ADAMPOST

Did Marvel do a good enough job explaining how Thanos' mass murder agenda was actually not a good idea? James Cameron is Team Thanos. Has Kevin Feige laid the groundwork for the apocalypse? PLAYLIST 115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com James Cameron Says He Supports Thanos’ Mass Murder And Depopulation Agenda: “I Thought He Had A Pretty Viable Answer” https://boundingintocomics.com/2023/02/21/james-cameron-says-he-supports-thanos-mass-murder-and-depopulation-agenda-i-thought-he-had-a-pretty-viable-answer/

“The opportunity to buy Fox first came up later that year. In fact, just a few months after the board approved us buying the majority share of BAMTech — which was done for one reason, to go into the direct-to-consumer business..." PLAYLIST 115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com

If you love what Disney did you Luke Skywalker for no apparent reason, you'll recognize the treatment of classic, adventure hero Indiana Jones! They are doing it again and admit to it openly in The Hollywood Reporter! Don't let these people define our heroes. We know who Indiana Jones is, and he is not this! Ignore this fan fic garbage. PLAYLIST 102 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove James Mangold Admits He’s Maligning Indiana Jones’ Character, Says Audiences Will “Have To Readjust And Retool Their Brains For This Guy” https://boundingintocomics.com/2023/02/15/james-mangold-admits-hes-maligning-indiana-jones-character-says-audiences-will-have-to-readjust-and-retool-their-brains-for-this-guy/ Indiana Jones and the Dial of Destiny director James Mangold admitted what many feared that he, Disney, and Lucasfilm would do to Indiana Jones: they are maligning his character in a similar fashion to how Rian Johnson did to Luke Skywalker. ANAHEIM, CALIFORNIA – MAY 26: (L-R) Harrison Ford and James Mangold attend the studio showcase panel at Star Wars Celebration for the fifth installment of the “Indiana Jones” franchise in Anaheim, California on May 26, 2022. (Photo by Alberto E. Rodriguez/Getty Images for Disney) Speaking with The Hollywood Reporter, Mangold stated, “We can’t hide from where we are in our lives — none of us can — and neither can Indiana Jones.” He elaborated, “I wanted to follow Harrison’s own lead and simply deal with it straight on. It’s not just a movie about a hero in his twilight years who is called back into action.” “It’s more than just that his bones might ache, it’s that his soul might ache, or that some of his optimism or sense fitting into the world might have evaporated,” he detailed. Indiana Jones (Harrison Ford) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved. Mangold then justified his decision to malign the character saying, “The mistake you can make in movies — and we’ve all seen movies like this — is where someone is of a ripe age, but the entire movie is continuing this charade along with them that they’re not that old.” This is a ridiculous explanation. Just because someone ages does not mean they would lose their sense of optimism or have their soul ache. Certainly someone like Indiana Jones would not act this way especially after having seen the example of his father act in the complete opposite way. Indiana Jones (Harrison Ford) in Lucasfilm’s Indiana Jones and the Dial of Destiny. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved. RELATED: Harrison Ford Explains Why He Returned For ‘Indiana Jones And The Dial Of Destiny’: “I Wanted To Do The Rest Of The Story To See The End Of His Career” Mangold would further reveal he’s moving away from the tried and true action adventure formula that led to the success of the original Indiana Jones trilogy. He said, “The first three Indiana Jones movies took place in roughly the same period. They all easily fit with the serialized, theatrical, almost screwball-action style of the movies that were being released in the period they’re set in.” Mangold then posited, “The challenge for [director Steven Spielberg] on [Crystal Skull], and for me on this one, is: How do you move forward into new decades where the world is no longer seen in such clear demarcations of black and white and good and evil? Where the whole concept of raiding tombs and fighting over relics is looked at in a different way?” “It’s not about changing the story but allowing the character to experience how the world has changed around him,” Mangold explained. Indiana Jones (Harrison Ford) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved. Mangold went on to push the idea that everything is gray now and somehow in the past it was all black and white, which any historian worth his salt would point out is a complete and utter lie. He told The Hollywood Reporter, “And our perception of politics is more gray. Who’s a villain? Who are we working with? Who are we fighting against? Proxy wars, all of that. It’s not as simple as the era around World War II.” “What happens to a hero built for a black-and-white world, when he finds himself in one that is gray? It’s a problem that produces humor, produces contradictions, produces adjustments that this character’s going have to make,” Mangold claims. (L-R): Helena (Phoebe Waller-Bridge) and Indiana Jones (Harrison Ford) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved. #indianajonesandthedialofdestiny #indianajones #indianajones5 #disney

THEDIRECT is a pro-Marvel website and even they are stating "Hopefully, Marvel Studios can pull its act together and change course, finally getting more of that positive praise it was so used to. It would be a shame if the whole MCU collapsed before getting to Avengers: Secret Wars or the X-Men." PLAYLIST 1115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com Marvel Studios will be slowing down its project releases for Phase 5 and 6's MCU series on Disney+, as confirmed by president Kevin Feige. The reception to Phase 4 was mixed, to say the least—something that’s sadly leaking into Phase 5 as well, with Ant-Man and the Wasp: Quantumania currently holding a rotten rating on Rotten Tomatoes. Not too long ago, it was rumored that in response to these worries from the wider audiences, Marvel Studios would shift to focusing on quality over quantity. This meant the company was completely re-evaluating its future slate. Not long after, three specific Disney+ shows were rumored to have been heavily delayed: What If…? Season 2, Echo, and Agatha: Coven of Chaos. Additionally, Blade got a reset, and Armor Wars became a movie instead of a series. It looks like these changes are truly a sign of Marvel Studios making important adjustments. Kevin Feige Confirms Slower Disney+ Release Rollout Disney+ logo, Kevin Feige, Marvel Marvel Studios Speaking to Entertainment Weekly, Marvel Studios president Kevin Feige spoke candidly about the amount of output that the Marvel Cinematic Universe is currently pushing, particularly on Disney+. After referring to a Saturday Night Live sketch that poked fun at how frequently the MCU was putting out series, Feige admitted that the sheer volume of projects has made it more difficult for the studio to tap into one of its most impressive feats: its ability to "hit the zeitgeist:" "I do think one of the powerful aspects of being at Marvel Studios is having these films and shows hit the zeitgeist. It is harder to hit the zeitgeist when there's so much product out there — and so much 'content,' as they say, which is a word that I hate. [Laughs]" The MCU producer continued by affirming that the rate at which Disney+ shows release will be reduced, in order to give each individual project "a chance to shine:" "But we want Marvel Studios and the MCU projects to really stand out and stand above. So, people will see that as we get further into Phase 5 and 6. The pace at which we're putting out the Disney+ shows will change so they can each get a chance to shine." After being asked whether this change of pace would mean spacing out the releases of shows or releasing fewer shows a year, Feige responded, "Both, I think." Marvel Studios Changing Course? The reception of Quantumania truly embodies the rocky road the MCU is going down—which may worry fans since Paul Rudd’s movie came after loads of complaints and feedback. However, it is important to note that any major big changes Marvel Studios might make for the better when it comes to shows or movies won’t be felt for a long while. One has to remember that they work on these projects way ahead of time—many future movies or shows are too far into development to make any sizable changes. The earliest some of these more systematic changes could truly be seen is next year. With either Daredevil: Born Again or Captain America: New World Order, both of which will be entering production in March. Some changes can already be felt, however. 2021 held five Disney+ series, while 2023 will only have three. Though, fans don’t even have an estimated release for any of them, so the debut of the next streaming show is a mystery. Hopefully, Marvel Studios can pull its act together and change course, finally getting more of that positive praise it was so used to. It would be a shame if the whole MCU collapsed before getting to Avengers: Secret Wars or the X-Men. The next Disney+ show to air is suspected to be Secret Invasion, which was most recently set to release in Spring 2023.

Bob Chapek blew one of Disney's biggest assets, worth untold billions, the control of their private government over a woke battle against the state of Florida. Bob Iger's Disney has already announced they will not fight the state in court and will accept their new weaker position within the state. PLAYLIST 115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com Disney will not fight a bill that gives Gov. Ron DeSantis broad powers over its Orlando theme parks, after the bill passed both houses of the Florida Legislature this week. The bill establishes a new district to assume the powers held by the Reedy Creek Improvement District, which Disney has controlled since it was created in 1967. The new entity, the Central Florida Tourism Oversight District, will be run by a five-member board appointed by DeSantis and confirmed by the state Senate. In a statement, Disney said it is “ready to work within this new framework,” indicating that it will not try to challenge the law in court. The Legislature moved to dissolve the Reedy Creek district last April, after Disney came out against the Parental Rights in Education law, known to its critics as the “Don’t Say Gay” bill. Related Stories VIP+ It’s Well Past Time for Harry and Meghan 2.0 ‘Batgirl’ Star Leslie Grace Rejects Studio’s Claim the Axed Film Was Unreleasable: The Cut I Saw Was ‘Incredible’ (EXCLUSIVE) Some observers had suggested that Disney could file a First Amendment lawsuit or seek to challenge the takeover on various other grounds. But Jeff Vahle, the president of Walt Disney World Resort, said in the statement released on Friday that the company will accommodate itself to the new reality. “For more than 50 years, the Reedy Creek Improvement District has operated at the highest standards, and we appreciate all that the District has done to help our destination grow and become one of the largest economic contributors and employers in the state,” Vahle said. “We are focused on the future and are ready to work within this new framework and we will continue to innovate, inspire and bring joy to the millions of guests who come to Florida to visit Walt Disney World each year.” The legislation was introduced on Monday. It passed the state House of Representatives on Thursday on a vote of 82-31, with 81 Republicans and one Democrat voting “yes.” All 31 “no” votes came from Democrats. The state Senate approved the bill on Friday on a party-line vote, with 26 Republicans in favor and nine Democrats opposed. It now goes to DeSantis for his signature. The Reedy Creek Improvement District has broad authority over zoning, infrastructure, fire response and public utilities over a nearly 40-square-mile area in Osceola and Orange counties. The entity levies taxes on Disney and issues tax-exempt bonds for infrastructure projects. As by far the largest landowner within the district, Disney has had the power to elect the five members of the Board of Supervisors. In establishing the new district, the Legislature left almost all of its powers intact. The legislation does remove the power to build a nuclear power plant and an airport, but those powers had never been used. The practical effect of the change could end up being negligible and park employees and visitors are unlikely to notice any difference. But DeSantis and future governors will have broad power to make life difficult for Disney if they choose to exercise it. “It’s like Disney is operating in a low-security prison, where they can still do what they want to do but there’s guards around them at all times,” said Rep. Anna Eskamani, D-Orlando, who has been among the most vocal critics of the state takeover. “They can’t speak up against the governor ever.” But fighting the law in court would have carried its own downsides. A lawsuit might have dragged on for years, with uncertainty over who was truly in charge of the district and leaving the district staff incapable of executing projects. It would also have embroiled the company further in a local culture war that it has been trying to extricate itself from. There was no guarantee of success, as many observers said that the Legislature has broad latitude to take away authority it had previously given. In the past, Disney has been a major source of campaign contributions in Florida elections. The company suspended contributions to politicians of both parties last March, as the “Don’t Say Gay” controversy erupted. As of yet, those contributions have not restarted. #disneyplus #woke #wokedisney

Disney increased its payroll by 15% in 2022-- a full 33,000 people. That was ridiculous. Now the ESG people are furious with Disney. Why? Because the 7,000 layoffs are going to affect them, and affect them tremendously. It's not going to be the parks workers who get cut. It's going to be 50% (3500 people!) in marketing, and the rest in other jobs that sound like they should have never been hired in the first place. PLAYLIST 115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com Like many companies, Walt Disney does its best to avoid controversy. But in winning over investors this past week, with plans to cut costs and reinstate its dividend, Disney may have irked investors who consider the company a leader in ESG, or environmental, social and governance investing. In his first earnings call since taking back the reins of Disney (ticker: DIS), CEO Bob Iger promised $5.5 billion in cost cuts, adding that to achieve that target, the company would be reducing “its workforce by approximately 7,000 jobs.” He also said the company hoped to reinstate its dividend by the end of the year. The cuts are not expected to affect employees in hourly front-line roles at the theme parks. Analysts applauded and the markets liked the initiatives, sending Disney stock up more than 8% in after-hours trading. But the changes also exposed the company to criticism that it is prioritizing one constituency—shareholders-—at the expense of another: its 22,000 workers worldwide. Iger is also one of Hollywood’s most highly paid CEOs. He will receive an annual base salary of $1 million and a long-term incentive award with a target value of $25 million—highlighting another controversy: a wide gap between CEO and worker pay. “The signal that Disney is sending with the layoffs is that they are seeking to be more efficient, but at the same time they have a CEO with exorbitant pay. That contrast of high CEO pay versus layoffs isn’t only controversial, but a slap in the face of workers,” says R. Paul Herman, founder and CEO of HIP Investor, a California-based sustainability ratings, data, and analytics provider. (HIP stands for “Human Impact plus Profit.”) Some say the optics of pursuing a cost-cutting program, alongside increased dividends, is awkward from an ESG perspective, especially when coupled with high CEO pay, a favorite target of “say-on-pay” shareholder proposals. Herman says Disney’s CEO-to-worker pay ratio was 644 to 1, according to its 2022 proxy statement, which is above average versus its peers. Netflix (NFLX), for example, is 202 to 1, and Paramount Global (PARA)—which includes CBS and Viacom—is 212 to 1. Iger isn’t Hollywood’s highest-paid CEO, though. That title may go to Warner Bros. Discovery (WBD) chief David Zaslav, whose total compensation of $246.6 million in 2021 would have put Warner’s CEO to worker-pay ratio at 2,972 to 1. Disney does score well in other areas of corporate social leadership. Herman points out that Disney is a leader in gender diversity for employees and has been “supportive of the LGBTQ community, especially in the controversy with Florida on ‘don’t say gay’ where Disney ultimately supported employees.” Compared with media peers, Disney scores 98 out of 100 points on a scale that balances “everything from people to planet to trust,” says Herman. “They’re a leader in their industry.” Against the broader universe of 11,000 companies globally, however, Disney’s HIP Rating is 61. Its CEO-to-worker-pay ratio brings down its rating, Herman says. Other ESG score keepers also rank Disney highly. MSCI (MSCI), the largest ESG rating company, gives Disney an “A” or “average” rating among 68 peers in media and entertainment, deeming the company a “leader” on corporate governance, human capital development, and privacy and data security. Disney declined to comment but referred Barron’s to comments Iger made on the earnings call. “While this is necessary to address the challenges we’re facing today, I don’t make this decision lightly,” he said, adding “I’m mindful of the personal impact of these changes.” One anti-ESG activist welcomed Disney’s focus on shareholders. Vivek Ramaswamy, co-founder and executive chair of Strive Asset Management, says tougher economic times expose companies like Disney for “virtue signaling” when “times are good.”

Rumors are flying again (yes again) David Zaslav wants to sell Warner Brothers Discovery, even though it makes zero financial sense. A recent claim says the plan is to now not do a connected universe because that would allegedly be more attractive to future buyers. But of course, this is the element that's made Marvel successful for so many years, so how can this be possible. I explain why to me, it makes no sense. PLAYLIST 115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove

Bob Iger is a broken man. Nelson Peltz, godfather of activist investors has found a way to force Disney to do what he wants without joining the board of directors (as he has done already with General Electric and other multi-billion dollar companies). PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com

“Now Disney plans to do everything we wanted them to do,” Peltz told CNBC’s Jim Cramer. Iger has been desperate to keep Nelson Peltz away from the Disney board of directors and appears to have completely capitulated on every demand Peltz made to Disney for change to improve their business. No word yet on Disney reversing it's decline across all their franchises, brands, and disrespect for fans. PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com Disney Plans to Reinstate Its Dividend and Cut 7,000 Jobs. Nelson Peltz Declares Victory. https://www.barrons.com/amp/articles/walt-disney-earnings-stock-price-job-cuts-dividend-51675811282 Nelson Peltz declared his proxy fight with Disney was over Thursday after the entertainment giant unveiled a vast restructuring plan, cost cuts and 7,000 layoffs. “Now Disney plans to do everything we wanted them to do,” Peltz told Jim Cramer on CNBC’s “Squawk on the Street” on Thursday. “We wish the very best to Bob [Iger], this management team and the board. We will be watching. We will be rooting.” “The proxy fight is over,” said Peltz, who heads Trian Fund Management. He had been seeking a board seat. Disney said it appreciated Peltz’s decision. “We are pleased that our Board and management can remain focused without the distraction of a proxy contest, and we have tremendous faith in Bob Iger’s leadership and the transformative vision for Disney’s future he set forth yesterday,” the company said in a statement Thursday. In January, Trian launched a proxy fight with Disney, pushing for Peltz to gain a seat on the board. The activist firm said at the time it owned about 9.4 million shares valued at roughly $900 million, which it first accumulated a few months prior. Peltz had criticized Disney’s $71 billion acquisition of Fox in 2019 and failed succession planning. He had also called out “weak corporate governance” over the years that has eroded shareholder value. The activist investor raised the white flag on Thursday after Disney announced a sweeping reorganization this week. The company said that it would be looking to slash $5.5 billion in costs, and will cut 7,000 jobs. Disney is also restructuring its business into three divisions, and will focus on bringing its streaming business to profitability by 2024. In addition, Iger said he aimed to ask the board to approve the reinstatement of its dividend--which had been suspended since early 2020 due to the pandemic--by the end of the calendar year. The changes, which were part of Iger’s first major actions since he returned to the helm of Disney in November, addressed many of Peltz’s concerns.

Ike Perlmutter attempted a board room coup in July 2022, and is after control of Disney again and will NEVER GIVE UP! According to Disney's SEC filing, “Peltz, or Ike Perlmutter (an employee and shareholders of Disney who currently serves as Chairman of Marvel Entertainment) on Peltz’ behalf, asked for a Board seat or suggested he should be added to the Board no less than 20 times since July 2022,” Disney said. PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com

Disney CEO Bob Iger has 'very little room for maneuver' as he tackles layoffs, budget cuts, a company reorg, and questions over the future of Hulu and ESPN, all the while Florida finalizes plants to take away the Reedy Creek District controlling 39 acres in Florida and 32,000 employees reject a $1 per hour raise! PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com

Ike Perlmutter trusted Bob Iger would protect the Marvel brand when he sold the company to Disney in 2009. Only six years later Iger took away Ike's control of Marvel and by 2020 was using Marvel for his personal 'Inclusion Key' agenda, destroying billions in value at Disney and at least a $1 billion in personal wealth for Ike Perlmutter. PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com A key question hanging over Disney as it battles a challenge from activist investor Nelson Peltz concerns how many of its shares are held by one of the company’s own employees: Marvel chair Isaac Perlmutter. Perlmutter, the main backer of Peltz’s push to gain a seat on the Disney board, became the company’s second-largest individual shareholder in 2009 when he sold Marvel to Disney in a cash and stock deal worth $4.2bn. At the time only Steve Jobs held more shares, which he acquired after selling Pixar to Disney. It is unclear how much stock the reclusive Perlmutter, who technically reports to chief executive Bob Iger, still holds. Assuming Perlmutter has not added or sold Disney shares since the Marvel deal closed, his stake would be worth $2.4bn, about 1 per cent of the company, according to FT calculations. Only investors with 5 per cent stakes or more have to disclose their holdings. The size of Perlmutter’s stake matters because a large holding could tip the scale in favour of Peltz’s Trian Partners if the proxy battle is as close as some of the firm’s past fights. Peltz, who acquired a $900mn stake in Disney last year, is known for his activist campaigns against big consumer products groups, including Procter & Gamble in 2017. In that proxy fight, both sides spent more than $100mn to woo shareholders, with Peltz winning by a paper-thin margin of 0.002 per cent. Isaac Perlmutter, left, with Donald Trump in 2016. Perlmutter became Disney’s second-largest individual shareholder when it bought Marvel in 2009 © Ricky Carioti/The Washington Post via Getty Images Other significant individual shareholders at Disney include Jobs’s widow, Laurene Powell Jobs, and Lucasfilm’s George Lucas. Disney hopes they will vote against Peltz’s move to gain a board seat. Having an employee support an activist challenge to a large corporation is “definitely a unique situation”, said Drew Chapman, chair of the shareholder activism department at Cole Schotz, a law firm. “It appears that Peltz started looking at Disney because of his relationship with Perlmutter.” He added that big individual shareholders help each side in a proxy contest to build support. “Disney, more so than other companies, has a large retail investor base which has its own challenges to building support. Having prominent large shareholders starts to help build the numbers.” Peltz’s activist campaign has become a distraction for Iger, who returned to Disney as chief executive in November with a mandate to revive the company and its sagging share price. Iger is expected to discuss restructuring and cost-cutting plans when the company reports results on February 8, Wall Street analysts say. Iger had a tense relationship with Perlmutter during his first stint as chief executive, so much so that Iger often delegated communications with Perlmutter to Bob Chapek, according to former employees. Chapek served as chief executive for 33 months before Iger returned. Perlmutter is said to have been outraged when Iger reorganised Marvel in 2015 to allow film producer Kevin Feige to report to the head of the Disney studio, not Perlmutter — a move analysts say has proved to be wise. Since then, Feige has been named Marvel president and overseen the release of some of the highest-grossing movies of all time, including Avengers: Endgame and Black Panther. Peltz and Perlmutter began seeking changes at Disney months before Iger’s return as chief executive. According to documents that Disney filed with the US Securities and Exchange Commission, Perlmutter called Disney board member Safra Catz and general counsel Horacio Gutierrez last July to advocate for the activist’s board seat. He met Chapek in Palm Beach, Florida, not long before his dismissal as chief executive to lobby on behalf of Peltz. Perlmutter and Peltz, both octogenarian billionaires, are friends and live in Palm Beach. Their foundations have jointly donated to the local Salvation Army, and both were Trump donors, though Peltz said he regretted his donation after the January 6 2021 riot in Washington.

BLOOMBERG announces Walt Disney Co. is exploring more licensing of its films and television series to rival media outlets as pressure grows to curb the losses in its streaming TV business. This is ridiculous. This is not a new strategy and won't make nearly enough of a difference in Disney's financial results. PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com Walt Disney Co. is exploring more licensing of its films and television series to rival media outlets as pressure grows to curb the losses in its streaming TV business. The Burbank, California-based entertainment giant is seeking to earn more cash from its content library, according to people familiar with the discussions who asked not to be identified as the talks are private. The move would represent a shift in strategy, as Disney has in recent years tried to keep much of its original programming exclusively on its Disney+ and Hulu streaming services. A spokesperson for Disney declined to comment. Disney is under pressure to improve its financial performance and change its streaming strategy. Last year, the company turned in its worst stock market results in decades. After Disney reported a $1.5 billion loss for its online video business in the third quarter, the board fired Chief Executive Officer Bob Chapek, replacing him with Bob Iger, who had previously held that job for 15 years. Among his many challenges, Iger must also cope with a proxy fight by activist Nelson Peltz, who’s seeking a seat on Disney’s board and pushing for better performance. Iger, 71, will share more of his plans when the company reports financial results on Feb. 8, but he has already taken steps to reverse decisions made by his predecessor. He offered free photos and more lower-price tickets to theme-park guests irked by rising fees. The longtime media executive has promised to redesign the company’s organizational structure, in particular an unpopular move by Chapek that put decisions on where and when to release films and TV shows in the hands of distribution executives that don’t make the programs. Iger has said he wants to return more decision making to creative executives, and put the restructuring in the hands of his chief financial officer Christine McCarthy, ESPN boss Jimmy Pitaro, Disney studios head Alan Bergman, and Dana Walden, who chairs Disney’s general entertainment group. Pitaro, Bergman and Walden all lost authority under the old structure. The reorganization will also result in personnel cuts, the people said, though it is unclear how many will lose their jobs. The company has already frozen new hiring. Iger retired as CEO in 2020 with the company seemingly well-positioned for the future. His acquisitions of Pixar, Marvel and Lucasfilm had given Disney the most valuable trove of characters in entertainment, while the company’s new streaming service, Disney+, was adding millions of customers a month. Although Disney already licenses some titles to other platforms including Amazon.com Inc.’s Prime streaming service, it began to hoard content with the launch of Disney+ in 2019. Disney curtailed licensing of its own programs to third parties to boost that service. A deal that had Disney films running on Netflix Inc. was phased out, and the company touted how much of its new programming came from its own in-house studios. Wall Street cheered at the time because it meant the company was entirely focused on building out the streaming business. The shift was costly, however, as Disney surrendered billions of dollars from home video sales and licensing deals with other networks. The pandemic forced Chapek to lean into streaming even more, releasing original movies on streaming services, and offending talent in the process. As the global economy slowed, and Netflix subscriber growth along with it, investors have raised concerns about how much money companies like Disney are spending on unprofitable streaming services. Selling more content to third parties would follow similar moves in the media industry such as at Warner Bros Discovery Inc., where CEO David Zaslav has taken shows off of his HBO Max streaming service and resold them to rivals like Roku Inc. and Fox Corp.’s Tubi. Lions Gate Entertainment Corp. is separating its studio business from its Starz streaming service, and has said its films and TV series will be made for a number of platforms. Theater Debuts Disney executives have discussed selling more titles to third parties and are in the process of shopping certain titles right now. It remains to be seen if they keep them in-house at Hulu or they sell them to an outside bidder.

Disney makes it clear what it thinks of Nelson Peltz and his direct appeal to shareholders to vote the activist investor onto the board. Throw the Nelson Peltz voting cards straight into the trash can. PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com The House of Mouse, under the leadership of returning CEO Bob Iger since November, said giving the Trian Fund Management cofounder a seat at the table threatens to undermine the company’s entire strategy at a delicate juncture and must be stopped. “We are skeptical of his motives and believe he would be disruptive at a crucial period for Disney,” it argued in a statement. “In fact, Mr. Peltz sought a board seat before he was a shareholder.” This could be a potential reference to the investor’s friendship with Ike Perlmutter, a major Disney shareholder ever since he sold Marvel to the company in 2009. The two billionaires live in Palm Beach and supported Donald Trump, a critic of the media group and its progressive-minded staff. Perlmutter’s relations with the media giant have been strained, in particular after Iger granted Marvel Studios boss Kevin Feige’s wish to be free of Perlmutter’s constant interference. According to The Hollywood Reporter, Peltz held discussions with then–Disney CEO Bob Chapek last July with Perlmutter’s support. But any plans they might have hatched together were presumably scrapped after Chapek’s sudden ouster during a late-November weekend. Disney wants shareholders to vote only after management has presented a new strategic plan On Thursday, the Disney board told shareholders they did not need someone like Peltz advocating on their behalf, since their interests were adequately represented by no less than 10 out of 11 board members independent from the day-to-day executive team run by Iger. It urged shareholders to therefore support the reelection of former U.S. Trade Representative Michael Froman to the board and vote against the nomination of Peltz by his investment firm. “Froman’s decades of experience in business and international affairs are critical to helping Disney assess the risks and opportunities in an increasingly complex global marketplace,” it wrote. One recent deal may underline that point. Disney recently secured Beijing’s regulatory approval to bring Black Panther: Wakanda Forever to China from next week, ending a ban in place since July 2019—before the pandemic hit. The board, therefore, asked investors to hold off until it could begin mailing materials for its as yet unscheduled annual general meeting, including its white-colored proxy card with Froman on the ballot. By then management could be able to present its case to investors for how it would grow the company going forward. “Shareholders should give themselves the benefit of voting on a fully informed basis, taking the board and management team’s important update on its strategy to create value into consideration,” it argued. “If you have already received materials with a blue proxy card from the Trian Group, please simply discard them.” Trian Fund Management, which claims to own $1 billion worth of Disney shares, did not immediately respond to a request by Fortune for comment. Peltz argues Disney is a ‘company in crisis’ Peltz is no stranger to shareholder showdowns and hasn’t been one to back down from a fight. The Floridian is a veteran of three separate proxy wars that pitted management against investors: first with Heinz in 2006, then DuPont in 2015, and finally Procter & Gamble two years later. Trian argues that Disney is a “company in crisis” whose problems are “primarily self-inflicted,” resulting in the loss of over $120 billion in market cap last year that sent the stock plunging to eight-year lows. It criticizes everything from excessive management compensation and overpaying for 21st Century Fox’s traditional media assets to a flawed streaming strategy resulting in the first suspension of dividends in 57 years. Trian claimed it did not favor financial engineering by piling Disney’s balance sheet full of debt at the risk of diminished solvency—a common demand from short-term activist investors—nor did it look to break up the company or even replace Iger as CEO. Disney is not playing ball, however, arguing its opposition to Peltz is based on over six months of conversations and written exchanges with the Trian cofounder. “He has demonstrated that he does not understand Disney’s businesses, and he lacks the perspective and experience to contribute to the objective of delivering shareholder value in a rapidly shifting media ecosystem,” it told shareholders on Thursday.

‘Tuca & Bertie’ Showrunners and Others Allege Warner Bros. Discovery Merger Diminishes Female POC Series "The casualties of this mega-merger include numerous projects created by, featuring and/or centering the experiences of women and people of color," an addendum to a WGA report said. PLAYLIST 115 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove The creators behind series “Tuca & Bertie,” “Gordita Chronicles,” and “Whistleblower” have issued statements alleging the Warner Bros. Discovery merger has had disastrous effects on female POC showrunners. The statements, published as an addendum to a December 21 Writers Guild of America report on the effects of mega-mergers, are titled “How the Warner Bros. Discovery Merger Hurts Workers and Diversity.” The report claims the WBD merger de-prioritized female-led series featuring stars of color and ultimately led to the shows’ cancellations. “The casualties of this mega-merger include numerous projects created by, featuring and/or centering the experiences of women and people of color,” the statement reads, citing multiple projects “including ‘Batgirl,’ one of very few mainstream superhero films to feature a Latina lead actress; ‘Full Frontal’ with Samantha Bee, one of a handful of woman-hosted late-night shows; ‘Gordita Chronicles,’ a series about a Dominican immigrant family whose showrunner was a Latina woman; ‘Tuca & Bertie,’ an animated series featuring two lead women of color, and ‘Chad,’ a series about Middle Eastern Americans created by and starring Iranian American comedian Nasim Pedrad” have been canceled. RELATED TCM's Ben Mankiewicz: David Zaslav Will 'Use That Muscle' to Protect Classic Film Network 'Titans,' 'Doom Patrol' Both Ending After Season 4 at HBO Max The comments are in a new “Broken Promises Bulletin” of the report, adding that “less than a year later, the company has instead canceled, pulled, or written off $2 billion in content and laid off hundreds of workers” since the merger was closed. A majority of that content was led by POC, as the report claims. “The Warner Bros. Discovery merger sharply illustrates how consolidation increases the power of gatekeepers at the expense of marginalized voices,” the statement reads. Creator and executive producer of “Tuca & Bertie” Lisa Hanawalt wrote, “I originally created ‘Tuca & Bertie’ for Netflix, but when they cancelled it after just one season, we fought to get the series picked up at Warner’s Adult Swim network. The women-led series had been a cult hit and a critical darling — the Warner execs knew it needed advertising support and time to grow viewers in the male-dominated adult animation space. But the merger went through right before the most recent season launched, and almost everyone who worked on the ‘Tuca & Bertie’ marketing team was laid off. Then several of the show’s main executives at Adult Swim and HBO Max left in the turmoil. Planned marketing projects to promote the new season didn’t happen. Then we learned the show had been cancelled. It’s already harder for shows centered on women, and this merger cost us the support we needed to thrive.” “Gordita Chronicles” creator and executive producer Claudia Forestieri added, “I got into television to counter the negative mainstream stereotypes about Latino communities and tell stories like ‘Gordita Chronicles,’ which features a young Dominican girl who immigrates with her family to Miami. The showrunner and I did everything in our power to set the show up for success, and the first season was showered with positive reviews and strong viewership numbers. But after the merger, HBO Max was given a new mandate from its Discovery leadership to cut costs and ‘Gordita Chronicles’ was cancelled just five weeks after first airing, and will now even be removed from the platform. The studio executives claimed the cancellation reflected HBO ‘rebranding’—by implication, away from shows about Latino families. This merger has provided pretty stark and immediate evidence that industry consolidation not only harms diversity and inclusion, but can also contribute to the erasure of U.S. Latinos.”

Gunn says DC's strategy was previously "f***ed up". James Gunn: I wanted to take care of these characters. And we all know it’s been a f****d-up road for many of them for the past few years, and things haven’t been together—and I really thought, it is a challenge, but I think it’s a possibility to create something really wonderful with these characters. PLAYLIST 114 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove James Gunn, why did you want to do this? James Gunn: I wanted to take care of these characters. And we all know it’s been a fucked-up road for many of them for the past few years, and things haven’t been together—and I really thought, it is a challenge, but I think it’s a possibility to create something really wonderful with these characters. I can’t go into politics. I can’t do anything with science. So the only thing I can do for this planet is to create stories about love. And that’s what I think that we can do over the next eight to 10 years. So what exactly is DC Studios? Peter Safran: DC Studios is just a standalone studio production entity. And it’s unprecedented because it’s the first time ever that all film, all television, live action, animation, and gaming is all centralized under one creative vision. So that was a big deal for [Warner Bros. CEO David] Zaslav, was the idea of creating a standalone entity where there could be a unified creative vision and, you know, everything centralized under James and myself. What were your thoughts on DC movies before you came on board? Gunn: The history has been shit. It’s been a real fucked up journey for DC. I think that there was basically no one minding the mint and they were giving out IP to any creatives that, you know, smiled at whoever was in charge. There was never any real power given to the people in charge. And so somebody could always go over their head and do whatever they wanted. And, you know, we had the DCEU, which then became the Joss Whedon Justice League, but it also became the Snyderverse, which became this. And we have Wonder Woman and we have Wonder Woman [1984], which doesn’t even match what happened in Wonder Woman one. And then we have the Arrowverse and even us, coming in with The Suicide Squad and Peacemaker. And then all of a sudden Batmite is a real guy. Shazam 2 is the next DC movie coming. Shazam 2 is the next DC movie coming. Image: Warner Bros. DC has four films scheduled for release in 2023. How do those fit in? Gunn: I think that we’ve gotten lucky with the next four movies, frankly, because we have Shazam, which leads into Flash, which resets everything, which then goes into Blue Beetle, which is totally disconnected. He can totally be a part of the DCU, [and that] goes into Aquaman, which leads into Superman, our first big project. When does the DCU canon start and will actors come back? Gunn: The one thing that we can promise is that everything from ... our first project [Creature Commandos] forward will be canon and we’ll be connected. We’re using some actors from the past. We’re not using other actors from the past, but everything from that moment forward will be connected and consistent. Is this a multiverse? Safran: The DCU is a multiverse, but we’re going to be focusing on one universe from that multiverse. And if something isn’t DCU, we’re going to make that very clear. How will it be clear what’s DCU and what isn’t? Safran: So strictly adult fare like Todd Phillips’ Joker, or kids animation like Teen Titans Go!, we’re going to make it very clear that those are DC Elseworlds just the same way you can do it in the comics

David Zaslav said he'd reboot the DC universe and create a continuity-based Kevin Feige-style, phase one Marvel Universe version of their DC Comics franchise. And they did it in less than a year. DC Studios CEOs James Gunn and Peter Safran revealed their upcoming slate for DC and it includes a brand new Batman as well as the previously announced Superman film. PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove The slate was revealed in a lengthy expose by Borys Kit at The Hollywood Reporter (THR) , alongside a video released by Gunn. In the video, Gunn claims his vision for DC moving forward is to make sure it’s all connected. He explained, “It’s one of our jobs, mine and Peter’s, to come in and make sure the DCU is connected in film, television, gaming, and animation. That the characters are consistent, played by the same actors and it works within one story.” Gunn continued, “And if something is outside of that like Matt Reeves’ Batman, or Todd Phillips’ Joker, or Teen Titans GO! that it is clearly labeled as DC Elseworlds, outside of the mainstream DCU continuity.” Gunn then went on to explain how DC’s upcoming film releases specifically with Shazam! Fury of the Gods and The Flash tie into his vision. He detailed, “First, we have Shazam! Fury of the Gods. Shazam has always been off kind of in his own part of the DCU so he connects very well. That moves directly into The Flash, a fantastic movie that I really love, that resets the entire DCU universe.” “And then to move into Blue Beetle, a fantastic film about a kid who is a marvelous part of the DCU and then into Aquaman 2, which leads directly into our next few projects,” he stated. Whether or not these characters and actors continue on in Gunn’s DCU vision is still unclear. He told THR, “There is nothing that prohibits that from happening.” Shazam (Zachary Levi) throws a truck at a dragon in Shazam! Fury of the Gods (2023), Warner Bros. Pictures Next, Gunn revealed the first chapter of his DCU vision is called Gods and Monsters and began to reveal the slate which he says is “part of the first chapter, it’s not the entire first chapter.” Interestingly, in the expose from The Hollywood Reporter Gunn and Safran also expanded on their vision for DC with Gunn explaining, “One of our strategies is to take our diamond characters, which is Batman, Superman, Wonder Woman, and we use them to prop up other characters that people don’t know.” Safran added, “To build those lesser known properties into the diamond properties of tomorrow.” James Gunn via DC YouTube Creature Commandos However, the timeline of the slate seems to indicate this is not really the strategy at all as it begins with a rather obscure animated series called Creature Commandos. This animated series will be seven episodes in length and is being written by Gunn and is reportedly already in production. Kit describes the show, “Originally a team of classic monsters assembled to fight Nazis, this is a modern take on the concept.” Gunn didn’t really provide any details on the series in the video, but he noted, “Something that we’re going to do that is a little bit different at DC is that we’re going to have characters move into animation, out of animation, usually having the same actor play their voice as who plays them in live action.” Creature Commandos via DC YouTube The Creature Commandos first appeared in Weird War Tales #93 back in 1980. The team consisted of Lt. Matthrew Shrieve, Elliot “Lucky” Taylor as Patchwork, Vincent Velcro, and Warren Griffith aka Wolfpack, and Myrra Rhodes aka Medusa. Weird War Tales #93 (1980), DC Comics The new team as pictured above includes Rick Flag Sr., Nina Mazursky, Doctor Phosphorus, Frankenstein a.k.a. Eric Frankenstein, The Bride of Frankenstein, who DC describes as the show’s lead, G.I. Robot, and Weasel. Waller Next, up on the slate is a series called Waller. Gunn explains, “This is a story of Amanda Waller played by Viola Davis. Viola Davis is going to team up with members of team Peacemaker.” “This is a story that’s been created by Christal Henry, who did Watchmen, and Jeremy Carver, who created the Doom Patrol TV series,” he added. Safran revealed the series takes place between the first and second seasons of Peacemaker. Waller via DC YouTube Superman: Legacy Gunn then moved on to what he is calling “the true beginning of the DCU. This is called Superman: Legacy.” He added, “I’m in the middle of it. I’m having a great time doing it. And Superman will be released into theaters July 11, 2025.”

A wild rumor claims that The Mandalorian creator and Executive Producer Jon Favreau threatened to quit Lucasfilm and Star Wars after allegedly incessant meddling from Lucasfilm head Kathleen Kenendy and did quit The Book Of Boba Fett! PLAYLIST 112 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove Overlord DVD claims that Kennedy interfered by orchestrating the firing of Gina Carano, cancelling the previously announced Rangers of the New Republic series that would have starred Carano, mandating the space Vespas be included in The Book of Boba Fett, and changing scripts in The Book of Boba Fett to ensure that Grogu reunited with Din Djarin despite Djarin handing Grogu off to Luke Skywalker at the end of The Mandalorian Season 2. Specifically on Kennedy’s interference on The Book of Boba Fett, Overlord DVD noted, “Kennedy’s alleged next move against Favreau was corrupting The Book of Boba Fett. She couldn’t directly interfere with his production, but Kennedy is clever, devilishly clever. When she saw that Robert Rodriguez wanted to introduce the idiotic Vespas into Book of Boba Fett and Favreau hated the idea, Kennedy approached the marketing department and got them to say, “Oh yes, we can sell those. Let’s make it happen.'” “As a result, Favreau was so disgusted he said, ‘F*** it. Let them do whatever the hell they want. I’m going to go off and work on Ahsoka in peace,” Overlord DVD added. HOLLYWOOD, CALIFORNIA – NOVEMBER 13: (L-R) Executive Producer Kathleen Kennedy and Executive Producer Jon Favreau arrive at the premiere of Lucasfilm’s first-ever, live-action series, “The Mandalorian,” at the El Capitan Theatre in Hollywood, Calif. on November 13, 2019. “The Mandalorian” streams exclusively on Disney+. (Photo by Jesse Grant/Getty Images for Disney) Favreau allegedly walking away from the show resulted in a disastrous story and product so much so that “upper management allegedly had to be Favreau to come back and fix it, but it was too late to do much except insert some Mandalorian episodes, to cut a few Book of Boba Fett scripts, and hold his nose.” Jon Favreau on the set of Lucasfilm’s THE BOOK OF BOBA FETT, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved. RELATED: The Mandalorian Rumor Claims Grogu Will Use IG-11 As A Mech Suit Next, Overlord DVD detailed the reunification of Din Djarin and Grogu in The Book of Boba Fett. He explained, “Clearly, Favreau planned to have Grogu go train with Luke and become a Jedi. It was a heartbreaking and final episode of Mandalorian Season 2 and it proved that Favreau had a master plan for all his series and it was a damn good plan.” “But then Kennedy or someone in her camp or maybe just an idiot in upper management said, ‘Oh no! Baby Yoda is the only Star Wars toy that’s selling right now. We can’t lose Baby Yoda. We need to put Baby Yoda back with Din Djarin.’ This was the height of stupidity. A spectacularly awful decision that truly f***ed up everything Jon Favreau was planning,” Overlord DVD asserted. Luke Skywalker demands Grogu choose between Din Djarin and the Jedi in The Book of Boba Fett, Disney+ After detailing the pointless nature of having Grogu reunited with Din Djarin in The Book of Boba Fett after being taken by Luke Skywalker in The Mandalorian Season 2 finale, Overlord DVD asserts, “This it seems was the last straw for Jon Favreau. He had f***ing had it according to reports.” Overlord DVD then noted Favreau went directly to Chapek with his problem. An anonymous source informed the YouTuber, “Well to be honest, at this point, Jon Favreau was beyond frustrated and was ready to quit. He was sick of being told he had freedom to do what he wanted just to get it ripped out from underneath him.” He continued, “So Favreau walked into Bob Chapek’s office the next Monday and told Chapek, ‘I’m done. I don’t care about my contract. You can give it to Kathy and let her hang it on her wall and watch a billion dollar franchise burn.'” According to this source, Chapek asked what he could do to make Favreau stay. Favreau responded to this inquiry saying, “I get to make Mando Season 3 the way I want, no outside influences especially Kathy.” (L-R): Boba Fett (Temuera Morrison) and the Mandalorian (Pedro Pascal) in Lucasfilm’s THE BOOK OF BOBA FETT, exclusively on Disney+. © 2022 Lucasfilm Ltd. & ™. All Rights Reserved. RELATED: Jon Favreau Touts Kathleen Kennedy, Praises Her Work On The Mandalorian Who knows how accurate this rumor actually is. However, back in 2021 as part of the second episode of Disney Gallery: The Mandalorian titled “Making of Season 2 Finale,” Favreau gushed praises for Kathleen Kennedy.

Velma established in Season 1, Episode 6, THE FLINTSTONES, already slightly modified visually exist in Mindy Kaling's universe's version of Scooby Doo. This means The Flintstones could be the next "dark-comedy" updated Hanna-Barbera property, or even one of several adaptions in the Velma style. PLAYLIST 112 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove Velma, like previous entries in the Scooby-Doo franchise, will make the occasional reference to other WB-owned shows. While it has yet to go full crossover in the same vein as Scooby-Doo Meets Batman, it has referenced properties like Superman, and The CW's Riverdale. In the latest episode, Season 1, Episode 6, "The Sins of the Fathers and Some of the Mothers," Velma also references a fellow Hanna-Barbera creation: The Flintstones. This episode of Velma features a montage that has a couple of other references, both to old Scooby-Doo ghosts, and another Hanna-Barera cartoon Captain Caveman and the Teen Angels. As part of the montage, Daphne and her birth parents pose with a cardboard cutout of the Fred, Wilma, and Pebbles Flintstone. The Flintstone family also has a slightly updated design to fit the animation style of Velma. This reference is far from the first time that the Scooby-Doo characters have interacted with their fellow Hanna-Barbera creations. RELATED: Velma's Popularity Spikes By 127% Despite Overwhelmingly Negative Reviews The Scooby Gang Have Met The Flintstones Before Scooby Doo and the gang drive the Flintstones car This isn't the first time that characters from Scooby-Doo interacted with the wider Hanna-Barbera universe. Way before the MCU was a thing, Hanna-Barbera would consistently feature cross-overs with their other cartoons. Some notable crossovers include JabberJaw the Shark, Speed Buggy, and the Blue Falcon. They have even met the real Captain Caveman, who appears in Velma as in the form of mascot costumes and cardboard cutouts. Back in 2014, Mystery Inc. met the Flintstones themselves when they got sent back in time in Scooby-Doo! Team Up #7 (by Sholly Fisch and Scott Jeralds). The issue involved the gang helping Bedrock solve the mystery of the Phantom of the Operrock, meaning the gang even got to experience some classic/terrible Flintstones rock puns. While it is unlikely that Velma will feature the Flintstones in the same way, they may still crop up in some form in future episodes. RELATED: Velma Introduced Its Own Version Of Wonder Woman's Lasso Of Truth Velma Will Likely Poke Fun At Other Hanna-Barbera Cartoons Mindy Kaling plays the role of Velma Dinkley in HBO Max's Velma series. Velma seems less interested in crossing over with other famous cartoons of the same era, preferring to use its Family Guy-style of reference humor to simply mention them or remind viewers they existed. If anything, seeing cardboard cutouts of the Flintstones all but confirms that they are nothing more than fictional characters in the world of Velma, as it seems unlikely that an amusement park would just happen to know exactly what a family of stone-age people looked like. Viewers who were hoping to see new incarnations of Fred or Wilma show up may have to settle for seeing Velma's version of the show on a TV screen. That being said, viewers can likely expect the show's more explicit references to be more contemporary, with properties like The Flintstones relegated to visual Easter eggs. From its first six episodes, Velma seems more interested in capturing a younger audience than reveling in nostalgia for old Hanna-Barbera cartoons. While the show will likely reference or poke fun at other shows like Yogi Bear or The Jetsons, it probably won't be anything near the extent of the crossover episodes from former Scooby-Doo shows. The Flintstones in particular seems to be struggling to retain the same level of cultural relevance as Scooby-Doo, making it unlikely that the show will make many jokes dependent on its audience being familiar with the old show. However, this quick reference to the old cartoon will likely have eagle-eyed Hanna-Barbera fans on the lookout for any upcoming Easter eggs featuring old favorites.

The initial exuberance and relief following Bob Iger’s return as Disney CEO has been replaced by anxiety as speculation about a pending corporate restructuring is intensifying — and with it, rumors about the layoffs that are likely to follow. Nelson Peltz already inadvertently forced out Bob Chapek and Bob Iger is next on the chopping block! PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com NELSON PELTZ PROXY FILING Form PRRN14A Walt Disney Co Filed by: TRIAN FUND MANAGEMENT, L.P. https://www.streetinsider.com/SEC+Filings/Form+PRRN14A+Walt+Disney+Co+Filed+by%3A+TRIAN+FUND+MANAGEMENT%2C+L.P./21124574.html Rumblings of a new org-chart unveiling are growing louder amid mounting pressure on the company (including from activist investor Nelson Peltz) to stage a rebound with Iger back at the controls. Details on the restructuring moves, which could potentially include some sort of consolidation within the company’s marketing operations as well as at Disney Television Studios, are likely to emerge soon and could coincide with the company’s next quarterly earnings report February 8, sources tell Deadline. And then there is the future of the Disney Media and Entertainment Distribution executive ranks. Iger didn’t waste time issuing one high-profile pink slip after replacing Bob Chapek last November; not even a full day after his restoration to the corner office, DMED chairman Kareem Daniel left the company. Iger had made no secret of his dislike of DMED, which was created by Chapek as a way of centralizing distribution decisions under Daniel, a Chapek loyalist. The division mainly succeeded in fomenting resentment and mistrust, taking decision-making power away from the company’s creative leaders and straining creative relationships. Disney did not respond to a request for comment from Deadline. RELATED STORY Bob Iger’s Christmas Carol & The Ghosts Of Past, Present & Future While DMED is going to be dismantled, there are questions about how the unwinding will happen and about the fate of the remaining executives. Atop the list are Debra OConnell, president of Networks for Disney Media & Entertainment Distribution, and her top lieutenant, head of business operations Chuck Saftler, both of whom highly respected within the company and beyond. The longest-tenured FX employee having joined the network in December 1993, Saftler was an integral part of FX Networks chairman John Landgraf’s team before he was promoted to the DMED post. Saftler has been closely involved with the networks in his current role – he is credited with the recent ratings resurgence at FXX through the programming of off-network comedies and movie acquisitions. There are different takes on what would happen to him, but it is conceivable he could remain part of the close-knit group of FX executives who have been together for decades. Another area drawing a lot of speculation is Disney Television Studios, which consists of 20th Television, ABC Signature, 20th Animation and Walt Disney Television Alternative. (Additionally, there are two other separate TV production arms, FXP and Searchlight Television.) The situation is reviving questions raised at the time of Disney’s $71.3 billion acquisition of Fox assets as to whether Disney would keep then-ABC Studios and 20th Century Fox Television separate. Ultimately, they did remain stand-alone studios with their own infrastructures, though Fox 21 Studios was folded into 20th TV, which is now run by Karey Burke. Meanwhile, 20th Television Animation was made a separate division led by Marci Proietto, and ABC Studios was rebranded as ABC Signature with Jonnie Davis at the helm. The consolidation chatter is even stronger this time around, with various scenarios circulated about what divisions could be merged. Everything seems to be on the table. A successful potential consolidation of 20th TV and ABC Signature will depend on melding their two very different cultures. “Can two fried eggs become an omelet?” a well-positioned observer asked. Dana Walden, who has risen to the role of chairman of Disney General Entertainment Content, does know plenty about bridging divides as the highest-ranking former Fox exec now in Burbank. Walden just recently consolidated another area of the division she took over last summer, bringing back together publicity and communications years after they had been split. One position was eliminated as a result, with more cuts likely.

Almost every major media company is owed money from FTX-- except DISNEY! Comcast, Netflix, Fox even Warner Brothers Discovery but not a dollar owed to Bob Iger's Disney! This doesn't mean Disney doesn't have a customer account with FTX that could still be hidden, but it makes it more and more unlikely. Download and search every FTX creditor here: (customer names are not yet public, many companies who did work for and with FTX are here though) https://www.docdroid.net/9hVtHdm/746caf04-a236-4598-a1bc-825f889bf35d-1-pdf#page=8 PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com The bankruptcy of crypto firm FTX could lead a bevy of companies with ties to Hollywood out in the cold. Unsealed court filings released Thursday list the corporate creditors of the Sam Bankman-Fried founded crypto firm, and they include many blue chip companies in the technology and media sectors. Among the creditors are Comcast, the owner of NBCUniversal, Netflix, Fox Corp., Apple, CAA, and subsidiaries of Warner Bros. Discovery and Endeavor, among other firms. Related Stories Peacock BUSINESS Peacock Tops 20M Subs, Quarterly Loss Widens to $978M, Management Sees $3B Peak Loss in 2023 Lee Jung-jae middle in 'Squid Game TV Netflix Denies Serious Injury as 'Squid Game' Reality Series Players Compete in Sub-Zero Temperatures The companies’ presence in the filing implies that FTX owes all of them money, though precisely how much, and what for, remains unclear based on the filing. Some of the companies are clearly owed cash for advertising or sponsorship deals, with WBD’s Turner Ad Sales among the creditors (FTX had advertised on Turner Sports programming). Likewise, FTX ads had appeared on live sports broadcast by Fox and NBCUniversal (which televised last year’s Super Bowl). Both companies and some subsidiaries are listed as creditors. But it also includes companies that FTX may have simply been customers of. Amazon Web Services is a creditor, and could plausibly have powered some of FTX’s tech. Likewise, news outlets like The New York Times, Puck and The Information are listed as creditors (as is THR sister publication Billboard). While it is possible FTX had ad deals with them, it may also simply have been a subscriber (likewise Netflix). A source close to Puck told THR that the company has not done any business with FTX. Talent agencies like CAA Sports, Endeavor, IMG and Wasserman are also listed as creditors. A separate filing indicates that CAA represented Shohei Ohtani and other athletes or sports brands in securing sponsorship deals with FTX, implying that the agencies are still owed money from those sponsorship deals. As for the tech giants like Google, Facebook, Amazon, Snap, Twitter, Apple and TikTok, it’s likely that the money owed is for some combination of advertising and services. The list of FTX creditors is entirely separate from the list of shareholders released by the court earlier this month, though there is some overlap between the two. Shark Tank host Kevin O’Leary is on both lists, as is Gisele Bundchen. Both were spokespeople for the firm. And Endeavor’s IMG is on both lists, having invested in the company in 2021 and presumably having represented some clients in sponsorship deals. But the companies and people on both lists are facing an uphill battle if they are hoping to get back whatever money they are owed. FTX’s current leadership (installed in conjunction with the bankruptcy filing) say their priority is securing funds to pay back depositors, customers who had deposited cash or crypto at FTX. After that, whatever money is left over could be divided up among FTX’s creditors, with secured creditors paid back first. Comcast, Apple, and Twitter are specifically referenced as unsecured creditors. Shareholders are typically the last to be paid back in a bankruptcy, if they get made whole at all.

As reported by Variety, the DC live-action superhero series Titans and Doom Patrol have been canceled by HBO Max. Reportedly, both shows knew their respective fourth seasons would be their last and planned for definitive conclusions. PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove According to a new report, the fourth seasons of DC's Titans and Doom Patrol on HBO Max will be their last. Both series made the jump from the short-lived DC Universe streamer to HBO Max for their third seasons. But due to the Warner Bros. Discovery merger and the ongoing purge of HBO Max content, the fate of DC's Titans and Doom Patrol has been in question for months. Two DC Superhero Series Axed by HBO Max As reported by Variety, the DC live-action superhero series Titans and Doom Patrol have been canceled by HBO Max. Reportedly, both shows knew their respective fourth seasons would be their last and planned for definitive conclusions. The final seasons for both series consist of 12 episodes which have split into two six-episode halves. In the following statement, Titans showrunner, Greg Walker, assured fans that the series has "six episodes left" which will "give our beloved characters the creative closure:" “I’m immensely proud of our gifted cast, crew, and writing staff and their efforts in bringing to life all forty nine episodes over the last five plus years. I couldn’t have asked for better partners in Berlanti Productions, Warner Bros. Television, and HBO Max, and from the beginning, Geoff Johns and Akiva Goldsman. I’m incredibly grateful for their unyielding trust throughout this process. Lastly, I have to thank our incredible fans for their continued support, engagement, and the passionate community they’ve built around our show. We have six episodes left to unleash upon the world that we hope will give our beloved characters the creative closure we all know they deserve.” According to Titans director Nick Copus, Part 2 of Season 4 should be released sometime "in April." Doom Patrol showrunner, Jeremy Carver, also thanked the series' "brilliant cast, indomitable crew, fearless writing staff," as well as its fans for "a once-in-a-lifetime ride:" “To our wonderfully supportive partners at HBO Max, Warner Bros. Television, Berlanti Productions, and DC Studios, thank you for indulging us these past four seasons. Also, what were you smoking? To our brilliant cast, indomitable crew, fearless writing staff and, most of all, to our beautiful fans: thank you all the more. You made this a once-in-a-lifetime ride.” In addition to HBO Max continuing to axe content, this latest batch of cancellations comes amidst James Gunn and Peter Safran assuming the role of co-heads of DC Studios and working to reboot the DCU. However, according to The Hollywood Reporter, sources claim that "the decision to end both shows was made before their arrival." Greg Berlanti's Dwindling DC Catalogue For DC fans, the past several months have been one cancellation after another, particularly in terms of shows helmed by director and producer Greg Berlanti. In addition to Titans and Doom Control, Berlanti's long-running series The Flash is also in its final season. Once those three series come to an end, and apart from him retooling Green Lantern for the streamer, Superman & Lois and Gotham Knights will be his only superhero shows still standing. Just how long those series survive remains to be seen, but it's worth noting that not all of HBO Max's DC content is under fire. The adult animated series Harley Quinn, which transitioned from DC Universe to HBO Max alongside Titans and Doom Patrol, was recently renewed for a fourth season. Until James Gunn and Peter Safran unveil their plan for an interconnected DCU, the future of existing DC content is still up for debate. But at least for fans of Doom Patrol and Titans, both shows haven't been cut too prematurely as their showrunners were able to end on their own terms.

While guesting on The Movie Business Podcast, Marvel Studios Kevin Feige talked about how the Hollywood giant navigates creating the MCU's various Phases and how he feels regarding superhero fatigue. PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com SECRETS OF MARVEL STUDIOS with KEVIN FEIGE https://open.spotify.com/episode/00lZz5ZfpJNQ3abwjP0WCz Marvel Boss Kevin Feige Responds to 'Superhero Fatigue' Concerns https://thedirect.com/article/kevin-feige-superhero-fatigue-marvel While speaking on a podcast, Marvel Studios President Kevin Feige addressed the idea of superhero fatigue amongst moviegoers. To say superhero media is popular would be an understatement. For those looking to get their fill of heroes, there's plenty of opportunity to do so. After all, 2022 alone saw over a dozen live-action superhero stories hit both big screens and televisions worldwide, and it doesn't seem to be slowing down anytime soon. Marvel Studios has dozens of announced and rumored projects in development, and an end is nowhere in sight. Then there's James Gunn and Peter Safran's upcoming DCU slate, which will undoubtedly spawn countless projects under its own banner. This has led many to believe superhero fatigue will only worsen. In fact, a recent study conducted by Fandom revealed that over one-third of Marvel fans are getting fatigued with the MCU. But what does the head of Marvel Studios have to say about it all? Marvel and Superhero Fatigue Kevin Feige, Eternals, Spider-Man Marvel While guesting on The Movie Business Podcast, Marvel Studios Kevin Feige talked about how the Hollywood giant navigates creating the MCU's various Phases and how he feels regarding superhero fatigue. When asked how Marvel Studios decides on what their Phases will be, Feige was quick to point to "the 80-plus years of Marvel comic history as [their] guide:" "Each of our sagas are broken into phases and we now find ourselves on the precipice of Phase 2 of the Multiverse Saga. And there are two ways to do it. One, we look at an overarching narrative, always using the comics and the 80-plus years of Marvel comic history as our guide of what general, long-term story we want to do. But really, it comes down to each individual film or series, and what type of genre we want to do." As for the question of superhero fatigue, it's something that "people were asking... [since his] 2nd year at Marvel:" "I've been at Marvel Studios for 22 years now, over 22 years, and most of us here at Marvel Studios have been around a decade or longer together. And from probably my 2nd year at Marvel people were asking, 'Well, how long is this going to last? Is this fad of comic book movies going to end? And I didn't really understand the question. Because to me it was akin to saying after 'Gone With The Wind', 'Well how many more movies can be made off of novels? Do you think the audience will sour on movies being adapted from books?'" Feige continued his comparison to adapting books, emphasizing that there are "80 years of the most interesting, emotional, groundbreaking stories that have been told in the Marvel comics" for their company to explore and bring to life: "Well you would never ask that because there is an inherent understanding among most people that a book can be anything. A novel can have any type of story whatsoever, so it all depends on what story you're translating. None comic readers don't understand it's the same thing in comics. There're 80 years of the most interesting, emotional, groundbreaking stories that have been told in the Marvel comics and it is our great privilege to be able to take what we and adapt them." He went on to point out that "adapting [these stories] into different genres" is also a key way to keep the content fresh, and avoid fatigue: "But another way to do that is adapting them into different genres and what types of movies we want to make. And I, from sitting at USC, probably Semester 2 before your screenwriting class, Jason, and sitting in Cinema 101 and being exposed to so many different types of film that I said, 'I want to make all of these. I don't want to just make one kind of movie, I want to make all kinds of movies.' And I found that if we tell the story right, and we adapt them in a way that the audience still, knock on wood so far, is falling us along 22-plus years later with, that we can tell any types of movies that share two things. The Marvel Studios logo above the title and a seed of an idea from our publishing history."

Struggling to attract visitors to its pricey $5,000-per-package Starcruiser hotel, Disney began last week offering rare discounts of up to $700 off the two-day stay if customers book accommodations at other participating hotels in a promotional deal that lasts all the way through the end of September. PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove ADAM POST email: adampostmediagroup@gmail.com Walt Disney’s Star Wars-themed Orlando hotel dubbed the Galactic Starcruiser is turning into the latest potential headache for Bob Iger. The Mouse House CEO received a fresh two-year mandate to return to Disney and work his magic after the board unceremoniously fired successor Bob Chapek in late November in response to growing losses at its streaming business. The veteran CEO promptly got to work unraveling one of the core strategic decisions taken by Chapek and sacked his top lieutenant, Kareem Daniel. But now Iger faces problems at one of Disney’s flagship attractions, barely a year after it opened. Struggling to attract visitors to its pricey $5,000-per-package Starcruiser hotel, Disney began last week offering rare discounts of up to $700 off the two-day stay if customers book accommodations at other participating hotels in a promotional deal that lasts all the way through the end of September. While it’s not unusual for hotels—even those run by Disney—to offer discounts of anywhere between 10%-25%, the Star Wars-themed faux space travel package is a deal executives have said would justify its premium price through the immersive experience. Moreover, the Galactic Starcruiser is a brand new offering from Disney, so it’s rare that it would already be subject to its first promotional discount. Originally offered exclusively to Disney Vacation Club members, this 30% special offer has now been expanded to the general public in another sign that it’s not living up to expectations. “Guests have been clamoring for these changes,” wrote Rick Munarriz, a Florida-based stock analyst focusing on Disney for Motley Fool, on Thursday, “but it’s also a way to woo potentially disgruntled fans back at a time of weaker demand.” Disney did not respond to an inquiry by Fortune for comment. Galactic Starcruiser’s journey so far Opening its doors in Orlando last March, the timing of the Galactic Starcruiser’s arrival at Walt Disney World couldn’t have been much better. Flush with stimulus checks, brimming with optimism after a post-pandemic economic boom and desperate to finally enjoy an actual vacation for once, guests descended by the masses on Disney’s theme parks. In its fiscal year 2022 that ended October 1st, annual operating income for the entertainment giant’s tourism segment catapulted to $7.9 billion from just $471 million in the previous period. By comparison its media activities, the other far larger arm that generates about twice as much revenue, saw a 42% drop in profit due mainly to its heavy investments in streaming to better compete with Netflix. Perhaps that outsized earnings gain at its parks business led executives at Disney to believe they had a sure-fire hit on their hands with the Galactic Starcruiser hotel. It is billed as a two-night immersive experience where guests become the hero of their own Star Wars adventure aboard the Halcyon. The stay features its own storylines, lightsaber training, gourmet eating at the fictional ship’s Crown of Corellia dining area, and a spaceport day on the fictional planet of Batuu at Disney’s popular Galaxy’s Edge attraction. Unfortunately, the price of a cabin on the Starcruiser was also out of this world: a packaged deal for two adults and one child started at a combined fee of $5,299 for two nights. Despite the expensive cost, the then-CEO of Disney believed it to be a compelling deal. Characterizing interest in the experience as “phenomenal” two months after it opened its doors, Bob Chapek said the first customer ratings were “incredibly high” during an investor update. “Demand is strong and we expect 100% utilization through the end of Q3,” he said last May. By that point, however, the Federal Reserve found itself in full blown inflation-fighting mode and financial markets were starting to take it in the knee as a result of repeated interest rate hikes. Brokerage accounts once stuffed full of Tesla shares and Bitcoin cryptocurrency now shriveled in value, leaving people feeling poorer. The good news for investors subsequently appears to have dried up there. Never again did Chapek plug the Star Wars-themed hotel or provide data on demand during a quarterly earnings call. Any search in Disney’s 112-page long annual 10-K filing with the SEC dated late November comes up blank.

Following the arrival of episodes 3 and 4, the scores on Rotten Tomatoes are only continuing to fall. The Tomatometer now lists Velma at 52% rotten on the Tomatometer while the audience score has plummeted to a very low 6% score. PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove Velma's Rotten Tomatoes Scores Continue to Fall Following New Episodes Reimagining the mystery-solvers from Scooby-Doo for the adult animated series Velma has been a risk that doesn't seem to be working out all too well for HBO Max. Featuring executive producer Mindy Kaling voicing Velma in a new origin story for the character, the series debuted on HBO Max earlier this month to a mostly negative reception. Its critical scores were fairly mixed, premiering with a 55% rotten score on the Tomatometer at Rotten Tomatoes, while the audience score was much lower, opening at 11% rotten. While the show has garnered high viewership, these scores are obviously not what the power that be at HBO Max had been hoping for. But some reviewers had stated in their reviews that they saw potential in Velma despite a rocky start, optimistic that the series will improve as the episodes continue. Following the arrival of episodes 3 and 4, however, the scores are only continuing to fall. The Tomatometer now lists Velma at 52% rotten on the Tomatometer while the audience score has plummeted to a very low 6% score. PLAYLIST 108 VIDEOS: WARNER BROTHERS DISCOVERY & DAVID ZASLAV https://www.youtube.com/playlist?list=PLUPkiRW84R1gxDL-u2P1Ac4bE5bONlHix SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove The negative reviews can't necessarily be attributed to any one reason why Velma largely isn't working with viewers, as there are many different complaints people have cited. Even before the show's arrival, the concept alone had garnered criticism when it was revealed that there were no plans to include Scooby-Doo. A Scooby-Doo reboot series without the dog was a hard pill for many fans to swallow, putting Velma on an uphill battle to be well-received by many ahead of its HBO Max debut. Meanwhile, major changes made to the Mystery Inc. characters along with the show's sense of humor have also come under some fire. RELATED: Early Velma Concept Art Reveals Alternative Scooby Gang Design Velma Is Not a Critical Hit Velma Drop the MicHBO Max Velma isn't beloved, but it wasn't a total dud for HBO Max. The show debuted as the most-watched original animated series on HBO Max, so even if there were a lot of negative reviews, it didn't stop a lot of people from tuning in. It remains to be seen if HBO Max will indeed commit to a second season based on the viewership numbers alone, or if the harsh reviews would have them limiting Velma to a single season. Velma is developed by Charlie Grandy and inspired by the original characters from Hanna-Barbera Productions. It follows a teenage Velma investigating a dark mystery as she gets caught up in a "love quadrangle" between Fred (Glenn Howerton), Norville (Sam Richardson), and Daphne (Constance Wu). The first four episodes of Velma are streaming on HBO Max, with the next pair of episodes set to arrive on Jan. 26.