Archive for February, 2017
The LEGO Batman Movie leads box office with 34 million going into President’s Day weekend, The Great Wall leads on with 18 million; Mattel to create 10-part Monster High spinoff series; Fisher-Price to create toy line for Rainbow Rangers
The dark knight continues to fight! Gene Scallop here for this week’s edition of Gene Scallop’s box office report. Last weekend The LEGO Batman Movie scored 55 million smackers on its first run. This time, the dark knight was helped with 34 million smackers as Universal’s The Great Wall debuted triumphantly with 18 million smackers. As President’s Day weekend continues, let’s see if both flicks can earn more than this week:
The LEGO Batman Movie topped the weekend box office for a second week in a row, holding off a trio of newcomers led by Universal’s The Great Wall. Fellow new releases, Fist Fight and particularly Fox’s A Cure for Wellness, fizzled in their respective debuts as the start of 2017’s Presidents’ Day weekend saw the top twelve come in 47% behind last year. While that was mostly to be expected, it’s a rather significant dip as 2017 is currently pacing 10.4% behind 2016’s yearly grosses.
With an estimated $34.2 million, WB’s The LEGO Batman Movie finished #1 by a considerable margin, dropping 35.4% and raising its domestic cume to $98.7 million after ten days in release. The film should top $43 million for the four-day weekend, pushing it over $100 million by end of day Monday. Internationally, LEGO Batman is up to $72 million after bringing in an estimated $21.5 million from 62 markets this weekend elevating its worldwide total over $170 million. The film opens in China on March 3.
In second place is Universal’s Fifty Shades Darker, performing mostly as expected, dipping 55% in its second weekend and bringing in an estimated $20.9 million for the three-day weekend as its domestic cume grows to $89.6 million after ten days in release. The film is expected to top $24 million for the four-day holiday weekend.
In addition to its domestic performance, Fifty Shades Darker finished atop the international weekend box office for a second week in a row, bringing in an estimated $43.7 million from 59 markets. As a result, the film’s international cume has grown to $187.2 million, bringing its worldwide total to $276.9 million.
In third we find the first of the weekend’s new releases in Universal and Legendary’s The Great Wall, which bested industry expectations delivering an estimated $18.1 million for the three-day and is expected to gross $21 million for the four-day weekend. The film received a so-so “B” CinemaScore from opening day audiences of which 59% were male vs. 41% female of which 50% were under the age of 30. Further demographic breakdowns show 45% of the opening weekend audience was Caucasian, 23% Hispanic, 15% Asian and 10% African American.
With a reported budget of $150 million that domestic opening looks weak, but when you consider The Great Wall has already generated over $244 million internationally and now stands at $262.7 million worldwide things come a bit more in focus. However, a $150 million budget looms large and this one is still going to be looking for additional earnings as it continues to roll out internationally over the coming months as similar Legendary openers have failed to reach $45 million domestically.
Lionsgate’s John Wick: Chapter Two finished in fourth position with an estimated $16.5 million for the three-day and is expected to deliver an estimated $19.5 million for the four-day weekend. The film’s domestic cume stands at an estimated $58.6 million after just ten days, which already tops the entire domestic run of the first film‘s $43 million gross, a figure Chapter Two topped after just eight days in theaters. Internationally, John Wick 2 is up to $31.8 million, bringing its worldwide total to just over $90 million with openings in France, Belgium, South Korea and Mexico set for next weekend.
Rounding out the top five is our second new release of the weekend, that being Warner Bros’ release of New Line’s comedy Fist Fight, which delivered an estimated $12 million from 3,185 theater and is expected to finish just over $13 million for the four-day weekend. Opening day audiences were only mildly impressed, awarding the film a “B” CinemaScore. The audience was broken down 54% male vs. 46% female, of which 39% where under the age of 25. Looking ahead, a $30-35 million domestic run seems about right given the film’s opening performance.
Hidden Figures finished in sixth as its domestic cume climbs over $140 million, continuing to solidify its position as the highest grossing release among 2016’s Best Picture nominees. The film also brought in an estimated $7.3 million internationally this weekend as its worldwide cume now stands at $163.9 million. Its international expansion will see it add 15 additional markets next weekend, including Poland, UAE, South Africa, Sweden and Turkey.
Universal’s Split added an estimated $7 million as its cume now stands over $123 million domestically and Lionsgate’s La La Land added an estimated $4.5 million this weekend bringing its domestic cume to $133.5 million. Additionally, La La Land added $31.7 million from 73 international markets this weekend bringing its worldwide and international totals to an estimated $340.1 million and $206.1 million respectively.
Finally, rounding out the top ten is Fox’s A Cure for Wellness, delivering an estimated $4.2 million from 2,704 theaters. Expectations were low for this one headed into the weekend and while we tried to present a case for how it might be able to outperform in our weekend preview it just wasn’t to be. The film is expected to fall short of $5 million for the four-day and word of mouth doesn’t appear as if it will be helping matters over the coming weeks as it scored a disappointing “C+” Cinema Score with opening day audiences.
Internationally, A Cure for Wellness scrounged up $4.5 million from 2,734 screens in 36 markets including France and South Korea where it brought in an estimated $950K and $862K, respectively. The film expands into 7 markets next weekend, including the UK, Germany and Mexico.
Outside the top ten, Lionsgate’s release of Pantelion’s Everybody Loves Somebody delivered an estimated $1 million from 333 theaters, which is similar to the $979k Un Padre No Tan Padre opened with earlier this year as it currently stands at $2 million after 24 days in release.
Tor recap, LEGO Batman defends the fort 1st, Fifty Shades Darker continues the fairy tale in 2nd, The Great Wall attacks from all sides in 3rd, John Wick Chapter 2 goes guns blazing in 4th, and Fist Fight misses big time in 5th.
Your favorite Monster High friends are back after last year’s biggest feature. The folks at Mattel Creations last week created an exclusive sequel to the Monster High franchise. How many episodes will it have on this exclusive Danny?
Danny Angelfish (via Animation World)- Mattel Creations has announced that a brand-new series of global hit animation Monster High, The Adventures of The Ghoul Squad, will be available exclusively on YouTube and YouTube Kids. This marks the first time Mattel has debuted an entire series to premiere on the platform.
The new 10-part series is the first full episodic series Mattel Creations has produced that will premiere exclusively on YouTube and YouTube Kids. Monster High: The Adventures of The Ghoul Squad will premiere on YouTube and be available through the YouTube Kids app which is currently available in 26 countries and has tens of millions of downloads to date. One episode will be released each week. The 11-minute adventures will be action-packed with all the same ghoulish charm and humor loved by Monster High fans, with an emphasis on friendship, family and working together. Additionally, a 44’ special is also being developed to compliment the series which will be available to broadcasters and SVOD partners.
“At Mattel Creations we have a clear understanding of where our audience are most likely to engage with our content and by creating content specifically for YouTube and YouTube Kids, we are recognizing that series content is not just for linear or SVOD,” said Mattel chief content officer Catherine Balsam-Schwaber. “YouTube Kids is a leader in reaching children aged 6-11 so, it’s the right platform for the Monster High content and fans. We are delighted to be furthering our partnership with YouTube Kids and welcome more families into the world of Monster High.”
“We’re thrilled that YouTube and YouTube Kids will be the exclusive home of Mattel’s engaging new series, Monster High: The Adventures of the Ghoul Squad,” said Malik Ducard, Global Head of Family and Learning for YouTube. “Mattel continues to bring enriching and entertaining content to the platform and we’re looking forward to this latest series.”
Monster High: The Adventures of The Ghoul Squad is an action and adventure series featuring some favourite ghouls from Monster High. Draculaura, Frankie, Clawdeen and their ghoul friends combine their wits and abilities as they travel to exotic locations, solve spine-tingling mysteries and rescue lost monsters all over the world. They are an elite squad of talented ghouls who make a pact to always be there for each other, and their fellow monsters, no matter what the odds. The series will be available in English, French, German, LATAM Spanish, Brazilian Portuguese and Russian and will launch later this year.
The big M also scored an adverting tie-in last week with Genius Brands’ own Rainbow Rangers, a team of 7 super heroines to defend the Earth. Only one brand was able to take on this mighty task. Who’s chosen to help Mattel since the reintroduction of Max Steel Dan?
Dan Barry (via Animation World)- Genius Brands International has signed Mattel subsidiary Fisher-Price as global master toy partner for the Company’s all-new original CGI-animated preschool series, Rainbow Rangers, marking the first licensing partnership as Genius Brands develops its global licensing program and content distribution strategy.
Currently in development on season one and two (104 x 11’ episodes) with broadcasters to be announced shortly, Rainbow Rangers features an all-star team of acclaimed creators that includes Rob Minkoff, Director of Disney’s Lion King, Shane Morris, who co-wrote Disney’s Frozen, along with his partner Tim Mansfield and New York Times bestselling author and Emmy Award-nominated writer Elise Allen (Dinosaur Train, Lion Guard) who is serving as head writer and co-creator. Emmy Award-winning producer of more than 5,000 episodes of children’s programming, Andy Heyward, serves as executive producer. Additionally, key designs are created by legendary Disney alum Ruben Aquino, who designed most of the major Disney characters from Little Mermaid through to Frozen.
Rainbow Rangers is an empowering, exciting, behind-the-curtain peek at the real lives of superheroes — Earth’s First Responders. The series seamlessly blends fantasy and action-adventure with very relatable, accessible stories about friendship and saving the environment. The Rainbow Rangers — seven girls, each with her own wildly unique personality and powers — live a rainbow’s ride away in Kaleidoscopia. But whenever there’s trouble for the people, animals, or natural wonders of the Earth, the Rangers zoom into action and ride a rainbow across the sky to save the day! While watching the Rangers take on missions as huge as saving the Amazon rainforest and as small as helping a single lonely girl, viewers learn that there are all kinds of ways to make the world a better place. And since each Ranger is so unique, the show spreads the message that when we all come together, blending all our colors of the rainbow, there’s nothing we can’t accomplish.
“With the tremendous and proven creative talent we have behind the production of Rainbow Rangers, we are committed to partnering with best-in-class licensing and retail partners who understand our inspiration for the brand,” commented Andy Heyward, Chairman & CEO, Genius Brands. “We could not have asked for a better partner than Fisher-Price, whose pedigree speaks for itself, to fulfill our vision with the development of a unique and robust toy program for worldwide retail distribution.”
“Rainbow Rangers is an exciting content series that we believe will strike a relevant cord with its mission based adventures and message of empowerment for preschool girls,” said Susie Lecker, EVP & Chief Brand Officer, Mattel’s Toy Box. “Bringing Rainbow Rangers to life though engaging product allows us to address the opportunity in the preschool toy aisle for a girl targeted, heroic, action focused line. We’re looking forward to the continued collaboration with Genius Brands and the incredible pedigree of talent behind the development of the series, to realize the full potential of a compelling toy line.”
Genius Brands is currently developing a global, merchandising, licensing and retail program across all key categories for Rainbow Rangers to coincide with the series launch. As global master toy partner, Fisher Price will create a broad range of preschool products in the toy category, including dolls/figures, playsets, plush, vehicles, technology and interactive toys, musical toys, role play and much more.
Stone Newman, President of Global Consumer Products, Worldwide Content Sales & Marketing, Genius Brands said: “Since debuting the series at the MIPJr market in Cannes last October, we have received a tremendous amount of interest for Rainbow Rangers from broadcast and licensing partners around the globe. We are thrilled to announce that Fisher-Price, the world leader in the preschool category, will lead the charge of our Rainbow Rangers licensing and merchandising program. Mattel and its Fisher Price team immediately saw how toyetic this brand is and that it lends itself to an extremely broad toy program. With Mattel’s creativity and ingenuity, we will no doubt present an unparalleled preschool program for the global marketplace that kids will love!”
On TV this week on Nick, don’t miss the season 9 finale of SpongeBob as we possibly say good bye to the Krusty Krab’s own Krabby Patty. Then, catch new episodes of The Loud House. And catch the season opener of Bunsen is a Beast! On CN this week, more new episodes of Gumball are on the horizon as well as an all new Teen Titans Go!, Clarence, and Steven Universe. And catch the sneak peek of CN’s new series, Cloudy With A Chance of Meatballs before it begins March 6th. Let’s just hope food doesn’t rain down on us next time on Gene Scallop’s box office report.
The LEGO Batman Movie tops 55 million, Fiifty Shades Darker moves 2nd; Zootopia wins 6 Annie’s including best animated feature; Disney attributes 100 million for animation crisis
It’s great to be Batman! Gene Scallop here on this week’s box office report. The dark knight faces off against The Joker, but this time, he’s not alone. With 55 million smackers, with Robin and Batgirl by his side, it’s going to take a superhero team big enough to take down the clown prince of crime. Let’s check it out:
It was the best weekend at the 2017 box office so far, led by WB’s The LEGO Batman Movie along with fellow newcomers Fifty Shades Darker and John Wick: Chapter Two topping the box office in that order. But along with the new releases, five of the weekend’s holdovers, especially Lion, held on extremely well, dropping 35% or less compared to last weekend. Overall the weekend top twelve came in just a fraction below our overall expectation of $180 million as the top twelve combined for an estimated $176.9 million.
At #1, WB’s second film in their LEGO franchise, The LEGO Batman Movie, delivered an estimated $55.6 million, which is well below Mojo’s forecast and even a bit below the $60 million the studio was expecting. However, opening day audiences gave the film a strong “A-” CinemaScore, which plays well with the strong critical reception the film received. Of that audience, 48% were males vs. 52% females and 48% were over the age of 25.
Looking ahead, outside of Lionsgate’s acquisition of Rock Dog due in theaters in a couple weeks, there isn’t a lot of competition in terms of animated films in the near future and the extended holiday weekend next weekend should ensure LEGO Batman holds on nicely. As for its overall domestic performance, after a $69 million opening, The LEGO Movie delivered a $257.7 million domestic total. A similar performance for LEGO Batman would mean a $207+ million run, which means we’ll be keeping an eye out to see if this one can top $200 million.
Outside of North America, LEGO Batman brought in an estimated $37 million from 60 overseas markets for a combined, $92.6 worldwide opening. Some highlights include an estimated $9.3 million opening in the U.K. along with openings in Mexico ($2.6m), Germany ($2.3m), Russia ($2.2m), Brazil ($2m), France ($1.6m), Spain ($1.5m) and Italy ($1.2m). Looking ahead, the film opens in China on March 3 followed by openings in Australia (March 30) and Japan (April 1).
In second position is Universal’s Fifty Shades Darker, which topped the box office on Friday and held on well over the weekend, finishing with a slightly stronger than expected $46.79 million from 3,710 theaters. Opening day audiences gave the film a “B+” CinemaScore and of that audience 70% was female vs. 30% male. The age breakdown saw 56% of the audience coming in under the age of 30 and 34% of the audience was Caucasian, 21% Hispanic and 14% African American.
Looking ahead, while this opening is nearly $40 million less than 2015’s Fifty Shades of Grey, that was to be expected and how it plays this week with Valentine’s Day on Tuesday and next weekend’s four-day holiday weekend will be the true test as Fifty Shades of Grey dipped a massive 74% in its second weekend while Darker should play a little more traditionally. What does that mean? Well, proportionally, Fifty Shades Darker’s opening compared to Fifty Shades of Grey is spot on when compared to the performance of Sex and the City to its sequel, which dropped 60% in its second weekend, ending its run just shy of $100 million, a number that would appear to be the bar to keep an eye domestically with $125 million looking like the ceiling for this release.
Overseas, Fifty Shades Darker delivered an estimated $100.1 million from 57 markets, the fourth largest international opening weekend ever for an R-rated film, behind Fifty Shades of Grey ($157.1m), Deadpool ($132.2m) and The Matrix Revolutions ($117.6m). Top markets include Germany ($11m), U.K. ($9.7m), France ($8.7m), Brazil ($7.5m), Russia ($6.7m), Italy ($6.5m), Australia ($5.9m), Spain ($5.6m) and Mexico ($2.7m). The film has four more territories in which it will be released, the last of which being Japan on June 23.
Third place belongs to Lionsgate’s John Wick: Chapter Two, which more than doubled its predecessor’s opening with an estimated $30 million from 3,113 theaters. Heading into the weekend we were wondering if the R-rated actioner could manage to cross $30 million and with estimates it appears it just barely made it. Opening day audiences scored the film with an “A-” CinemaScore (the first received a “B”) to go along with its 76 Metacritic score (the first received a 68). The opening day audience was 64% male vs. 36% female, identical to the first film.
Looking ahead, the question now is to wonder if John Wick 2 can approach $90 million domestically. The first film delivered a 2.98x multiplier, which would suggest a nearly $90 million domestic run for the sequel. Based on the CinemaScore, opening weekend and R-rating a run closer to $73 million would trend closer to the average, but don’t be surprised if Wick 2 crosses $80 million if not a little bit higher.
Internationally, John Wick 2 debuted in 41 markets with an estimated $10.6 million of which Russia was the only major market release where it brought in an estimated $2.5 million, just $100,000 shy of the first John Wick feature in the country. Other openers included estimated results in the Philippines ($1.3m), Taiwan ($775k), Malaysia ($754k) and Hong Kong ($525k). The next major markets set to release later this week are Brazil and Germany on February 16 and the UK a day later.
Universal’s Split finished in fourth, dropping just 35.4% for an estimated $9.3 million as its domestic cume climbs to $112.3 million. The film will soon pass The Village’s $114.2 million domestic total to become M. Night Shyamalan’s fourth largest domestic release.
Rounding out the top five is the continued strong performance of Hidden Figures with an estimated $8 million, dropping just 21.5% in its eighth week since its limited, Christmas Day debut. Its domestic cume now stands at an impressive $131.4 million, currently the highest grossing domestic release of the 2016 Best Picture nominees.
Elsewhere in the top ten, Lionsgate’s La La Land grossed an estimated $5 million (-32.2%) for a total domestic cume of over $126 million. Additionally, the film brought in an estimated $11.5 million internationally bringing its worldwide total to an estimated $294.3 million through Sunday.
The best holdover in the top ten was the Weinstein’s Lion, which saw a 9% bump compared to last weekend despite dropping 68 theaters. The Oscar contender delivered an estimated $4 million this weekend as its domestic cume now stands at $30.3 million since its limited bow 12 weeks ago.
Outside the top ten, other new openers include FIP’s Jolly LLB 2, which brought in an estimated $780k from 173 theaters ($4,509 PTA); Magnolia’s release of The Oscar Nominated Short Films 2017 brought in an estimated $660k from 184 theaters ($3,587 PTA); China Lion’s Duckweed debuted in 27 theaters with an estimated $160k ($5,926 PTA); Fox Searchlight’s A United Kingdom delivered an estimated $70k from four theaters ($17,500 PTA) and Sony Classics’ Oscar contender Land of Mine debuted with an estimated $15,758 from three theaters ($5,253 PTA). Lastly, Oscilloscope’s Kedi delivered the best per theater opening average of the year so far as it brought in an estimated $40,510 from one theater this weekend.
Additional highlights this weekend include the release of xXx: The Return of Xander Cage, which brought in a whopping $61.9 million in China this weekend from 6,600 locations. It’s the largest opening for a Hollywood film in February and with $6 million it delivered the second largest IMAX February opening in China behind The Monkey King 2. The film’s international cume now stands at an estimated $186.5 million for a worldwide total nearing $230 million, placing it second to 2002’s xXx within the franchise. Return of Xander Cage will release in Japan on February 24.
This weekend also saw Illumination and Universal Pictures’ Sing top $500 million worldwide as it brought in an estimated $7.5 million from 61 overseas markets this weekend bringing its overseas cume to $235.5 million. Combined with $265.3 million domestically the film’s worldwide cume stands at $500.8 million.
Next weekend sees the release of Universal’s The Great Wall into 3,200+ theaters on the heels of the film already grossing $224.6 million internationally. Other openers include the WB comedy Fist Fight into ~3,000 theaters and Fox’s A Cure for Wellness into 2,700 theaters.
For a look at this weekend’s estimated results click here and we’ll be updating the charts with weekend actuals on Monday afternoon.
Until next bat time, let’s see if the dark knight’s plan pays off.
Zootopia’s been on a roll since their Golden Globe win. The flick scored big time at the Annie’s last week. Let’s see if their winning streak continues.
Disney’s ‘Zootopia’ wins best animated feature at the 44th Annie Awards.
LOS ANGELES — Walt Disney Animation Studios’ Zootopia takes the top honor as Best Animated Feature at ASIFA-Hollywood‘s 44th Annual Annie Awards, Saturday evening at UCLA’s Royce Hall. Zootopia also received an Annies trophy for Outstanding Storyboarding – Dean Wellins; Outstanding Character Design – Cory Loftis; Outstanding Voice Acting – Jason Bateman as Nick Wilde; Outstanding Writing – Jared Bush & Phil Johnston; and Best Directing – Byron Howard & Rich Moore. Best Animated Feature – Independent was presented to the film, The Red Turtle (Studio Ghibli/Wild Bunch/Why Not Productions).
LAIKA’s Kubo And The Two Strings garnered three Annies for Outstanding Achievement in Character Animation, Production Design and Editorial; Best Animated Special Production was awarded to Pear Cider and Cigarettes (Massive Swerve Studios and Passion Pictures Animation); Best Animated Short Subject Piper (Pixar Animation Studios); Best Animated TV/Broadcast Commercial Loteria ‘Night Shift’ (Passion Pictures Ltd.); Best General Audience Animated TV/Broadcast Production for Preschool Children Tumble Leaf – Mighty Mud Movers/Having a Ball (Amazon Studios and Bix Pix Entertainment); Best Animated TV/Broadcast Production for Children Adventure Time – Bad Jubies (Bix Pix Entertainment, Cartoon Network, Frederator Studios); Best Animated TV/Broadcast Production for a General Audience Bob’s Burgers – Glued, Where’s My Bob? (Bento Box Entertainment); and Outstanding Achievement for Character Animation in a Live Action Production: The Jungle Book (Walt Disney Pictures).
“It was a big year for animation all around. We saw a huge number of projects, great diversity of subjects and styles and increasing international participation,” remarked Frank Gladstone, Annie Awards executive producer. “Animation’s positive impact on communities worldwide was evident throughout the evening. It was a great night.”
Presenting the coveted Annie trophies this year were Lakers basketball legend, Kobe Bryant; actress Jenna Elfman; animator and film director, Patrick Osborne; Auli’l Cravalho – voice of Moana; animator, author and illustrator, Glen Keane; actor and comedian, Tom Kenny; Paige O’Hara – 25th Anniversary of Beauty and the Beast; actor & director, James Hong; directors Travis Knight – Kubo and the Two Strings and Michael Dudok de Wit – The Red Turtle; comedian Stephen Kramer Glickman and actress Chelsea Kane, along with ASIFA-Hollywood President, Jerry Beck and Executive Director, Frank Gladstone.
ASIFA-Hollywood was thrilled to have all three Winsor McCay recipients in attendance. The Winsor McCay recipients this year are legendary animator Dale Baer; independent animation champion Caroline Leaf; and influential anime director Mamoru Oshii for career contributions to the art form. The Ub Iwerks Award was presented to Google Spotlight’s Virtual Reality Platform for technical advancement; and the Special Achievement Award was presented to Life, Animated, a documentary about animation’s effect on one young autistic man’s journey. The June Foray Award was presented to Bill & Sue Kroyer for their career-long benevolent and public-spirited influence within the animation community. Certificate of Merit awards were presented to ASIFA-Hollywood volunteer coordinator Leslie Ezeh, and ASIFA-Hollywood’s office manager Gary Perkovac.
The Annie Awards honor overall excellence as well as individual achievement in a total of 36 categories from best feature, best feature – independent, production design, character animation, and effects animation to storyboarding, writing, music, editing and voice acting, and have often been a predictor of the annual Academy Award for Best Animated Feature. The ceremony was live-streamed again this year at http://www.annieawards.org/watch-it-live where animation enthusiasts and those unable to attend the event, could watch the show.
The complete list of winners at the 44th Annual Annie Awards is shown below:
Best Animated Feature
Directing in an Animated Feature Production
Byron Howard, Rich Moore
Walt Disney Animation Studios
Directing in an Animated Television/Broadcast Production
Google Spotlight Stories/Evil Eye Pictures
Best Animated Feature-Independent
The Red Turtle
Studio Ghibli – Wild Bunch – Why Not Productions
Best General Audience Animated Television/Broadcast Production
Episode: Glued, Where’s My Bob?
Bento Box Entertainment
Best Animated Television/Broadcast Production For Children
Episode: Bad Jubies
Bix Pix Entertainment Cartoon Network Frederator Studios
Best Animated Television/Broadcast Production For Preschool Children
Episode: Mighty Mud Movers / Having a Ball
Amazon Studios and Bix Pix Entertainment
Writing in an Animated Feature Production
Jared Bush, Phil Johnston
Walt Disney Animation Studios
Writing in an Animated Television / Broadcast Production
Lizzie Molyneux, Wendy Molyneux
Episode: The Hormone-iums
Bento Box Entertainment
Voice Acting in an Animated Feature Production
Auli’i Cravalho as Moana
Walt Disney Animation Studios
Jason Bateman as Nick Wilde
Walt Disney Animation Studios
Voice Acting in an Animated Television / Broadcast Production
Carlos Alazaraqui as Ponce de León
The Mr. Peabody & Sherman Show
Episode: Ponce de León
DreamWorks Animation Television
Best Animated Television/Broadcast Commercial
Loteria, “Night Shift”
Passion Pictures Ltd
Best Animated Special Production
Pear Cider and Cigarettes
Massive Swerve Studios and Passion Pictures Animation
Production Design in an Animated Feature Production
Nelson Lowry, Trevor Dalmer, August Hall, Ean McNamara
Kubo and the Two Strings
Pearl production design winner Tuna Bora gets a play-off after dropping her Annie trophy, having a nice recovery and, as a first-generation immigrant “from a predominantly Muslim country,” hails inclusion in the animation community. It’s clear that President Trump doesn’t have many if any fans here tonight.
Production Design in an Animated Television / Broadcast Production
Google Spotlight Stories/Evil Eye Pictures
Character Animation in an Animated Feature Production
Kubo and the Two Strings
Character Animation in an Animated Television / Broadcast Production
Episode: Becoming, Part 1
DreamWorks Animation Television
Character Animation in a Live Action Production
Andrew R. Jones, Peta Bayley, Gabriele Zucchelli, Benjamin Jones
The Jungle Book
Walt Disney Pictures
Character Animation in a Video Game
Jeremy Yates, Almudena Soria, Eric Baldwin, Paul Davies, Tom Bland
Uncharted 4: A Thief’s End
Word games with presenter Kobe Bryant is getting laughs, but the real score is how good his onstage delivery is.
Character Design in an Animated Feature Production
Walt Disney Animation Studios
Character Design in an Animated Television / Broadcast Production
Victor Maldonado, Alfredo Torres, Jules Rigolle
Episode: Win, Lose or Draal
DreamWorks Animation Television
Music in an Animated Feature Production
Hans Zimmer, Richard Harvey, Camille
The Little Prince
Netflix and On Animation Studios
Music in an Animated Television / Broadcast Production
Scot Stafford, Alexis Harte, JJ Wiesler
Google Spotlight Stories/Evil Eye Pictures
Animated Effects in a Live Action Production
Georg Kaltenbrunner, Michael Marcuzzi, Thomas Bevan, Andrew Graham, Jihyun Yoon
Doctor Strange – MIRROR DIMENSION
Animated Effects in an Animated Feature Production
Marlon West, Erin V. Ramos, Blair Pierpont, Ian J. Coony, John M. Kosnik
Walt Disney Animation Studios
Best Animated Short Subject
Pixar Animation Studios
Best Student Film
Director: Andreas Feix
Editorial in an Animated Feature Production
Kubo and the Two Strings
Editorial in an Animated Television / Broadcast Production
Disney Mickey Mouse
Episode: Sock Burglar
Disney Television Animation
Storyboarding in an Animated Feature Production
Walt Disney Animation Studios
Storyboarding in an Animated Television / Broadcast Production
DreamWorks TrollhunteEpisode: Win, Lose or Draal
DreamWorks Animation Television
Winsor McCay Awards
Ub Iwerks Award
Google Spotlight’s Virtual Reality Platform
June Foray Award
Bill & Sue Kroyer
Special Achievement Award
Life, Animated documentary feature
The animation crisis has gone on since 2014 and it looks like Disney has come up with a few smackers to cover it. Let’s check out how much:
Disney has agreed to a $100 million settlement in the class-action lawsuit filed in December 2014 claiming that it and other Hollywood studios violated antitrust laws by conspiring to suppress the wages of animation and VFX artists.
According to a report by Variety, the settlement — which was disclosed in a court filing on Tuesday — covers Disney, Pixar, Lucasfilm and Two Pic MC, formerly known as ImageMovers. The Disney settlement follows a $50 million settlement with DreamWorks Animation, $13 million with Sony Imageworks and $5.95 million with 20th Century Fox-owned Blue Sky coming out of the same legal action.
The class-action lawsuit alleges that Disney, Pixar, DreamWorks Animation and other studios violated antitrust laws by conspiring to suppress the wages of animation and VFX artists via non-poaching agreements. The complaint filed by lighting artist Georgia Cano, character effects artist Robert Nitsch and production engineer David Wentworth accuses the studios of suppressing wages since 2004 by refraining from cold-calling employees and sharing news of job offers.
The suit contends that the roots of the anti-poaching agreements go back to the mid-1980s, when George Lucas and Ed Catmull, the president of Steve Jobs’ then-newly formed company Pixar, agreed to not raid each other’s employees. Other companies later joined conspiracy, the suit alleges, including Sony ImageMovers, Lucasfilm and Blue Sky Studios.
Arrangements to freeze wages and not poach employees were the subject of a separate investigation and lawsuit by the U.S. Justice Department in 2010. Several companies agreed to a prohibition against enforcing anti-poaching pacts for a period of five years, which ended the DOJ review, but in 2011, a class-action lawsuit was brought against Pixar, Lucasfilm, Apple, Google, Adobe and Intuit. The first two companies settled claims for $9 million while the other companies have gone to an appeals court after Koh rejected a $325 million settlement as insufficient.
The U.S. District Court in San Jose has scheduled a hearing on the Disney settlement for March 9th, 2017.
And with that said like Batman, let’s stay inside the shadow next time on Gene Scallop’s box office report.
Split dominates Super Bowl weekend with 14 million; Bunsen With a Beast makes its premiere February 21st; Sony Pictures takes 1 billion write down on Ghostbusters 2016 and hacking attack
Split tackles some newbies at the box office. Gene Scallop here for this week’s edition of Gene Scallop’s box office report. Super Bowl week comes to a close as the big game approaches. For the 3rd weekend in the box office, Split’s 14 million smackers were enough to score a touchdown! Paramount’s Rings continues were The Ring left off, and A Space Between Us creates friendship between a girl and a male Martian. Will Split be able to slice through The Lego Batman Movie next weekend? Let’s see what happened last weekend:
Not many surprises this Super Bowl weekend as Universal’s Split finished #1 for a third straight weekend in a row while the new releases struggled out of the gates. Between the new releases, Paramount’s Rings did manage a second place finish despite largely negative reviews while STX’s The Space Between Us, floundered and finished well below expectations. Overall, the top twelve grossed an estimated $81.1 million, a bit below the $82 million the top twelve combined for over last Super Bowl weekend, though actuals could show a bump as studios could be playing it a bit conservative with Sunday estimates ahead of this evening’s big game.
With an estimated $14.6 million, M. Night Shyamalan‘s Split is the #1 movie for the third weekend in a row as the film’s domestic cume climbs to $98.7 million. This is the first time Shyamalan has had a film top the weekend box office three weeks in a row since 1999’s The Sixth Sense and will shortly be his fifth film to top $100 million at the domestic box office. Combined with an estimated $44 million internationally, the film’s worldwide total currently stands at $142.7 million.
Finishing in second is the first of the weekend’s new wide releases, Paramount’s Rings, the third film in the Ring franchise and the worst opener of the trilogy with an estimated $13 million from 2,931 theaters. In addition to its domestic opening, Rings brought in an estimated $15.2 million internationally from 35 markets for a $28.2 million worldwide debut.
It’s hard to say the film’s opening is a surprise as it had bounced around the release schedule after it was originally set to hit theaters in November of 2015 and upon release, reviews were embargoed until Friday morning. At that point the flood gates opened and the film scored a dismal 5% on Rotten Tomatoes and a 24 on Metacritic.
Looking ahead, opening day audiences gave Rings a “C-” CinemaScore. The audience was 46% male vs. 54% female of which 67% were under the age of 25. At this point it might be a struggle for this one to climb much higher than $27 million, similar to how last year’s Blair Witch could only manage a 2.16x multiplier after opening with $9.57 million.
Universal’s A Dog’s Purpose finished third, dropping 41% from its opening weekend with an estimated $10.8 million. This result comes on the heels of news that an investigation by the American Humane organization into alleged on set animal abuse found no injuries or cruelty took place. The report also states the 2015 video that was released online ahead of the film’s opening weekend was deliberately edited to mislead the public. The film’s domestic cume now stands at $32.9 million, but there is no telling what kind of effect the pre-release controversy may have had on the feature.
In fourth, Hidden Figures continues its impressive run, bringing in an estimated $10 million this weekend as its cume is now just shy of $120 million domestically. Attempting to find satisfying comparisons for the film has not been easy given its initial limited release. That said, we put together a group of films that had similar release patterns and Hidden Figures continues to hold its own.
Rounding out the top five, La La Land finished its march through awards season as it brought in an estimated $7.45 million domestically as its cume is now just shy of $120 million. It also brought in an estimated $20.1 million internationally as its worldwide total has reached $268 million.
A little further down the list, the Weinstein’s Oscar contender, Lion expanded into 1,405 theaters (+830) and finished in eighth with an estimated $4 million as its cume now stands at $24.7 million.
Finishing ninth is the weekend’s other new wide release, STX’s The Space Between Us, which finished well below the $8-10 million, pre-release industry expectations with an estimated $3.8 million. The film received a bit of a critical drubbing as it scored a 33 on Metacritic and an 18% on Rotten Tomatoes. Opening day audiences didn’t quite agree with reviews, giving the film an “A-” CinemaScore. Of that audience 69% were female moviegoers vs. 31% male, of which 33% of the audience was under the age of 18.
In moderate release, Sony Classics opened The Comedian in 848 theaters where it brought in an estimated $1.12 million.
In limited release, Magnolia debuted Raoul Peck‘s well-reviewed documentary I am Not Your Negro into 43 theaters with the Film Forum and Film Society of Lincoln Center in New York on target to break house records for opening weekend gross as they have sold out every show this weekend. Magnolia is currently estimating a $709,500 opening for a $16,500 per screen average. Yet, that isn’t the per screen champion this weekend as Jamal Joseph‘s Chapter & Verse brought in an estimated $32,713 from one theater, Harlem’s MIST Theater. Looking ahead, both films will be expanding over the coming weeks.
Also in limited release, Mr. Gaga: A True Story of Love and Dance brought in an estimated $24,685 from two theaters ($12,343 PTA); Good Deed’s Growing Up Smith brought in an estimated $18,947 ($3,789 PTA); and Janus’ release of The Lure into one theater brought in an estimated $6,500.
To recap, Split slices again 1st, Rings scares in 2nd, A Dog’s Purpose is under investigation in 3rd, Hidden Figures moves down in 4rh, and La La Land stays put in 5th.
Last week, we said hello to Nick Burbank studios as Nick’s current shows are inside as we speak. The first Nicktoon from the studio Bunsen is a Beast was given a sneak peek before its official debut. 3 times were definitely the charm for creator Butch Hartman thanks to Fairly Odd Parents, Danny Phantom, and TUFF Puppy. Will a 4th time prove to be the charm for Bunsen Danny?
Danny Angelfish (via Animation World)- A beast and a human form an unlikely friendship in Nickelodeon’s newest animated series Bunsen is a Beast, premiering Tuesday, Feb. 21, at 5:30p.m. (ET/PT). Created and executive produced by Butch Hartman (The Fairly OddParents), the 20-episode series follows the adventures of Bunsen, the first beast to attend a human grade school, and his best friend Mikey. The series will air at 5:30 p.m. (ET/PT) through Friday, Feb. 24, and continue with premieres in its regular timeslot of Saturdays at 10:30 a.m. (ET/PT) on Nickelodeon. Bunsen is a Beast is produced by Nickelodeon in Burbank, which officially opened the doors to its newly expanded building — a more than 200,000 square-foot, state-of-the-art, sustainable complex on January 11.
Bunsen is a Beast tells the story of Bunsen and Mikey, two new friends who embark on endless fun and adventures in their town of Muckledunk. As the first beast ever to attend a middle school for human kids, Bunsen feels the pressure to succeed and prove to the world that monsters can live among humans…and they won’t eat everyone for lunch. With help from Mikey, Bunsen will learn how to accomplish human world tasks, like, doing homework, eating ice cream, and riding the bus. In turn, Mikey will learn to navigate the Beast World and meet all the weird and wonderful beasts that reside there.
In the series premiere, “Bearly Acceptable Behavior,” Amanda tries to get Bunsen kicked out of school when he brings a dangerous bear to class. Next during, “Beast Busters,” Bunsen and Mikey have to save Amanda from mischievous Sneeze Beasts that escape from Bunsen’s nose.
The Bunsen is a Beast voice cast includes: Jeremy Rowley (iCarly) as Bunsen, the first beast ever to attend a middle school for human kids; Ben Giroux (Henry Danger) as Mikey, a sweet and quirky kid and Bunsen’s best friend; Cristina Milizia (Monster High) as Darcy, Bunsen and Mikey’s homeschooled friend; Kari Wahlgren (The Fairly OddParents) as Amanda Killman, the rigid and rule bound beast hater; comedy legend Cheri Oteri (Saturday Night Live) as Miss Flap, Mikey and Bunsen’s eccentric teacher; Jeff Bennett (Jake and the Neverland Pirates) as Bunsen’s Dad; and Jennifer Hale (The Powerpuff Girls) as Bunsen’s Mom. Additionally, Wahlgren and Rowley also voice Mikey’s Mom and Dad.
If you thought Paramount and MGM had the worst time with the reboot of Ben-Hur, take a look at Sony Pictures. They suffered big time with Ghostbusters 2016 and most importantly, the 2014 hack attack. But of the good side, The Angry Birds Movie was spared from the write-down. With Sony’s movie schedule still intact, how many smackers did the studio lose altogether Dan?
Dan Barry (via Animation World)-Sony Corporation is taking a $1 billion write-down on its feature films business, according to a statement released by the company on Monday, with the Los Angeles Times writing that the move is “an extraordinary step for a major Hollywood player that highlights the deepening financial challenges facing the nearly century-old Culver City studio.”
According to a statement from Sony, “the impairment charge resulted from a downward revision in the future profitability projection for the Motion Pictures business within the Pictures segment.” The primary reason for the charge was “due to a lowering of previous expectations regarding the home entertainment business, mainly driven by an acceleration of market decline.”
The news sent Sony shares tumbling four percent Monday afternoon, according to a report by The Wrap and other sources, raising speculation about a possible sale of the studio. This newest development comes on the heels of the upcoming departure of Sony Entertainment CEO Michael Lynton announced earlier in January.
Sony features accounted for eight percent of U.S. and Canadian ticket sales in 2016, ranking fifth among major Hollywood studios, according to the Box Office Mojo website. This year, Sony will be releasing Spider-Man: Homecoming, which it is co-producing with Marvel Studios, the animated Smurfs: The Lost Village and a live-action version of Jumanji starring Dwayne Johnson.
The full press release is shown below:
Tokyo, January 30, 2017 – As a result of revising the future profitability projection for the Pictures segment, Sony Corporation recorded an impairment charge against the goodwill of the Pictures segment of 112.1 billion yen in the third quarter ended December 31, 2016. This non-cash impairment charge is included within operating income (loss). A majority of the goodwill that was impaired was originally recorded at the time of the acquisition of Columbia Pictures Entertainment, Inc. in 1989.
The impact on the consolidated results forecast for the fiscal year ending March 31, 2017 (April 1, 2016 to March 31, 2017) of this impairment and other factors is currently being evaluated and will be disclosed at the earnings announcement for the third quarter ended December 31, 2016 scheduled to be held on February 2, 2017.
The impairment charge resulted from a downward revision in the future profitability projection for the Motion Pictures business within the Pictures segment. The downward revision was primarily due to a lowering of previous expectations regarding the home entertainment business, mainly driven by an acceleration of market decline. Underlying profitability projections of film performance were also reduced, but the adverse impact of that reduction is expected to be largely mitigated by measures that have been identified to improve the profitability of the Motion Pictures business.
Profit in the Pictures segment overall is expected to grow due to measures currently being undertaken to improve the profitability of the Motion Pictures business and further expansion of the Television Productions and Media Networks businesses. The Pictures segment continues to be an important business of Sony.
Impairment Testing Process
Goodwill impairment tests are conducted for each reporting unit through the following two-step process. In the first step, an estimated fair value of the reporting unit is calculated and a determination is made as to whether that fair value exceeds the amount of net assets (carrying value) of the reporting unit, including its goodwill. If the estimated fair value of the reporting unit does not exceed the carrying value, a second step is conducted to determine the amount of goodwill impairment, if any. In the second step, each asset and liability in the reporting unit is valued as if the reporting unit were being acquired at the estimated fair value, and the implied fair value of the goodwill is then recalculated. If the implied fair value of the goodwill is below the carrying value of the goodwill, an impairment loss is recognized for the excess.
Background and Reason for the Impairment
The Pictures segment has two reporting units for goodwill: Production & Distribution (which includes the Motion Pictures and the Television Productions businesses) and Media Networks. As a part of its regular process of reviewing the future profitability projections of all of its business segments, in the third quarter ended December 31, 2016, Sony adopted a new profitability projection for the Pictures segment for the three fiscal years ending March 31, 2018 through March 31, 2020 which took into consideration the actual past results of the segment, changes in the operating environment and other factors. When step one was conducted using this new profitability projection, the estimated fair value of the Production & Distribution reporting unit was determined to be below its carrying value. This was because the future profitability projection was revised downward primarily for the reasons mentioned above.
Consequently, step two was conducted. Each asset and liability was valued as if the reporting unit were being acquired at the estimated fair value. The assets of Production & Distribution include capitalized film costs (including the value of the film library), intangible assets (including trade names and licensing agreements), and tangible assets (including land and buildings). In the revaluation, the fair value of these assets, among others, was determined to be above their carrying value. As a result, no portion of the fair value of the reporting unit was allocable to goodwill, and the carrying value of goodwill was determined to be zero. Consequently, the entire amount of the goodwill in Production & Distribution, 112.1 billion yen, was impaired, and an operating loss was recorded in the Pictures segment in the third quarter ended December 31, 2016. The fair value of the assets and liabilities calculated in step two is only used for the purpose of the goodwill impairment test process and is not reflected on the balance sheet of Sony and is not recognized as profit from an accounting perspective.
We visit Elmore this week as 5 new episodes of Gumball continue the exploits of the Watterson’s. After that, new episodes of Teen Titans Go, Clarence, Mighty Magiswords, and Steven Universe find the rest of the crew in new and decent situations.
We enter the love boat as February feels the love with more of last year’s biggest hits. Here’s some of your favorites you’ll enjoy this month:
- Almost Christmas
- Bad Kids of Crestview Academy
- Billy Lynn’s Long Halftime Walk
- American Pastoral
- The Eagle Huntress
- The 9th Life of Louis Drax
We’ll keep you locked on with more toon celeb news this month before we leap ahead in March. I hope we’ll find love and romance next time on Gene Scallop’s box office report.
S0uth Park creators Trey Parker and Matt Stone promise not to mock President Trump after negative reactions from the show’s fans
Backlash from South Park viewers cause the show to change plans for season 21. Gene Scallop here with this breaking news story. South Park suffered big trouble last night just as season 20 ended last year with Mr. Garrison posing as Donald Trump as president of the U.S. While the town dealt with the threat of Web Trolls, Garrison had to change his personality since PC Principal arrived. He was the elephant in the room behind Principal Victoria’s firing which changed South Park students lives forever.
Coinciding with the election, Garrison need a disguise to help him breeze through it easily, a disguise none other than Donald Trump. And the reason behind this, a pack of Member Berries, talking grapes that cause major throwbacks from culture’s past.
And you thought the show had made a mistake last season, it sure did folks. Stone and Parker wanted Hillary Clinton to win, but thanks to the Donald’s win, the show was to change the episode title. Now both creators say they want Garrison out of the picture for the upcoming season because of dismayed comments from South Park fans. What do they want in return for Parker and Stone Angie?
Angie Angelfish (via Dateline Hollywood)- You know we’re in a new world order when the new political reality is even too ridiculous for South Park to make fun of.
Season 20 of South Park reflected the political rise of Donald Trump via Trump-esque character Mr. Garrison. But the comedy became more challenging as the season went on.
“It’s really hard to make fun of and in the last season of South Park, which just ended a month-and-a-half ago, we were really trying to make fun of what was going on but we couldn’t keep up and what was actually happening was much funnier than anything we could come up with. So we decided to kind of back off and let them do their comedy and we’ll do ours,” said Parker.
“Yeah, let everyone in government do their comedy for a bit,” added Stone.
“People say to us all the time, “Oh, you guys are getting all this good material,” like we’re happy about some of the stuff that’s happening.” Stone continued.” ‘But I don’t know if that’s true. It doesn’t feel that way. It feels like they’re going to be more difficult. We’re having our head blown off, like everybody else.’
There likely will have to be some kind of follow, however. Last season ended with Trump satirical surrogate Mr. Garrison becoming President of the United States. Stay tuned.
We’ll see the reason what Parker and Stone have in mind when South Park season 21 premieres soon on Comedy Central. Until then, this is Gene Scallop saying so long from entertainment central and see if the show’s creators can make good on their promise.