were organized, oratorical art was taught, and so on.
Plus, food courts were organized.
People came and rested usefully.
All this took place with great interest of both adults and children.
D. Delinsky:
- Thank you so much for what you're doing.
Last question: what will we see from the company "Triix Media" nearest?
C.
Zhadanov:
- Very soon we begin shooting a serial film based on the novel "The City of Brezhnev" by Shamil Idiatullin.
It is planned to shoot the series “Prison diary ” based on the book by Maria Butina.
And Igor Kopylov goes to Siberia - to the anniversary of the writer Viktor Astafiev will be shot a film based on his works.
I would also like to add on the topic of youth, which we have just discussed.
We are open to creative ideas of young people, we constantly consider those works and applications that are sent to us.
This applies to scenarios and appeals of those who want to work on the sites.
In the contacts on the website of the film company "Triix Media" there is an e-mail address to which you can send proposals on youth content, as well as contacts of other departments.
Please contact me.
We look forward to your suggestions.
Our head – general producer Inessa Yurchenko has repeatedly said that cinema is the business of young and young people.

- **Nostalgia and Financial Motivation:** Numerous live action remakes are driven by the proven appeal of nostalgia.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Disney capitalizes on emotionally resonant classics, banking on older audiences’ familiarity and affection to ensure reliable box office returns and cross-generational engagement.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

- **Production Pipeline and Prioritization:** Project development at Disney and elsewhere is often affected by demands of casting, directorial changes, and strike actions, but flagship properties (e.g., remakes) tend to move forward as priorities.

Title:

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Back to the old: 9 Disney game remakes that are in development right now
As practice shows, nostalgia sells well.
At the moment, Disney is developing a lot of animated remakes, including with live actors.
This is not surprising given the success of the recent rework of their classic animated films.
It seems that Disney will continue to explore the genre and offer unique interpretations of favorite projects.
Peter Pan and Wendy
Release date: 2022
The remake of the new “Peter Pan ” was directed by David Lowry, who previously worked on the film adaptation of“ Pete and his dragon ” in 2016.
It is reported that the shooting of the project has already been completed, but the exact date has not yet been announced.
It is known that the basis of the film “Peter Pan and Wendy ” is the original story about a boy who did not want to become an adult, and the magical country of Neverland.
The exact date of the premiere of the project has not yet been announced, but is expected in the second half of 2022.
Pinocchio
Release date: September 8, 2022
The animated film “Pinocchio ” with live action was shot by Robert Zemeckis according to his own script in collaboration with Chris Weitz.
The Wooden Boy was originally voiced by Benjamin Evan Ainsworth.
Its creator, Gepetto, was played by Tom Hanks.
Also in the remake took part Cynthia Erivo, Luke Evans and others.
The premiere of the fantasy musical is scheduled for September 8, 2022.
Not only Disney: 8 amazing cartoons that are worthy of a game remake
Little Mermaid
Release date: May 26, 2023
About the rethinking of the “Little Mermaid ” rumors have been around for a long time, and after the announcement of the actress for the main role, dark-skinned Holly Bailey, fierce disputes began.
Nevertheless, the film adaptation decided to finish and announced the premiere date - May 26, 2023.
The plot will tell the original story of a mermaid who fell in love with an earthly prince and asked the witch for legs to please him.
The beloved underwater princess in the film adaptation was played by actor John Hauer-King.
Snow White and the Seven Dwarfs
Release date: 2023
The exact date of the premiere of the remake of "Snow White and the Seven Dwarfs" has not yet been announced.
The story is taken from the fairy tale of the Brothers Grimm, and adapted by screenwriter Greta Gerwig.
The project is directed by Mark Webb.
The role of the beauty of Snow White will be played by Rachel Zegler, and the evil witch will be embodied on the screen by the vander woman Gal Gadot.
The premiere is expected presumably in 2023.
Hercules
Release date: not announced
The director of the film adaptation of “Hercules ” will be the author of“ Gentlemen ” Guy Ritchie.
He will direct a full-length film with live actors based on the 1997 cartoon.
The script was adapted by the author of “Shan-Chi and the Legend of the Ten Rings ” Dave Callham.
The cast of the film about the adventures of Hercules on Olympus has not yet been officially announced.
It is reported that the musical accompaniment of the picture will work Alan Mencken, the author of the compositions “The Little Mermaid ”,“ Aladdin ” and other cartoons.
Bambi
Release date: not announced
The film "Bambi" about a deer who is forced to learn to live independently in the forest after the death of his mother, will be created using computer technology.
The story is taken from the eponymous film adaptation of 1942.
Previously, similar technologies were used in the remake of The Lion King by John Favreau.
Genève Robertson-Dworet and Lindsay Beer will be scripted, and the director will be announced later.
The date of the premiere is not yet known.
Hunchback
Release date: not announced
Work began on a reimagining of the cartoon "Hunchback of Notre Dame" in 1996.
The story, taken as the basis of the original and remake, was written by Victor Hugo in the novel “Notre Dame de Paris ”.
The remake will be playable, but the cast has not yet been announced.
Also, the director ’ s chair is not yet occupied, and David Henry Hwang is already working on the script.
The date of the premiere has not yet been announced.
The Sword in the Stone
Release date: December 13, 2024
The 1963 film adaptation based on the legends of King Arthur will also receive a new adaptation.
Directed by Juan Carlos Fresnadillo.
The start of production of the new “Sword in the Stone ” started back in 2018, but due to financial problems it had to be suspended.
It is reported that due to the small budget of the picture, the project will be released exclusively for the Disney + streaming service.
There is no information yet about the actors who will take part in the film adaptation.
The project will be released on December 13, 2024.
Robin Hood
Release date: not announced
"Robin Hood" will get a hybrid version with live actors for the Disney + platform.
In development is a remake of the animated classic of 1976 with director Carlos Lopez Estrada at the head.
CGI technologies will be used in the project.
About the casting, the potential release date and other details are not yet known.
The script will be written by Kari Granlund, who previously worked on the remake of Lady and the Tramps.
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- **Changing Creative Landscape:** Writers and creatives face instability, being easily replaced in a system that prioritizes product over individual authorship.

This system enables studios to maintain control over IP adaptation and consistency across remakes.

- **Adapting Storytelling for Contemporary Audiences:** Some remakes (e.g., Mulan 2020) acknowledge differences in era and cultural sensitivity, altering or omitting dated elements.

Title:

Content: Scriptwriter David Callaham helped Marvel create an Asian superhero
In the four days since the start of distribution, the film “Shan-Chi and the Legend of the Ten Rings ” grossed $90 million in the United States and Canada.
Marc Piasecki / Getty Images
Shang-Chi and the Legend of the Ten Rings set a record for Labor Day box office (this year on September 6) in the United States and Canada.
In the four days since Friday, September 3, it raised $90 million, although it was expected that the fees will be at the level of $45 – 50 million, writes the online edition Seeking Alpha.
The surge in box office receipts was a long-awaited news for investors: the shares of cinemas went into growth.
On September 7, AMC prices soared by 8.7%, Cineplex - by 5.1%, IMAX - by 3.3%, Cinemark - by 3.9%.
In Russia, the premiere took place on September 2, for two weeks the fees exceeded $3.3 million.
Shan-Chi and the Legend of the Ten Rings is Marvel ’ s first Asian superhero film.
It was directed by Destin Cretton, whose mother is Japanese American, and the script was written by Dave Callaham, who has both parents of Chinese descent.
Shan-Chi appeared in print Marvel comics back in the 1970s and was the son of villain Fu Manchu.
In those years, the West swept the fashion of kung fu, and the first Shan-Chi was similar to Bruce Lee to a degree of confusion.
In the story of paper comics, Shan-Chi first helped to malign his father, then came to his senses and began to fight against him.
In those years, China was the enemy of the United States as a communist power.
Then he became a trade competitor.
And now it has turned into a large and important film market with its own specifics.
For example, as soon as the actor of “Fast and Furious 9 ” John Cena mentioned and called Taiwan a“ country ”, a storm of indignation arose in China and the fees of the film fell sharply.
Marvel doesn ’ t seem to forget that.
Paper comics of the 1970s were the quintessence of American stereotypes about Asians.
“I don ’ t believe it was done maliciously, ” Callagham told The Nerds of Color,“ It ’ s just that there was a very different era of comics created by two white men about Asian people.
It does not reflect the reality in which we now live <... > And it is necessary to give them credit, Marvel understood it.
So they invited us [with Cratton] to do what we want. ”
They not only added typical Asian features like the fact that, unlike paper comics, the characters finally began to undress before entering the house.
They made the flat book villain more multifaceted in the film.
“This is a broken man who has done a lot in his very long life and desperately wants to believe that he can bring everything back, it ’ s very human, ” Callaham told The Hollywood Reporter. – But we still needed him to look like the head of a giant terrorist organization that <... > torments people in their dungeons and all that.
Finding that balance was not easy. ”
Shang-Chi and the Legend of the Ten Rings (2021)
Monkey friends
Callaham was born on October 24, 1977 in Fresno, California, to Chinese Americans.
As a child, he pretended that he was no different from the white-faced kids in the neighborhood.
“I thought it wasn ’ t cool to be [Chinese], ” he told The Nerds of Color.
David didn ’ t go to study English at the University of Michigan because he liked literature.
Everything else attracted him even less.
“By the end of my training [in 1999], my best friend and I still didn ’ t know what we wanted to do, ” he admitted (here and then quotes from the website of the Hollywood consulting agency Fresh Voices).
They caught the eye of an article in Penthouse, how cool the writers live in Hollywood: “It had pictures of absolute nerds in the Jacuzzi in the penthouse. ”
So, as soon as they got their diplomas, the friends went to conquer Los Angeles.
They even co-wrote a script called Los Angeles Zoo.
Something similar to “Friends ”, and the highlight was that the two main characters were played by … monkeys, who were mistaken for ordinary people.
The authors did not hide that they borrowed the idea from the old series Lancelot Link: Secret Chimp, which aired on ABC in 1970-1971: about a spy monkey and his human partner.
Callaham and a friend quickly realized that selling such a script would not be easy.
They moved on to more mundane topics.
For example, they wrote scripts for two episodes of “Friends ”.
Then a comedy in the style of the then popular film “American Pie ”.
Alas, they received refusal after refusal from the studios.
To earn money, both got a job in a company producing dog food.
Then the friend got engaged, finally broke up with the dream of becoming a screenwriter and went to the bride in Michigan.
And Callaham continued to write alone and got a job as an assistant in a law firm: they paid more.
Callahama ’ s girlfriend turned out to be an acquaintance who worked for the CAA (Creative Artists Agency).
She gave him an interview.
He decided to try to work in the CAA, as they also selected actors and writers for Hollywood.
“I was told it would be a terrible job, I would be mistreated and paid less for it than [at the law firm], ” Callham recalled.
For about a year, Callham replaced various assistants who fell ill and were unable to go to work.
Then he settled in with producer Craig Goering's crew.
He was promised that he would gather the contacts of many famous people in the industry and get access to a large number of materials, from scripts to specifications.
And it turned out to be true.
At one time, Callaham ’ s workplace was near the office of CAA President Richard Lovett.
When everyone was leaving for lunch, Callagham copied documents from his desk and read them at night.
Among others, there were secret ones: scripts that the studios secretly sent to Tom Hanks and Tom Cruise for consideration, correspondence with the authors about changes in the text and plot, and much more.
“I stole scripts from the tables and read them – and that ’ s how I learned to write, ” Callagham once told The Hollywood Reporter.
“I realized that most writers are guys who can be pretty good or not very good, but the main thing is that they are motivated and work hard, ” he summed up in an interview with Fresh Voices. – I saw the profession of a writer from the point of view of the buyer. <... > And importantly, I found that in most cases, the script is read first, like me, the assistant.
If you can't conquer it, the producer will never see your script.
So my goal is always to write a good first act <... > So that on the fifth page you will be interested in reading everything else. "
Tribute to the Apocalypse
He managed to work for Goering for eight months when he realized that he was tired of the CAA.
His next job was the production company Deep River Productions.
At the same time he continued writing.
First, he created a drama from the life of college students “My Generation ”.
He was, in his own words, pretentious.
Then a drama about the afterlife called "Koda".
She turned out to be absolutely terrible.
Then he wrote a comedy.
And it was liked by the people Callaham gave it to read.
The point is that the guy invents teleportation to get into the apartment of his beloved, living on the other side of the country.
They never saw each other: their romance began by correspondence and phone.
But the teleport was wrong.
Callahan's hero is stuck inside the wall.
Even though the girl was now not hundreds of miles, but a few centimeters, he still could not see and touch her.
By that time, Callaham himself had been dating his girlfriend for six years.
But she had to move to another city – why the idea of the script came up.
And then she dumped him.
And Callaham, abandoning the comedy, sat down to write a gloomy thriller to spill out his feelings.
He came up with the story of the detective whose wife died.
Immersed in his grief, he becomes more and more distant from his sons, and the only joy is work.
He relentlessly catches a killer maniac decorating a crime scene in accordance with the prophecy of the four horsemen of the Apocalypse.
“I would come home from work, drink, and then start writing.
“I had candles all over the room, I turned off all the lights, I listened to music and hung pictures of crying people and photos of corpses from movies. ”
It cost him a couple of times.
He brought home a new girl, she glanced at the photos and flew out of the apartment with a bullet.
In 2002, Callahum completed a script called Horsemen and sent it to everyone he had gathered while working for the CAA.
“Until now, people in the film industry tell me that they remember reading The Horsemen, ” he laughs.
As a result, talent manager Gaimon Cassidy became interested in the work.
He had just sold 20th Century Fox David Benioff ’ s psychological thriller Stay (2005) and was looking for a new author.
However, he honestly warned: to sell such a complex and gloomy scenario will not be easy.
And I got Callahan to rewrite.
Callaham doesn't like to rewrite.
One of his colleagues gives the script to lie down, and then, having a fresh look, refines it.
Callahan works differently.
Having put the last point, immediately hands over the script and, if it were his will, would leave it in its original form. But alas.
Almost every time he receives comments and corrections from the studio.
“If you throw a tantrum, you will earn a reputation as a difficult person.
And as soon as you get that reputation, there will be a million other aspiring writers in your place, ” he says. – The biggest problem, I think, is sometimes overcoming your pride.
Understand that this is not just my scenario, but someone ’ s investment.
So I have to do what they want.
I don ’ t always do that well. ”
The "Horsemen" script was eventually liked by Platinum Dunes.
It was founded just a year ago, in 2001, and just launched its first film – a remake of “Texas Chainsaw Massacre ” (the first“ Massacre ” was released in 1974).
But the studio wanted to produce original content, and the creation of Callahama seemed appropriate to them.
However, they released "Horsemen" only in 2009.
$20 million was spent on shooting, and the film collected 8 times less.
And Platinum Dunes for a long time earned mainly on the remakes of “Friday, 13 ”,“ Nightmare on Elm Street ”, “Ninja Turtles ”.
Horsemen / Platinum Dunes
How to defeat Stallone
In the same year 2009, another film based on the script of Callaham was released – “Tell-Tale ” (Tell-Tale) produced by the film company Social Capital Films.
It is based on the story of the same name by Edgar Poe.
The main character transplanted the heart of a murdered person, and he begins to see pictures from his past life.
That includes finding out the killer.
The film was produced by Tony and Ridley Scott, and directed by Michael Cuesta, who directed the series "Dexter" (began to appear in 2006) and tried to make a similar film.
It turned out so bad.
If “The Horsemen ” and“ The Convictor Heart ” took many years for the manuscript to reach the screen, then the film Doom all about everything took only two years.
Callaham was called to a meeting with people from the leadership of Warner Bros, not really explaining why.
He was asked if he had played Doom.
He was playing.
The next question was, what movie would he make based on it?
Callaham recalled the secrets of selling scripts learned during his time at the CAA, quickly formulated a few ideas – and was hired.
However, the film did not meet the expectations of a huge audience of fans of the computer game and collected less than $60 million spent on it.
Perhaps because there is nothing left of the game in the film – even the BFG weapon has little to do with the gun from the game except the name.
The contract for the script for Doom provided that Callaham would write another script for Warner Bros.
He did not wait until he was given a task, and he wrote a story about the dictator of a small island (“Barrow ”, Barrow), who is overthrown by American mercenaries – he was inspired to read an article in the newspaper about the Blackwater PMC in Iraq.
Management did not like the idea, and the script lay on the shelf.
A few years later, Sylvester Stallone wanted to shoot an action movie in the style of the good old 70s and began to look for material for him.
Someone at Warner Bros sent him a script for Callahan.
Stallone was fascinated by the idea, but he did not take the script, but wrote his own based on it, which he called "The Expendables" (The Expendables, 2010).
It didn't turn out very nice.
In 2009, the production of the film was in full swing when Callaham learned that his name would not be in the credits of the film and that he would not receive a cent for the fact that his script served as a starting point for Stallone.
I had to look for justice in the Writers Guild (WGA).
They listened to the arguments of the parties and decided that Callaham should be considered a co-author of the film and receive $102,250 (the film itself collected $274.5 million at the world box office).
Moreover, since Callaham was listed as one of the authors of the first film, he is entitled to pay for all subsequent films in the series and mentions with the wording "the film is based on characters created by Callaham".
Stallone was invited to star in the first “Expendables ” by Jean-Claude Van Damme.
He refused, which he later regretted.
So in the second “Expendables ” he was taken, but for the role of a bad hero, and at the end of the film Stallone personally killed him.
But Callaham again showed the viewer the good Van Damme.
In 2016-2017, the Amazon streaming service released the series “Jean-Claude Van Johnson ” (Jean-Claude Van Johnson) about the fact that the hero of the militants is actually a special agent named Johnson, who used his film career as a cover.
He returns from retirement to work.
Return failed: after the first season, the series was closed.
Chainsaw President
While working on the script for “Mound ” –“ Expendables ” Callaham read biographies of mercenaries, their memories of armed conflicts and other materials of this kind.
And for the next script, he read the official 600-page guide on disaster response and watched many nature documentaries.
After all, his next hero, he considered just a giant animal: it ’ s a remake of “Godzilla ” (Godzilla, 2014).
The monster there is more of a positive hero: he saves humanity from other monsters that are preparing to multiply in terrible numbers.
However, with a budget of $160 million, the film collected more than 3 times more.
Callaham managed to work on the remake of “Welcome to Zombieland 2 ” (Zombieland: Double Tap, 2019) together with the screenwriters of the original film, Rett Reese and Wernick Wernick.
And then, according to The Hollywood Reporter, accidentally made a name for himself in the superhero industry.
In fact, he agreed with director Patty Jenkins to work on the criminal comedy “Jackpot ” – a remake of the 2011 film, the script for which was written by Yu Nesbø.
But Jenkins went to another project - Wonder Woman 1984 (2020), and Callaham stayed to work on "Jackpot" with Will Gluck.
Jenkins and Jeff Jones wrote a draft of the script for several months, received approval from Warner Bros - and immediately after that, they dragged Callaham into their team to bring the plot to mind.
Alas, despite all their efforts, Gal Gadot as a superheroine turned out to be much less attractive than Godzilla.
With a budget of $200 million, the film grossed $166.5 million.
But the jackpot didn ’ t come out.
Callaham had previously worked with Marvel on several films.
For example, “The Wolfman ” (2010).
But it was rather a short consultation, and he was never offered to create something from scratch.
But Callaham managed to get acquainted with almost all the leaders of Marvel.
So when they needed an Asian writer for Shan-Chi, they knew who to call.
“My dream has come true! ” Callaham shared his joy with The Hollywood Reporter.
Shang-Chi and the Legend of the Ten Rings (2021)
This year has been very fruitful for Callahan.
In addition to Shan-Chi and the Legend of the Ten Rings, two of his films were released.
Mortal Kombat (2021) is another film adaptation of the famous computer game.
Opinions of critics and viewers sharply divided, wrote the site Rotten Tomatoes.
The audience he scored quite a high rating – 87%.
Critics of the creation categorically did not like, and in the media were not uncommon such headlines as “The Last Disappointment from Hollywood ”.
On Rotten Tomatoes, the critical rating barely reached 55%.
However, as noted on the site, it still made it the fourth in the list of the best video game adaptations in the history of cinema.
The third novelty that year was the full-length cartoon “America: The Motion Picture ” (America: The Motion Picture, 2021).
Cullaham began working on it 10 years ago, deciding to tell how the United States gained independence in the fight against the British Empire.
That sounds dull.
But, as Callagham said in an interview with Inverse, “The [real] story isn ’ t as exciting as George Washington with two chainsaws. ”
In the cartoon, the American president really fights with two chainsaws.
And there is a centaur robocop, helicopters on pedal traction, football balls - cannibals.
The following of historical facts can be judged by such an example.
If you believe the cartoon, then Abraham Lincoln was killed, and in the theater.
He was killed by Benedict Arnold, who was actually a werewolf.
This is the first animated film made by Netflix that has an R rating (for persons under 17 years of age, the presence of an adult is mandatory).
“America: The Movie ” is proof that I can be funny.
I hoped that he would help me become an action comedy writer.
That ’ s what happened, ” Callaham explained on the pages of Inverse his plans for the future. – Now most comedies are comedic action movies.
In Marvel movies, for example, there is a lot of comical.
But for me, writing a comedy is somehow more fun than a story in which people die all the time. ”
In the films he is working on, there will be fights and humor.
The first project is a remake of the Spider-Man story.
This time a full-length animated film.
He doesn't even have a name yet.
Callagham writes with Phil Lord and Christopher Miller.
“Sometimes one of us works.
Sometimes two.
Sometimes all three depend on who can, ” he told The Hollywood Reporter.
The second project is the complete opposite of the first.
This is a remake of the 1997 animated film.
Hercules with real actors.
It ’ s hard to say anything about him, Disney approaches such remakes differently.
For example, the movie Lion King (2019) created on the computer repeats the original cartoon quite accurately.
But “Mulan ” (Mulan, 2020) with real actors is a fairly free interpretation of the source.

Efforts are made to align characters and stories with modern values (as referenced in discussions about adaptations of Asian representation).

What controversy arose from Disney's casting and updates in The Adventures of Pinocchio?

- **Emphasis on Younger Audiences:** Studios increasingly tailor content toward younger generations, evidenced by recruitment of young writers and focus on content that appeals to and reflects modern sensibilities and demographics.

- **Remake Strategies:** Remakes often adjust pace and structure to suit changing audience expectations cultivated by contemporary TV and streaming content, as well as reinterpreting side characters or subplots to better fit modern sensibilities or provide greater franchise potential.

Title:

Content: 12
On June 21, Disney + will release the first episode of Secret Invasion, a spy thriller starring Samuel L. Jackson based on the Marvel comic of the same name.
“World of Fantasy ” recalls what happened in the comic book, tells what to expect from the series, and compares the show with the original source.
How "Secret Invasion" Happened in Comics
In 2008, a large-scale crossover was launched in Marvel comics by screenwriter Brian Michael Bendis.
Throughout the eight issues of the main series (and piles in the neighboring - the event affected about five dozen episodes) Iron Man, Reed Richards, Spider-Man, Wolverine, Luke Cage and other characters reflected another threat to Earth.
Only this time, none of them knew which of the friends and allies can be trusted.
Shortly before the beginning of the crossover, Tony Stark made a terrible discovery: spies of the alien race of werewolves Skrull for some time replace the heroes and villains of the Marvel universe.
Realizing that they have been revealed, werewolves begin to act.
Having lured the most powerful heroes to the Wild Earth, turned off all the devices of the Stark Enterprises and neutralized the ships of S.H.I.E.L.D., the Skrulls arrange a full-scale seizure of the Earth, starting, of course, with New York.
As a result, it all boils down to another large-scale, for a couple of numbers, massacre, in which the reunited heroes win a crushing victory over the skrulls.
But at the same time, several events have long-lasting consequences:
In a decisive battle with the Skrulls, Janet van Dyne (Wasp) is killed.
In the comics returns Captain America, who was believed to have died after the events of the Civil War.
The real Cap turns out to be one of the Skrull kidnapped heroes.
The President of the United States blames Tony Stark for what happened.
The government breaks all contracts with Stark Enterprises, and Stark himself is dismissed from his post as director of S.H.I.E.L.D.
• The President dissolves S.H.I.E.L.D., replacing it with a more “relevant and effective ” organization — M.O.L.O.T.
• All registered superheroes, including the Avengers and the 50 States Initiative, are placed under the control of Norman Osborn.
Secretly from everyone, Osborn assembles a group of Emma Frost, Namor, Doctor Doom, Hood, and Loki, triggering a chain of events that will eventually lead to the events of the new Dark Rule crossover.
What we know about the series
In the comics, the Skrulls were cruel and insidious invaders, but in the Marvel Cinematic Universe, they themselves turned into innocent victims of interplanetary war.
When Nick Fury and Carol Danvers first came across them in the mid-1990s (in Captain Marvel), Fury promised their leader Talos to find a new home for the Skrulls if they would work for him.
And that's the problem: for thirty years, the Skrulls have been doing their part of the deal honestly, but Fury never found anything.
During this time, a new generation of skrulls managed to grow up, which was tired of waiting, asking and hiding in someone else ’ s skin.
In their ranks, an extremist movement has formed, ready to seize our planet.
Preferably secretly, but if necessary by force.
And every day more and more young people are united around the extremist leader Gravik.
For Talos, the conflict quickly moves to a personal level, because his own daughter Guy'ya joined the ranks of extremists.
Returning to Earth, Fury faces an overwhelming task: he must assemble a team and repel a secret alien invasion.
But how to do this without knowing who is a friend and who is an enemy?
You don't know who you can trust and who you can't.
This series is looking for answers to many current questions of our time, in particular about what happens when people are afraid and cease to understand each other.
In this case, the guilty cannot be distinguished from the innocent.
Samuel L. Jackson in an interview with Vanity Fair
Who is who
Nick Fury (Samuel L. Jackson) is a former director of S.H.I.E.L.D. and founder of the Avengers Initiative.
After the events of the Final, Fury left Earth for a long time and has not responded to the messages of his deputy Maria Hill for a long time.
Fury was on the defense of the planet long before Iron Man, but recent events seem to have broken even him.
In an interview with Vanity Fair, Jackson explains that one of the reasons Fury is hiding somewhere in the depths of space and ignoring messages is that he no longer believes he can fix things.
Maria Hill (Kobe Smulders) is Fury's longtime deputy and ally.
For several years now, she has been trying to put out all the fires on her own.
Everett C. Ross (Martin Freeman) is a former CIA officer who is not the first to deal with secret societies.
Rody Rhodes (Don Cheadle) is a former high-ranking Air Force officer and a close friend of Tony Stark, and now the right-hand man of the President of the United States.
And in this position, Rhodes is forced to make many difficult decisions that turn out to be both good and bad.
Talos (Ben Mendelssohn) is a Skrull leader and a close friend and ally of Nick Fury.
He impersonates Nick Fury while he is absent from Earth.
Gravik (Kingsley Ben-Adir) is the leader of an extremist group of young Skrulls, tired of Fury's promises and disillusioned with Talos' policies.
He founded his base on an abandoned nuclear power plant in Russia.
Guy'ya performed by Emilia Clarke
Gai'a (Emilia Clarke) is Talos' daughter.
Disillusioned with her father and Fury's empty promises.
Sonia Falsworth (Olivia Coleman) is a high-ranking MI6 agent.
In the past, I ’ ve crossed paths with Nick Fury, sometimes on the same side, sometimes on different sides.
At first glance, it seems that she cares about the national security of the UK, but perhaps she is pursuing her own interests.
Vanity Fair reports that Falsworth will be more of an opponent than Fury's assistant.
Olivia Colman in "The Secret Invasion"
Beware of spoilers!
The network recently appeared potential spoilers revealing the main plot twists.
They may come true, or they may not.
Read at your own risk:
Click if you are not afraid of spoilers!
If you don ’ t want to know, just read on.
• Everett Ross – Skrull.
Talos will kill him.
Maria Hill will die in the first episode.
Gravik's parents were killed by the Kree race.
Nick Fury's wife is Skrull.
How does a comic book series play out?
In short, no way.
"Secret Invasion" borrows from the source only the name and the basic idea: the Skrulls are secretly preparing to take over the Earth, and its defenders have no idea who to trust.
That's where the similarities end.
Executive producer Jonathan Schwartz directly says that the creators of the series were inspired primarily by other sources - spy thrillers John Le Carré and modern television series like Homeland and Americans.
The original comic was a crossover, collected on the pages of almost all significant superheroes and supervillains Marvel.
The Skrull invasion helped repel the New, Secret, and Young Avengers, the Fantastic Four, Thunderbolts, and dozens of other characters all the way up to Howard the Duck.
Nick Fury was just one of dozens of actors, far from being the main one.
In the series, he comes to the fore.
Moreover, in the television "Secret Invasion" will not be a single superhero - Fury deliberately decides not to call his powerful friends and acquaintances and seek help exclusively from the same spies, operatives and special agents as himself. Why?
“In due time, we know everything, ” Jackson promises.“ He has a very good reason to do this. ”
What critics say
Critics were shown the first two episodes of "Invasion", and so far the rating of freshness of the series stopped at a neutral mark of 65%.
Emily Murray of Total Film liked the series in general: she notes the magnificent cast, the difference from other Marvel series in the atmosphere and the promising villain in the face of Gravik.
And at the same time, Murray did not have enough scenes with Gravik, the author believes that both episodes could be shortened, eliminating excessively long scenes, and “wooden ” Clark spoils the impression of otherwise excellent acting.
Josh Spiegel of SlashFilm notes that the first episodes of "Secret Invasion" is a promising, gloomy atmospheric spy thriller with potentially serious consequences, but warns that by now, a cheerful start and a weak finish have become almost the standard for Marvel series.
Ben Travers of IndieWire is disappointed that the authors of “Secret Invasion ” are more interested in“ surprising the audience with unexpected plot twists than rewarding an interesting story ”, and the show itself falls far short of the level of the series “Americans ” and the declared genre of geopolitical thriller.
Travers also laments that the numerous talents of the bright and impressive cast have been reduced to "dull exposure, mechanical dialogues and tortured jokes."
For Daniel Finberg of The Hollywood Reporter, the first two episodes were also a disappointment.
“The great cast makes the series watchable, but for the most part, Secret Invasion is harsher and more boring than would have been expected from Graham Green-style and John Le Carré spy novels, ” he notes.
Finberg is also unhappy with the complete lack of action.
“With the exception of the dynamic chase scene at the beginning of the first episode and the brief torture scene in the second, both episodes are almost entirely dialogue. ”
* * *
Promising trailers and, at best, neutral press reviews counterbalance expectations from The Secret Invasion, but so far it ’ s indisputably the main event of the year in the Marvel Cinematic Universe after the finale of The Guardians.
Are you waiting for the series?
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- **Public and Critical Reaction:** Viewers and critics typically scrutinize remakes on the axes of authenticity, relevance, and creative risk.

There is both anticipation for new interpretations and skepticism regarding perceived corporate motives or lack of originality, leading to varied reception.

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My wife's grown up!
Gorgeous Darya Melnikova on the shooting of the second season of the new “Daddy ’ s Daughters ” (photo)“ Bloody Victory ” – a teaser, finishing the month of exiting to the Japanese country full report on the resistance of cyborgs, vampires and yakuza
• • •
SERIALS
214
The producer of “Loki ” explained why the accused of violence Jonathan Magers will appear in the second season
Jonathan Magers is so talented that Marvel can ’ t afford to lose him.
So, the main star of the entire Phase Six will continue to play Kang the Conqueror, despite the accusations of violence and the ongoing trial.
The next appearance of the actor will definitely take place in the second season of “Loki ”.
Commenting on this circumstance, the producer of the series Kevin Wright reasonably noted that you can not make hasty conclusions.
That's right, without trial, it's safe to fire only white men.
At the moment, I know as much as you do.
It would be premature to do anything without knowing how it will end.
In addition, this is the first Marvel series (I think, and not only the series), which did not have a re-shoot at all - it turns out that it also happens.
Do not spoil the same historical achievement because of one disgraced star.
This is the first Marvel series that has not been re-filmed.
The story that will be shown on the screen is exactly the story that we intended to create.
We had a very specific idea of what we wanted to get, and we found a way to convey it during the shoot.
Continuation of the wanderings of the god of deception and its more beautiful version will be released on Disney + on October 5.
We are waiting for the return of Tom Hiddleston, Owen Wilson, Sofia Di Martino and Wunmi Mosaku, who will be joined by the Oscar-winning Ke Hui Kyan.
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What does Disney's reliance on sequels and spin-offs instead of new IP suggest about its creativity?

A stalling of the company's creative engine.

- **Maintaining Franchise Continuity:** Even within disruptions (like strikes), maintaining established franchise schedules remains a business imperative, underlining the importance of these properties to Disney’s bottom line.

- **Adapting Classic Properties:** Disney’s choice to pursue live action remakes is reinforced by market testing—nostalgic properties consistently draw public attention and offer opportunities to update themes for inclusivity, technological advancement, and alignment with cultural trends.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

- **Key Example Films:** The text mentions several remakes and upcoming projects, emphasizing that Disney’s approach is now industry-wide, with multiple studios considering similar adaptations based on proven Disney methods.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

- **Use of Modern Distribution:** Platforms like Disney+ are used to release major titles, emphasizing flexibility in delivery and audience reach.

Overall, the information extracted reflects that Disney’s live action remakes strategy hinges on leveraging nostalgia, updating content to fit present-day norms and expectations, and maintaining business imperatives despite industry upheavals.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Nuggets Summarizing Key Insights on Disney Live-Action Remakes and Nostalgia

**1.

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Disney ’ s most popular movie is ‘ Live Photography ’.
This is what revealed the upcoming work.
01-04-2023 | 06: 51
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Disney Studios is gearing up to remake the popular animated film Lilo and Stitch, but with real-life photography.
According to the information, which Disney declined to comment on, the studios hired Maya Kelloha to play the role of Lilo, the main character in the 2002 film.
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According to details published by the Hollywood Reporter, Dean Fisher Camp is set to be the director of this work, which is expected to see the light of day on the Disney Plus platform.
Actor Zack Galifianakis joined the cast in February, and will likely be appearing as Stitch but via computer animation.
Lilo and Stitch is a film about a young girl named Lilo who lives on the island of Hawaii with her older sister, and decides to adopt an eccentric alien named Stitch who finds himself related to the Lilo family and recognizes the values of friendship, responsibility and family love.
Source: 24.ae
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Nostalgia as a Strategic Driver:**
Disney capitalizes on nostalgia by revisiting its extensive catalog of beloved animated classics, drawing in both new audiences and older fans who have emotional connections to the original films.

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Content: Saudi News
Disney ’ s Mickey and Friends on Ice Early Booking Offer Ends Soon
MOHAMMED BIN MASOOD - DAMMAM - Disney Mickey & Friends on Ice has announced that there are only three weeks left until the early booking of tickets for the world premiere show, which takes place at Etihad Arena, is over. Yas Island, Abu Dhabi, October 12-16, 2022.
Visitors will receive a 10% discount when booking Silver, Gold or Platinum tickets before 1 July 2022.
The show ’ s story revolves around the journey of Mickey Mouse and his friends Minnie Mouse, Donald Duck and Goofy in search of their favorite memories, where the audience will be able to be a part of this special show and help. Their favorite characters use Mickey ’ s interactive tablet as they venture into the exciting Disney stories they share during the show.
Families will also be able to join a journey with the brave Moana character, who embarks on an adventure on the high seas to save her island with the hero Maui.
Move on to the snowy kingdom of Ardanelles, where the two sister princesses Anna and Elsa discover that true love is the greatest power, all the way to enjoying the special performances in the magical assistant. Eh, yeah.
The show ’ s agenda also includes the presentation of ‘ Live the Story ’ with Disney Princesses who will inspire Mickey, his friends and children around the world through perseverance and perseverance. Desire and hard work to encourage them to share their favorite Disney memories.
AJ:
FIELD ENTERTAINMENT continues its commitment to implement health and safety measures to keep visitors healthy and safe, to ensure the safety of families during events and live performances and to provide an enjoyable experience through the company ’ s close collaboration with partners. To set the highest standards of health and safety for the prevention of COVID-19 and follow up on compliance with them, in line with the various local directives of the Emirate of Abu Dhabi.
Please visit the website to learn about the approved health and safety procedures, including entry and mask requirements, which may be subject to change.
For more information on health and safety procedures from Field Entertainment
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How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

This is evident in productions like the nine-minute “Once Upon a Studio,” which assembles 543 characters from 85 films, serving as a “love letter” for Disney’s centenary and underscoring the company’s reverence for its legacy.

Title:

Content: Lifestyle
A love letter to Disney in its centenary.
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Thank you for reading about a love letter to Disney in its centenary and now we start with the details
Sharjah – By Ayman Al Fateh – More than 500 Disney heroes and characters, from Mickey to Elsa through Captain Hook, come to life in a short film in the form of a love letter to the famous animation studio, which yesterday celebrated its centenary in a turbulent climate.
Disney + is making this fun and moving video, Once Upon a Studio, four months after it was shown at the French Annecy Festival, where it was well received.
The nine-minute work blends digital images, hand drawings and real footage.
The two-year film features 543 characters from 85 long and short films emerging from paintings displayed in the corridors of the group ’ s American headquarters, where they gather to take a family photo after the employees leave.
Co-director of this artistic and technological achievement, Trent Currie, said working on the film was “like putting together the biggest disjointed puzzle game (Basel) ” of his life.
Curie hired more than 100 people, as well as former animators and 40 actors who returned to work specifically for the occasion.
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Content: Chairman of Wafd Party
Dr. Abdul Sindh Yamama
Chairman of the Board of Directors
Dr. Ayman is an accountant.
Editor-in-Chief
I'm sorry.
My grandfather, Zainuddin.
Chairman of Wafd Party
Dr. Abdul Sindh Yamama
Chairman of the Board of Directors
Dr. Ayman is an accountant.
Editor-in-Chief
I'm sorry.
My grandfather, Zainuddin.
Star Wars short films premiered on Disney + next month
Disney just pulled a quick one.
Star Wars movies and shows are usually announced years before their release, but the company has just unveiled a new TV show that will premiere next month.
Tales of the Empire is an animated show produced by Dave Filoni, the man who cut his teeth in cartoons like Star Wars: The Clone Wars and Star Wars Rebels before moving on to live action films like Ahsoka.
As the name suggests, this is a companion piece to the 2022 Tales of the Jedi.
It is an anthology series that highlights various figures within the empire as they heroically attempt to defeat the evil rebels and restore order to the galaxy.
You can expect many of your favorite characters to appear on the dark side, including Grand Admiral Thrawn, General Grievous, and Grand Inquisitor.
Just like Tales of the Jedi highlighted two characters, Ahsoka and Count Dooku, this new series will have its own duo to follow.
There ’ s Morgan Elsbeth, Ahsoka ’ s primary antagonist and one episode of The Mandalorian, where the trailer suggests that Tales of the Empire will reveal how Thrawn and Elsbeth became best friends.
The show will also focus on Barriss Offee, a former Jedi Knight who fell into the dark side during Clone Wars.
Despite being animated, the characters will be represented by representatives of the live movement.
Lars Mikkelsen returns as Thrawn and Matthew Wood once again plays Grievous, the evil cyborg who desperately needs some cough syrup.
Diana Lee Inosanto returned to play Elsbeth and Meredith Salenger in the voice of Offee.
The show premiered on everyone ’ s favorite fake holiday sponsored by the company, May 4th, also known as May 4th.
All six episodes will be available for streaming on Disney + at the release date.
The live event Star Wars: Acolyte follows this premiere on June 4.

Financial Motivation and Box Office Performance:**
Live-action remakes like "The Little Mermaid" have topped box office charts even during challenging financial periods for Disney, signaling the commercial reliability of nostalgia-driven content.

Title:

Content: Disney has released a short film about its long list of heroes.
Cairo - Center Gate Monday 16 October 2023, 02: 12 pm
More than 500 Disney heroes and characters come to life, from Mickey to Elsa to Captain Hook, in a short film in the form of a “love letter ” to the popular animation studio celebrating its centenary in a turbulent climate on Monday.
The Disney platform is providing this funny and moving video, titled “Once Aban A Studio, ” four months after it was shown at the French Annecy Festival where it was met with great acclaim, and the nine-minute work blends digital images, handmade drawings and real footage, according to AFP.
The two-year film features 543 characters from 85 long and short films, emerging from paintings displayed in the corridors of the group ’ s American headquarters where they gather to take a family photo after the employees leave.
Return of actors by the way.
Co-director Trent Corey said that working on the film was “like putting together the biggest disjointed puzzle game of his life, and Corey hired more than 100 people, along with former animators and 40 actors who returned to work specifically for the occasion.
Co-author Dan Abraham explained the goal of the work: “All characters look exactly the same as in their original films, and have the same voices, ” and based on a previously unpublished recording of actor Robin Williams, who died in 2014 in which he played the role of Genie Aladdin in in English.
Paper and pencil
The film helps restore the traditional animations that have been permanently replaced by the three-dimensional ones in Disney ’ s feature-length films since Winnie the Pooh in 2011.
According to artist Eric Goldberg, who previously worked on Aladdin and Pocahontas and oversaw the two-dimensional part of the retrospective, “of the 543 characters in the film, about 450 are hand-drawn ” in pencil on paper,“ we didn ’ t take any of the existing films, be it three-dimensional or two-dimensional, so it was technically difficult. ”
The film also pays homage to Disney animator Burney Mattinson, who died in February, and Mary Poppins composer Richard Sherman, who, at 94, recreated the music of Walt Disney ’ s favorite song “Fed the Birds, ” with Dan Abraham commenting that“ everyone wanted to be one of these birds! ”
Disney revives its characters for its 100th anniversary
Disney steps up to compensate for declining number of subscribers
"The Little Mermaid" tops the box office in North America
The entertainment giant will intensify its activities on its centenary through concerts, exhibitions and others, the most prominent of which will be the Disney classic-inspired film WISH, which will be shown in November, but the release of the short tape coincides with the date that is considered the date of the founding of the company « Walt Disney ».
On October 16, Walt Disney and his brother Roy, who founded Disney Brothers Studios in a Hollywood garage, signed an important distribution deal for their short film series Alice Comedy, which deals with the adventures of a young girl of flesh and blood in an animated world. He fell into oblivion.
“It ’ s already a hundred years we look back and thank the people we worked with and our fans, ” said Elaine Itze, president of Disney ’ s French subsidiary, recalling that the presence of France ’ s entertainment empire began in 1934 with Journal du Mickey.
Disney is going through a rough time.
The California-based company that acquired Pixar, Star Wars and Marvel in the 21st century is going through a tumultuous period, with the number of Disney subscribers declining, and the company has taken several measures to address this situation, most notably the layoffs of 7,000 employees in an effort to reduce expenses and achieve some savings, while the historic Hollywood actor strike continues.
Walt Disney has lost much of his aura after being accused of fierce union hostility, racism and misogyny, though some are now critical of Disney ’ s progressive stance, which has chosen a black actress to play the mermaid in the new version of its famous movie “Little Mermaid. ”
According to Eric Goldberg, Disney movies are often the first thing children see in cinema, and he remarked that Disney characters and stories “gave a lot of joy and hope, ” hoping it would last“ another hundred years. ”
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According to John Musker, why does Disney rely on live-action remakes rather than producing new stories?

As a risk-reduction strategy
As a safer option

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

Familiar, established stories present reduced financial risk compared to untested IPs, ensuring solid returns.

Title:

Content: A new part of The Lion King.
The story of Mufasa as you never knew it.
About five years after the release of The Lion King in 2019, Disney is offering a live-action version of the film, Mufasa: The Lion King, a new story that takes audiences back to the familiar tale of the film, as Simba explores the history of his father, Mufasa, and his father ’ s relationship with his younger brother. Reer Scar.
The film also comes on the 30th anniversary of the original Lion King, released in 1994, as part of Disney ’ s experiments in turning animated films into reality, such as Cinderella, The Mermaid, and Aladdin.
It is a safe strategy to ensure a financially successful product, without risking capital in new experiences that may not generate revenue.
The film is expected to be released on May 5, 2024.
Simba explores the history of Mufasa
The first real-life version of The Lion King in 2019 grossed nearly $1.6 billion worldwide.
The new version of The Lion King is expected to surpass the previous film because it explores an old story never presented before, while retaining all the reasons for the success of the original film, the story of the evil brother "Scar" and his relationship with his brother "Mufasa", a focal point in the main film, and the audience always wondered about the causes of the great evil inherent in the character "Scar".
Disney is looking to make an artistic epic, or a series of films as a result of the film ’ s manifold story, which carries more than one story, especially if its makers can find clues to the stories, because despite the worlds of Disney and its large production of films, it has never produced a major series like Star Wars, for example, and the story of the Lion King can be the beginning of movie series, especially as it moves narrative between the past and present....
Heroes of the New Story
The film was officially announced by Barry Jenkins, and Jeff Nathanson, the screenwriter of The Lion King (2019), completes his role as the writer of the new work "Mufasa".
Genghis said that there are many familiar characters will appear in the next film, and that the version will include new stories about the characters that the audience knew and associated with, and the story will go back in time with the heroes, to know the audience history and how they became what they are in the end, as the film tells how "Mufasa" came out of a modest life to reach the top of power, after he was a young cub roaming alone in life.
The film includes some changes to the voices of the heroes from the previous film, where the voice of young "Mufasa" will be performed by Aaron Pierre, while the voice of Mufasa was provided in the previous film, and in the older film of 1994 James Earl Jones.
Familiar voices that won ’ t change include John Kanye, who will cast Mandrel Reviki, Billy Eichner, who will cast Timon, Seth Rogan, who will cast Pumbaa, Kelvin Harrison, Jr., who will cast Scar, and Beyoncé, who will cast Nala.
Why is Disney bringing back the old stories?
Although audiences on social media complain about reproducing Disney ’ s classics, the box office always favors reproducing the classics, and there are many reasons for audiences to watch animated films in their real-life versions, including the attraction of old fans and the desire of the new generation to explore the modern context of the tale.
From here, such films have a double audience, especially in that story that touches on fatherhood, family, friendship, love and life. Mufasa remains one of the most famous Disney characters, and did not explore his story as befitting his fame and the story of his sad death in the original film, which separated the audiences against their will.
Source: Al Jazeera + Websites

According to John Musker, why does Disney rely on live-action remakes rather than producing new stories?

As a risk-reduction strategy
As a safer option

What motivates Disney to keep producing live-action remakes despite mixed reviews?

Adaptation and Modernization of Classic Stories:**
Recent remakes (e.g., Cinderella, The Jungle Book, Beauty and the Beast, Aladdin, The Lion King, Mulan, Pinocchio, The Little Mermaid) update original narratives and characters to fit contemporary social values.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

For instance:
  - **Diversity & Representation:** Casting choices increasingly highlight multicultural ensembles (e.g., Halle Bailey as Ariel) and strong female protagonists (“Mulan” deepens Mulan’s sense of agency).

- **Thematic Updates:** Storylines are restructured to reflect current norms, such as reducing antiquated stereotypes, emphasizing empowerment, and sometimes removing problematic elements.

How does Peter Pan and Wendy enhance inclusivity?

- **Technological Advancement:** Remakes blend digital imagery and live action to modernize the visual experience while honoring traditional aesthetics, juxtaposing hand drawings, CGI, and real actors.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Balancing Authenticity and Relevance:**
Disney faces the challenge of staying true to the source material (to appeal to nostalgic fans) while making the stories relevant for modern audiences.

Adaptations introduce new character arcs, backstories (e.g., exploring Mufasa’s origins), and sometimes expanded universes to deepen emotional and narrative engagement.

According to John Musker, what should Disney prioritize in its remakes?

Public and Critical Response:**
Reception to live-action remakes has been mixed:
  - **Positive:** Audiences often celebrate technical achievements, updated representation, and musical reinterpretations.

How did audiences react to the 2020 Mulan live-action remake?

Some positive reactions praising both changes and additions

- **Negative:** Critics sometimes fault remakes for lacking the “magic” of originals, being creatively redundant, or making unnecessary changes.

What criticisms did the live-action Little Mermaid face from reviewers?

Adding redundant and uninteresting elements

What has been the general critical response to most Disney's live-action remakes?

- **Commercial Success:** Despite criticism, most remakes perform well financially and generate significant media buzz.

How successful was the 2019 live-action version of The Lion King?

Worldwide revenues exceeded one billion dollars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

What approach makes Disney's classics successful according to John Musker?

Immersing audiences in story-driven worlds rather than pushing preconceived ideas.

What does Disney's reliance on sequels and spin-offs instead of new IP suggest about its creativity?

A stalling of the company's creative engine.

Expanding the Franchise Universe:**
Disney leverages remakes as springboards for extended franchises (e.g., plans for a "Lion King" prequel about Mufasa), creating potential for sequels and series that further mine their IP’s storytelling potential.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

**Conclusion:**
Disney’s strategy in producing live-action remakes is shaped by powerful nostalgia, financial incentives, and the need for continual cultural adaptation.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

The company seeks to balance reverence for its classics with modernization to engage ever-evolving audience expectations, blending authenticity with relevance in a highly public and commercially successful way.

Title:

Content: Tuesday, 13 February 2024 11: 40 GMT
LG captivates CES 2024 visitors to experience the stunning WEBOS area
(MENAFN- LG-One Gulf)
Dubai, February 12, 2024: LG Electronics (LG) welcomed visitors to the company ’ s stand at CES 2024 with a wide range of exciting and exciting experiences in the webOS area.
Continuing its legacy of displaying stunning installations on self-illuminating OLED displays, LG Home Entertainment continues to redefine its identity as a force for media and entertainment content.
The webOS smart TV platform brings immersive images and inspiring stories to life in line with the company ’ s visual transformation journey.
The amazing webOS thanks to its numerous OLED displays has drawn visitors to a world of endless entertainment, where every moment is brought to life in great detail thanks to the unrivalled image quality and unique design of LG ’ s OLED displays.
This unique experience highlights LG ’ s commitment to pushing the boundaries of technology and providing the ultimate entertainment experience.
The company invited visitors to explore the world of webOS powered entertainment and presented in the webOS area a wide range of diverse videos obtained from content partners.
Highlights include the exclusive Masters of the Air content experience, the long-awaited Apple TV + epic series produced by Steven Spielberg, Tom Hanks and Gary Gutzman, whose promo video featured stunning images and a touching audio scene.
The series premiered exclusively on Apple TV + on January 26 and will be available to watch on LG Smart TVs via the Apple TV app.
Attendees witnessed the stunning visuals and narrative style of the stories and will be dazzled by the reimagining of The Little Mermaid now airing on Disney +, the story of the beautiful, energetic and adventurous young mermaid that director Rob Marshall brought back to life.
Fantastic cinematography on OLED screens takes viewers to the seaside where the waves gently crash at foot and the soothing sounds of the ocean are heard in the background.
Visitors will be able to explore the enchanting space with exciting videos from Netflix ’ s Rebel Moon series, released last December, and a quick look at Paramount + ’ s upcoming Star Trek: Discovery series.
The videos offer a captivating glimpse of unexplored planets and other landscapes and promise unprecedented images of complex space battles and cosmic boundaries.
The webOS area also provided fairy tales that will captivate adventure lovers with scenes from Prime Video ’ s The Lord of the Rings: The Rings of Power inviting viewers to enter the epic scene of Middle Earth and feel its magical atmosphere full of action, terrifying adventures and the rise of one of the most powerful villains of all, the Dark Lord Sauron.
Furthermore, fans of combat games will enjoy a clip from Tekken 8, which was released on January 26, 2024 via Bandai Namco Entertainment and is expected to be one of the best games in its class this year.
LG ’ s webOS platform was founded in 2014 and has emerged as the world ’ s leading platform to become one of the most widely used smart TV platforms with an ever-expanding user base.
The company features an impressive selection of content for LG Smart TVs around the world and offers its wide range by maintaining its valuable partnerships with more than 3,500 content providers.
LG ’ s decade-long commitment to strengthening its strong relationships with broadcast service partners has enhanced the home entertainment experience for millions of customers around the world.
LG is committed to maintaining its leading position in leading viewing experiences by providing cutting-edge technology and expanded content.
Through the continuous development of the webOS operating system, the company seeks to enrich the lives of customers by providing them with unlimited entertainment and continuously inspiring them.
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What motivates Disney to keep producing live-action remakes despite mixed reviews?

**Disney Live Action Remakes: Report Summary (Recent 2015–2023 Releases)**

**Why Disney Produces So Many Live Action Remakes:**
Disney’s legacy is built on iconic animated classics—their enduring popularity presents a low-risk, high-reward opportunity for remakes.

Title:

Content: [Exhibition] Disney Animation Exhibition: What stories do paintings tell to create a century-old dream kingdom?
Photo Credit: Courtesy of the author
What we want you to know is
Disney animation has been a hundred years, from the small studio, to the animation kingdom, and now the film and television entertainment empire, but they continue to extend different tentacles, produce a variety of subject matter works at the same time, but also do not forget those classic animation works that are deeply rooted in people's memories.
What ’ s so interesting about the recent exhibition “Disney Animation Show ”?
This article is presented once.
Text: Lan Ying
In my opinion, we still have a lot of stories to tell.
— — Walt Disney
What are the animations that accompanied you in your childhood? Maybe the works of Miyazaki and Ghibli Studios, maybe Pixar, DreamWorks and other animation companies, and Disney, which has a place in American animation, must be on the list of many people ’ s childhood animations, and it accounts for a large proportion?
I remember when I was a kid, the first animation I came into contact with was a reel of Disney animations that my father had bought — Snow White, Sleeping Beauty, Little Mermaid, Bambi, The Lion King, Strange in the Wind, and so on.
Disney not only opened the door for me to see animation, but also the first medium I know fairy tales, which accompanied my childhood, that is, more than 20 years later, I still have a special feeling for it, still remember.
A group of passionate and dreaming people and a mouse build a century-old animation kingdom.
Disney Animation Studios, founded in 1923, is turning 100 this year.
The world famous Mickey Mouse - Mickey was born in 1928, Disney produced, with Mickey as the main character of the world's first audio animation, more than 7 minutes of "Willie Steamboat" was also released in November of the same year, and since then Mickey has become a household name animation star.
The exhibition site not only displays a number of animated manuscripts, but also broadcasts the complete "Willy Steamboat" animation, set up an automatic hand-drawn animation simulation device, so that the public can see the characters in the high-speed movement of the situation, feel the most original animation production method.
The beautiful manuscript brings you closer to the brush strokes and attentions of the animator. Even after many years, you can still feel the warmth of the carefully crafted work from the patterns on the paper.
After Mickey became popular, Minnie, Donald Duck, Gao Fei, Bruce and other characters have also appeared in the animation, accompanying many children through their childhood.
But Disney did not stop here, and began to try the animation feature production that no one had tried at that time. In the era of animated short films that were no longer than 10 minutes, making an animated feature film was a wild idea, and there was a lot of effort, resources, and manpower involved.
But if you stop trying and settle for the status quo, maybe Disney animation will not be the most classic today.
The mirror not only finds Snow White, but also shows the future of animation.
In 1937, Disney's first classic animated feature, Snow White, which took three years to produce and adapted from Green's fairy tale, was released, and sparked Disney's plans for the next animated feature.
In addition to the large output of the image drawings of the early stage of production, the exhibition hall also set up a mirror scene, and loop play "Mirror ah, who is the most beautiful woman in the world"?
Many people stopped to take pictures to commemorate the moment when they met their childhood again.
Disney Animation show this century years divided into different periods, each period has picked out a number of classic animation, and those works have accompanied many Disney fans to spend a good childhood, such as "Little Elephant", "Bambi", "Cinderella", "Sleeping Beauty", "101 Loyal Dog", etc., looking at these familiar animation and its characters, like old friends. Once again, those familiar stories, the time spent together, all came back to mind in the exhibition.
In the exhibition hall, each section of the animation on display is clearly divided, according to the tone of each animation, to give the appropriate color matching, the exhibits are mostly divided into pictures and animation manuscripts - there are characters, there are scenes, there are also models showing how they originally made and shot the animation.
However, after the death of the Disney brothers, the Disney animation studio also faced difficulties in the internal personnel changes and subsequent production failures, and fell silent for a short period of time.
From the ocean, the little mermaid sparks the waves of revival.
At the end of 1989, The Little Mermaid, Disney ’ s 28th classic animated feature, based on Andersen ’ s fairy tale, was released, and the Broadway musical style allowed the work to win praise not only for its animation, music and characters, but also for its commercial success.
"Under the Sea" won the Academy Award for Best Original Score and Best Original Song.
The success of "Little Mermaid" also marked the arrival of the Renaissance era of Disney animation, allowing Disney to clear the shadow of a series of losses in the early 1980s and welcome the opportunity to regain a new life.
During this period, Disney continued the style of musical production and introduced computer production technology to assist in animation, releasing many works that are still popular today, such as "Beauty and the Beast", "Aladdin", "The Lion King", "Strange in the Wind", "Mulan", "Tarzan" and so on. In recent years, many works have been slowly adapted into live-action movies to return to the audience, which shows the success and deep rooted hearts of these works.
However, when the last work of this period, "Tarzan" was launched, Disney animation slowly went down again, and it was bound to find a chance to return to the peak in the challenge of technological innovation and peer competition.
Embrace technology and continue the original intention to open a new century of entertainment
After the revival of traditional hand-drawn animation with its own characteristics in the late 20th century, Disney suffered the market impact of computer animation in the early 21st century.
During this period, although Disney also released other blockbuster movies (such as "Fantastic Voyage: Pirates of the Caribbean"), only "Star Baby" animated movies were popular because of its cute shape.
After a series of changes and consolidation, Disney acquired Pixar Animation in 2006, which is the path to computer animation production.
However, although most of the works of this period were produced using computer animation, there are still "Princess and the Frog" and "Winnie the Pooh Movie" are hand-drawn animation, of which "Winnie the Pooh Movie" (2011) is the last Disney animated film to be produced using hand-drawn animation.
After years of trying, Disney launched "Frozen" in 2013 swept the world, the theme song "Let it go" even people who have not seen the works will know which song to hear the melody, which shows that the legendary degree is extremely high.
Subsequent animated films, whether new works or sequels, such as Animal City, Invincible Destroyer 2, and Full House of Magic, have been successful.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

**Public Reaction:**
Audience and critical response is mixed.

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Content: Today 's Hot Station
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Health Dan
Can be viewed on YouTube
Cheng Danrui, 67, a veteran multimedia personality in Hong Kong, is a radio DJ, film producer, director, actor and writer. In early 2020, he launched the YouTube channel "Health Day", which has launched thousands of videos over two years, and the "Expert Interview" and "Den vlog" on the topic of health and wellness.
Zheng Danrui changed from a senior media person to a "health net red".
He said in an interview with the Hong Kong media that he was still thinking about filming before the outbreak of the coronavirus. The sudden epidemic caused all plans to stop. He started an online platform with several media friends to share the correct knowledge of the epidemic, invite experts and doctors to answer questions and clarify the fallacies.
From epidemic prevention to health care
Unexpectedly, one year after the epidemic is still grim, and the content of "health day" has gradually extended from the knowledge of epidemic prevention to the topic of health care.
Zheng Danrui said that in his early career, he took into account the work of actors, radio DJs and program directors, and spent two weeks sleepless, which eventually led to acid reflux, and even fainted during filming.
Zheng Danrui bluntly said that this is the reason why he feels that the platform needs to continue to do it, hoping to bring the correct information to the audience, he said that many people are sick and not aware of it, when it is too late to find out.
Today, the platform not only has a group of loyal viewers, but also many institutions and brands invite cooperation, and "Health Day" has launched its own health products.
Zheng Danrui is highly respected in the Hong Kong entertainment circle. "Healthy Dan" can build credibility and gain a good reputation in a short time. During the epidemic, the online concerts held by the singing god Xu Guanjie and the heavenly king Guo Fucheng also chose to be broadcast live on the platform.
I was initially blamed for the slow interaction.
Zheng Danrui admitted that he belongs to the old generation of producers, initially did not know how to produce interactive network programs.
For example, he did not expect to receive a large number of messages, as well as some inquiries about the content of the program, some viewers complained because they did not get a reply, Zheng Danrui explained: "In fact, we do not know how to answer, so I went to the doctor to inquire, in order to correctly respond to the question, but the new batch of questions followed, we accumulated a lot of questions, and then was scolded by many netizens."
"Far water can not save the fire, so we decided to invite experts, doctors to do the live broadcast, the audience can leave a message, we can also answer instantly, this is derived from the online live broadcast unit."
In view of the first two seasons of the live program response, Zheng Danrui launched the third season of "Health Day Morning!" last month, every Monday to Friday at 10: 30 am to invite doctors and experts on the program, let netizens watch while asking questions, by Chinese and Western doctors or experts immediately answer.
The popular "Celebrity Interview" unit invites well-known entertainers to share their lifestyle and how to fight diseases. Hung Jinbao, Hu Feng, Shi Xiu, Xue Jiayan, Wu Yaohan and Ye Liyi, who emigrated to Australia, have been guest shows, and the episode of Huang Shuyi talking about knee surgery has more than 760,000 hits.
The Wonder Woman by Ms. Marvel
Disney + is updated every Wednesday.
The new Marvel series, American high school girl Kamala Khan (Iman Vellani), like many people, is a huge fan of Captain Marvel, but she can ’ t find a sense of belonging in school or at home, until she gets the long-awaited superpower, can she reverse her fate as she wishes?
Riding Star High Photo
Channel 8 8.00 pm
The host will lead guests Huang Sitian and Zhang Zhetong to the southern islands of Singapore, and take an island hopping trip by bike to find the paradise of the blue sea and the blue sky.
In addition to the white sand beach, you can also experience a series of interesting activities.
Cabin masterpiece
Channel 8 Evening 8.30
Different ages of women have different needs for housing. Huang Wangfang and Xiao Xinni 's sister look at the apartment together. The sister is simple and lively, loves new things, and the sister is demanding and loves luxury. Chen Hanwei' s housing agent will introduce two two-bedroom apartments with different styles. Can it be successfully concluded?
Secrets and Lies (First Edition)
U Channel 7.00 pm
Starring: Wu Chengya, Xu Haiyuan, Li Chongwen, Jin Qingnan.
Shin and Han Youting were good friends for many years, and they participated in the TV anchor competition together, and the two were mentored by Han Youting's mother, Han Zhuyuan.
The Secret Land S3 (first broadcast)
U Channel Evening 9.00
The third season visits the beautiful secret place, takes stock of the century landscape that can not be missed in this life, and feels the wonder of the earth's creation.
In the new season, Liao Keyi continued to visit the rape season in Guizhou, the ancient roads of Ilan, Hualien and Taitung in Taiwan, the symphony of the Canadian Rocky Mountains and the lake water, and the Tibetan Carnival in Qinghai.
Any Body Can Dance
Viu is updated every Wednesday.
South Korea ’ s new dance program, with NCT member Lee Tae-yong as the host, recruited 6 captains of “Street Woman Fighter ” as mentors to assist dance enthusiasts who can ’ t dance at all to complete their dance dreams.
Edge Status Limbo
HBO (Star and Ch601, New Telecom Ch420) 3.55pm
Syrian musician Amir El-Masry, known for playing the Middle Eastern stringed instrument Oud, is stranded on a small island in Scotland awaiting the outcome of his asylum application.
The film is an alternative look at the bitter and poignant lives of refugees.
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