ADAMPOST

Streaming subscriber growth is nice, but not if it comes with big streaming losses and a fast-declining traditional TV networks business. That was the message that Wall Street sent Hollywood giants, yet again, in analyst reactions to the latest quarterly results reported by the Walt Disney Co. late on Tuesday. Financial observers cut their earnings estimates and stock price targets, while also mentioning positive streaming subscriber trends. PLAYLIST 74 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 Streaming subscriber growth is nice, but not if it comes with big streaming losses and a fast-declining traditional TV networks business. That was the message that Wall Street sent Hollywood giants, yet again, in analyst reactions to the latest quarterly results reported by the Walt Disney Co. late on Tuesday. Financial observers cut their earnings estimates and stock price targets, while also mentioning positive streaming subscriber trends. After all, Disney+ added 12.1 million subscribers at streamer Disney+ in the fiscal fourth quarter ended Oct. 1, which included the launch of such originals as She-Hulk: Attorney at Law and Andor, bringing the streamer’s total user base to 164 million. Wrapping up earnings season for industry majors, Disney also reached 236 million overall streaming subscribers. But Disney’s direct-to-consumer (DTC), or streaming, unit recorded a quarterly operating loss of $1.47 billion, more than double the $630 million reported in the comparable period of 2021. Related Stories Manolo Caro BUSINESS 'House of Flowers' Creator Manolo Caro Signs With UTA (Exclusive) Kerry Condon MOVIE NEWS 'Banshees of Inisherin' Actress Kerry Condon to Be Honored at Oscar Wilde Awards (Exclusive) Disney’s stock fell sharply in early Wednesday trading. As of 9:40 a.m. ET, it was down 10.7 percent at $89.22 after earlier hitting a new 52-week low of $88.40. Guggenheim analyst Michael Morris maintained his “buy” rating on Disney, but slashed his stock price target by $30 to $115 in a report entitled “These Are Not the Results You’re Looking For.” “One quarter removed from strong profit growth and an upbeat outlook, Disney’s fiscal fourth-quarter revenue of $20.2 billion and segment operating income of $1.6 billion were below Street expectations of $21.2 billion and $2.3 billion,” Morris wrote. “Global SVOD subscribers showed healthy growth as we expected, while DTC revenue and operating losses weakened on foreign-exchange headwinds and a mix-shift to lower-average revenue per user (ARPU) bundle and promotional uptake.” Added Morris: “Management’s 2023 outlook smacked down the bull case on total company revenue and profit growth in high-single-digit percentage versus pre-print consensus of 12.5 percent and 32.5 percent. Our lowered estimates primarily reflect greater DTC losses” and slower theme parks profit growth than previously forecast. Cowen analyst Doug Creutz also stuck to his “market perform” rating on Disney, but reduced his stock price target from $124 to $94 “given a roughly 35 percent cut” to his fiscal year 2023 earnings per share projection. “DTC margins may improve, but overall margins aren’t,” he warned in the subject of his report. Meanwhile, Bank of America’s Jessica Reif Ehrlich had a more encouraging headline for her report: “Better beneath the surface than it appears.” She reiterated her “buy” rating, but lowered her price objective by $12 to $115 to reflect her reduced earnings estimates “on management’s outlook, including headwinds in linear networks and sequentially improving DTC losses.” But the expert also highlighted “near-term catalysts,” including “continued robust theme park demand with several levers for future growth, price increases for Disney+/Hulu, the rollout of Disney+’s ad-supported tier on Dec. 8th, the release of Wakanda Forever later this week and Avatar 2 before Christmas, and sports betting optionality at ESPN.” Fiscal 2023 guidance was in focus for MoffettNathanson analyst Michael Nathanson. “The biggest controversy from last night’s Disney’s fiscal fourth-quarter 2022 earnings call was management guidance that fiscal year 2023 segment earnings before interest and taxes (EBIT) would grow in the high single digits versus consensus growth of 25 percent and our own estimate of 34 percent,” offered Nathanson. “Rarely have we ever been so incorrect in our forecasting of Disney profits. Given the company’s confidence that parks trends appear resilient, it appears that the culprit for the massive earnings downgrade is much higher than expected DTC losses and significant declines at linear networks.”

Amazon spends $1 billion on a TV series with a passionate fan following of a beloved classic series but can't resist destroying it with woke intersectional feminism. Now the rumor is the entire series will need to be rebooted or face massive audience rejection in a second season. SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove TOTAL PANIC: WOKE Lord Of The Rings Series Headed For TOTAL REBOOT! A new rumor claims that Prime Video will be completely rebooting The Lord of the Rings: The Rings of Power following the creatively bankrupt first season, which chose to throw out Tolkien and replace it with intersectional feminism. Cynthia Addai-Robinson as Queen Regent Míriel and Morfydd Clark as Galadriel in The Lord of the Rings: The Rings of Power This new rumor comes from YouTuber Gary Buechler of Nerdrotic who says, “We have heard the rumors from my man, Chris Gore, that the showrunners might end up being fall guys and we might have to wait ’til after award season to see if that actually happens.” He then adds, “I also heard that they’re going to go for a full on reboot with this series and try to pretend that the last two months didn’t happen. Roll out the publicity, maybe roll out some more influencers and try to get people to binge The Rings of Power. Good luck.” RELATED: Amazon Studios Boss Jennifer Salke Admits To Censoring ‘The Lord Of The Rings: The Rings Of Power’ Reviews Over “Points Of View That We Wouldn’t Support” Buechler went on to state, “And to add to that, what if I told you that The Rings of Power did not start this way. It was never meant to be a woke intersectional disaster. It didn’t have not-Gandalf. It didn’t have repurposed Hobbits. It didn’t have Halbrand as Sauron, and it didn’t have warrior Galadriel.” “What if I told this show was usurped by people like Lindsey Weber and Jennifer Salke. And what if I told you that the fan attacks came from the top. More on that in my next Rings of Power video,” he teased. Sue Kroll, Patrick McKay (Showrunner/Executive Producer), Head of Amazon Studios Jen Salke attend The Lord Of The Rings: The Rings Of Power Mexico City Red Carpet Premiere & Screening Bolstering the rumor he heard that Prime Video will reboot the series moving forward, he speculated the show will see massive viewer fall off in the second season. Buechler theorized, “It didn’t need to be this way. I think we’d all love to be rooting for a good Lord of the Rings show, but that is not what this is. This is an Amazon product and it has very little chance of succeeding with the same people after two years.” “I’m guessing you’re going to lose half of your audience in the first episode of season two and it’s just going to go down from there,” he speculated. “I’m guessing you’re gonna end up a lot like Westworld which just so happens to be another Bad Reboot product that just got cancelled except the big difference is Westworld had a good first season.” “You might have had a chance if you just had a normal bad show and didn’t attack the fans, but you did and now you’re going to suffer the consequences of the perfect failure because that’s what this is. The one thing Amazon did right was everything wrong,” he concluded. Charlie Vickers (Halbrand), Morfydd Clark (Galadriel) in Amazon’s The Lord of the Rings: The Rings of Power RELATED: Rumor: Amazon To Retool ‘The Lord Of The Rings: The Rings Of Power’, Sideline Current Showrunners After First Season Was “More Of A Failure Than They Could Have Been Anticipated” Buechler’s claim of rebooting the series moving forward echoes what Film Threat founder and industry insider Chris Gore said during an appearance on Midnight’s Edge in the Morning. Gore stated, “I heard from someone who has a connect at Amazon that – if you want to know – that effectively, they’re going to be retooling. And that [J.D. Payne and Patrick McKay] are more than likely…they’re not gonna be publicly fired, but their role will be reduced.” “Potentially just remaining in the writers room,” he added, “but my understanding is they’re looking for more experienced showrunners.” He then claimed, “They’re well aware of the problems — there’s sort of like publicly what they say and what they’re actually doing behind the scenes. And what they’re doing behind the scenes is they’re freaking out that this was more of a failure than could have been anticipated.” “I think, one, the quality of the show that is the number one thing,” he opined. “The fact that it’s like ‘Why am I still watching this? This is sleep inducing.’ The second thing is the total rejection from fans. I can’t believe that there — there has to be very few people that remain that still like it.”

The new co-head of the DCU, James Gunn, teases Lobo! While it is unknown whether or not Lobo is actually happening, James Gunn recently opened an account on the Mastodon social network as the woke left on Twitter have been moving there since Elon Musk is now in charge. PLAYLIST 74 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 Teases Lobo https://cosmicbook.news/james-gunn-teases-lobo Jason Momoa Teases Secret Dream DC Project https://cosmicbook.news/jason-momoa-teases-secret-dream-dc-project DC STUDIOS James Gunn Teases Lobo! Jason Momoa Teases Secret Dream DC Project Is Moving Forward! The new co-head of the DCU, James Gunn, happens to tease Lobo. While it is unknown whether or not Lobo is actually happening, James Gunn recently opened an account on the Mastodon social network as the woke left on Twitter have been moving there since Elon Musk is now in charge. The Mastodon social network is basically a carbon copy of Twitter but is described as a decentralized social network which means nobody owns it. Users can create their own independent nodes or instances, which are then connected to other users through Mastodon technology. “Glad to be here,” Gunn posted to his 1.23k followers. james gunn lobo mastodon James Gunn Teases Lobo Lobo movie in development? Lobo recently appeared on SyFy’s Krypton Season 2 in 2019, played by Emmett J Scanlan; however, the version wasn’t all that well received and the series was quickly canceled after a really good first season with Brainiac. Lobo movies have also been in development at one time or another but never got off the ground, with Michael Bay actually rumored to direct back in 2018. With James Gunn now in charge of the DC films universe, maybe there is a future for the Main Man. What is interesting is that Jason Momoa recently teased he is involved with a DC dream project, and many fans think he would play a good Lobo, and now Gunn posts the above image from the comics, so it would be pretty wild if Jason Momoa is now playing Lobo. Obviously, Jason Momoa plays Aquaman, but maybe things are changing with Gunn and Peter Safran in charge. Or what if Momoa plays both characters? Yes: James Gunn Pitched DC vs Marvel James Gunn invites fans into the new DC universe James Gunn also recently addressed the DC fans. “As the new (& first ever) CEOs of DC Studios, Peter & I think it’s important we acknowledge you, the fans, & let you know we hear your different desires for the pathways forward for DC,” tweeted Gunn. Gunn added, “Although our ability to interact on Twitter has been lessened due to the workload of our new positions, we are listening & open to everything as we embark on this journey, & will continue to do so for the next few years.” Gunn continued, “But all our initial focus is on the story going forward, hammering out the new DCU, & telling the Biggest Story Ever Told across multiple films, television shows, & animated projects.” “We invite all of the DC fandoms from across the multiverse — and everyone else as well — into this new universe. We can’t wait to reveal more,” said Gunn.

She Hulk: Attorney At Law is the latest mini-series released by the MCU. After the first season of the show concluded on October 13, the overall reaction from the audience was not good. The series also failed to get enough viewership to land on Nielsen's streaming charts, which is a first for a Marvel show. PLAYLIST 70 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 Why did She Hulk fail? 8 reasons that justify its failure https://www.sportskeeda.com/comics/why-she-hulk-fail-8-reasons-justify-failure Woke She-Hulk HUMILIATED: 8 Reasons Why She-Hulk Was A Failure She Hulk: Attorney At Law is the latest mini-series released by the MCU. After the first season of the show concluded on October 13, the overall reaction from the audience was not good. The series also failed to get enough viewership to land on Nielsen's streaming charts, which is a first for a Marvel show. She Hulk introduces a lot of new characters and gives Charlie Cox's Daredevil a more prominent role in the MCU. So, why did the show fail? Here, we explore some possible reasons for the same. Disclaimer: This article contains spoilers for the entirety of the show as well as the author's opinions. Read at your own discretion. Poor CGI, Daredevil's depiction, and 6 other reasons that led to She Hulk's failure1) The characters are extremely shallowvsJennifer Walters with Nikki Ramos & Pug (Image Jennifer Walters with Nikki Ramos & Pug (Image via Marvel) She Hulk is full of characters that enjoy a lot of screen time. However, far and few of them are relatable or even likable. Jennifer Walters is a dedicated lawyer, but the people she ends up interacting with are just plain shallow. The character of Titania, who is a villain on the show, seems like a stock character. Others such as Lulu (Patti Harrison), Jon Bass (Todd aka Hulk-King), and even Wong (Benedict Wong) have no arcs of their own. They seem to come and go as per the showmakers' convenience. This disengages the audience, as a result of which, they do not care about the characters, and by extension, about the show. 2) World-building is severely limitedShe-Hulk & Megan Thee Stallion (Image via Marvel) She-Hulk & Megan Thee Stallion (Image via Marvel) The MCU is known for its stunning legacy. Spanning the course of over 15 years, there are many titles that build upon the events of their predecessors. While She Hulk follows the same principle, it also feels extremely limited. For instance, when a group carrying Asgardian construction tools encounters her, it's a call back to the fact that Asgard is indeed part of the main lore. However, it doesn't serve to increase the scope of the story. 3) Jennifer does not go through any character developmentJennifer Walters (Image via Marvel) Jennifer Walters (Image via Marvel) Jennifer Walters gained her powers after she got into an accident alongside Bruce Banner. After some of Bruce's blood gets transfused with her through a wound, she turns into the titular She Hulk. This was followed by Bruce taking her to his secret lab and helping her embrace the reality of being a superpowered individual. However, Walters is constantly rude to The Hulk, and insults his legacy, which is filled with an incredible amount of struggle. She follows this pattern of behavior throughout the show, as a result of which, her character falls flat. Even during the finale, when it's time for her to face the reality of the situation, she breaks the fourth wall and demands the writers give her a happy ending. Without any real stakes, the story feels superficial. 4) Another case of bad Marvel CGIShe-Hulk in the mini-series (Image via Marvel) She-Hulk in the mini-series (Image via Marvel) The show is not entirely visually unimpressive. However, the appearance of the main character itself is quite sloppy. It is definitely a far cry from the glorious and surreal CGI depictions coming from the big MCU titles. MCU's CGI team is under a lot of pressure to deliver quantity over quality, which is referenced even in the show. This is an ongoing trend, as seen in Black Widow and Captain Marvel, and seems likely to continue. 5) Wasted potential of AbominationTim Roth as Emil Blonsky (Image via Marvel) Tim Roth as Emil Blonsky (Image via Marvel) Tim Roth returned to the MCU as Abomination in Shang-Chi & The Legend of the Ten Rings. While he appeared as a fierce villain in The Incredible Hulk (2006), he now seems to have shed everything that made his character likable in the first place.

The Black Adam box office is at the top of the box office for the third weekend in a row. The flick brought in $18.5 million for its third weekend, a drop of around 32% from weekend two. That gives Dwayne Johnson a domestic box office of $137.3 million. The international box office adds another $182.3 million. Black Adam has a current worldwide gross of $319.666 million. PLAYLIST 70 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 ‘Black Adam’ Box Office Wins Three Weekends In A Row The Black Adam box office is at the top of the box office for the third weekend in a row. The flick brought in $18.5 million for its third weekend, a drop of around 32% from weekend two. That gives Dwayne Johnson a domestic box office of $137.3 million. Worth a mention is that Black Adam is still ahead of Dwayne Johnson’s Fast & Furious: Hobbs and Shaw domestic box office in the same time frame. The international box office adds another $182.3 million. Black Adam has a current worldwide gross of $319.666 million. Reportedly, the film cost around $200 million to make so Black Adam needs to get to around $400 million to break even. As I reported earlier, Black Adam getting a China release is in doubt which Deadline now confirms. Deadline says: “There’s been a lingering question about China being in the potential mix, but much as the market loves The Rock, the film is very unlikely to release there.” Marvel’s Black Panther: Wakanda Forever gets released this weekend so expect that to take the top spot at the box office for this coming weekend. I actually don’t know why they didn’t release Black Adam the first week of October as the flick would have had the entire month to itself. Black Adam box office: Weekend: Oct. 21-23: $67,004,323 Oct. 28-30: $27,472,140 -59% Nov. 4-6: $18,520,299 -32.6% Domestic: $137,366,000 Foreign: $182,300,000 Worldwide: $319,666,000

“You focus on the big movies, the tentpoles that people are going to leave home, leave early from dinner to see,” said Zaslav emphasizing how big pics make two or three times more in the U.S. Then slamming direct-to-streaming movies, a plan executed under the former WarnerMedia regime, Zaslav said: “We learned what doesn’t work. And this is what doesn’t work for us based on everything that we’ve seen: direct-to-streaming movies. So spending a billion dollars or collapsing a motion picture window into a streaming service. The movies that we launch in theater do significantly better, and launching a 2-hour, 40-minute movie direct to streaming has done nothing for HBO Max in terms of viewership, retention or love of the service.” PLAYLIST 70 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 WARNER BROS CEO David Zaslav Wants FILM FRANCHISES Batman, Superman, Harry Potter And More! David Zaslav: (except from transcription) https://seekingalpha.com/article/4552979-warner-bros-discovery-inc-wbd-q3-2022-earnings-call-transcript A few quick examples. One is related to the product user experience. Previously, when a series concluded on HBO Max, there was no end card that would then recommend additional programs for the user to enjoy, an obvious way to drive greater consumer engagement. We've started rolling this out and are already seeing very promising engagement uplift. A second example around content, we've begun experimenting with bringing D+ content onto HBO Max. Starting with select Magnolia Network shows such as Fixer Upper: The Castle, which was a top five show after only its first few days on the service. These early green shoots bolster our strategic thesis that the two content offerings work well together and when combined, should drive greater engagement, lower churn and higher customer lifetime value. And lastly on churn, we've implemented a number of initiatives to improve customer retention and these have helped drive our voluntary churn rates to record lows in the last few weeks. We've still got a long way to go, but these early signs are certainly encouraging. As we said, we plan to roll out the new service here in the U.S., followed by Latin America in 2023, then in Europe and APAC thereafter. We see significant opportunity across the globe and we're excited to resume expanding our distribution in countries where we are currently not represented. As you would expect, we made the strategic decision to hold off on active expansion until our new offering is set to launch. Before I turn it over to Gunnar, I was recently asked if I thought the golden age of content was over and I said absolutely not. There's nothing more important than content. People are consuming more content than they ever have, but it has to be great content. It's no longer about how much, it's about how good. And ultimately, it is the consumer who tells us what is good. And the consumer is telling us right now with House of the Dragon, Euphoria, Batman, Harry Potter, Friends, Big Bang Theory. You take a look at the portfolio of tentpole assets across Warner Bros. Discovery. And the breadth is large and the opportunity is real. No one has a better or more recognizable hand of content, IP, brands, franchises and personalities than we do. That said, I believe the grand experiment, facing subs at any cost is over. Let's face it, the strategy to collapse all windows, starve linear and theatrical and spend money with abandon, while making a fraction in return on the service of growing sub numbers, has ultimately proven in our view, to be deeply flawed. We believe there was a real opportunity to do things differently, to deliver the content consumers want and will pay for, while getting the full value of our offering. As we said last quarter, our focus is on delivering $1 billion of EBITDA in streaming by 2025. And we expect to make significant progress toward this goal next year. Profitability, not purely sub count is our benchmark for success. While we've got lots more work to do, and some difficult decisions still ahead, we have total conviction in the opportunity before us. Warner Bros. Discovery, we've got the best assets in the industry, reach that extends from premium, basic pay-TV and free-to-air to theatrical streaming, consumer products and gaming, exceptionally talented people across this great company, and the right strategy and financial framework to set us up for long-term success.

Elon Musk revealed his strategy to remove bots and trolls from Twitter by taking away their influence. His strategy is brilliant, he'll prioritize verified users, search, mentions, comments, etc. so that the bots comments are reduced in influence. He mentions it's the same premise as google search result pushing bad results to page 8 and 9 of google search results. No one sees those later pages, all the action is on the first page of results. SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove Elon Musk Confirms FRAUD By Employees Paid $15,000 PERSONALLY To Verify Users With Checkmarks! https://www.youtube.com/watch?v=eR87_px0TOg&ab_channel=AdamPost Full New Elon Musk Interview. Ron Baron Conference Nov 2022. With Timestamps https://www.youtube.com/watch?v=P7wUNMyK3Gs&ab_channel=TeslaIntelligenceUK Elon Musk Confirms STRATEGY To ELIMIATE BOTS Influence Using Verified Blue Checkmark Accounts! Users and employees had raised concerns that Elon Musk’s plan to give check marks to those who paid a monthly fee could be misused to sow discord. Twitter’s logo, a blue bird, on the exterior of a building. Charging for the verification check mark program had been one of the changes made by Twitter’s new owner, Elon Musk.Credit...Jim Wilson/The New York Times Twitter is delaying the rollout of verification check marks to subscribers of its new $7.99 a month subscription service until after Tuesday’s midterm elections, according to an internal post viewed by The New York Times and two people with knowledge of the decision. The company made the call a day after announcing that it was rolling out the program for people to receive a verification check mark on their profile for the monthly fee. On Saturday, the company had said in notes accompanying a new update to the Twitter app that the paid verification system was now a feature of the website’s subscription service, Twitter Blue. “Power to the people,” the announcement said. “Your account will get a blue check mark, just like the celebrities, companies, and politicians you already follow.” But many Twitter users and employees raised concerns that the new pay-for-play badges could cause confusion ahead of Tuesday’s elections because users could easily create verified accounts — say, posing as President Biden or as lawmakers or news outlets and publishing false information about voting results — which could potentially sow discord. In an internal Slack channel on Saturday, one Twitter employee asked why the social network was “making such a risky change before elections, which has the potential of causing election interference.” A manager working on the verification badge project responded on Sunday that “we’ve made the decision to move the launch of this release to Nov. 9, after the election.” Twitter, whose communications team has been almost entirely laid off, did not immediately respond to a request for comment. Nov. 9 is the day immediately following Tuesday’s election, and many races may still be undecided as votes are tallied. Charging for the verification check mark program had been one of the changes made by Elon Musk, who took over Twitter late last month in a $44 billion buyout. The billionaire is under financial pressure from the deal, which he partly financed with $13 billion in debt. Twitter has long been unprofitable and, like other social media companies, it faces a weakening in digital advertising spending as the global economy tips toward a recession. On Friday, Mr. Musk laid off roughly half of Twitter’s employees, or about 3,700 jobs. He said at the time that he had no choice but to make the cuts because the company was losing $4 million a day. Mr. Musk and his advisers have also been discussing various ways to wring more money out of Twitter. In addition to the check mark program, they have talked about adding paid direct messages — which would let users send private messages to high-profile users — to the service, as well as “paywalled” videos, which would mean that certain videos could not be viewed unless users paid a fee. They have also discussed reviving Vine, a onetime short-form video platform.

Warner Brothers Discovery continues to cut costs and streamline their business. In their most recent earnings report, executives discuss massive cuts of 11% to 20% of SG&A, also known as selling, general and administrative expenses— the costs of doing business. They include rent and utilities, marketing and advertising, sales and accounting, management and administrative salaries. As many as 1,000 or more people are expected to be cut as soon as this week (week of 11/7/22) from their advertising sales department alone! PLAYLIST 70 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 Warner Bros. Discovery is swirling with talk of more layoffs and concerns about integrating streamers HBO Max and Discovery+ https://www.businessinsider.com/warner-bros-discovery-speculation-more-layoffs-integrating-streamer-hbo-max-2022-11 Can Licht Make the Cuts? https://puck.news/can-licht-make-the-cuts/ MASSIVE LAYOFFS THIS WEEK AT WARNER BROS !?! Listen To Actual Clips From Earnings Report! Warner Bros. Discovery insiders are bracing for another round of layoffs the week of November 7. This round is expected to hit sales support roles as the company looks for $3B in cost cuts. Some are also speculating that the planned streamer combining Discovery+ with HBO Max will be delayed. Warner Bros. Discovery insiders are bracing for yet another round of layoffs, three sources told Insider, expected to start the week of November 7 as leaders of the new company continue their hunt for cost savings. WBD already cut sales staff through buyouts and layoffs as part of CEO David Zaslav's quest to make the $3 billion in cost cuts promised with Discovery's acquisition of WarnerMedia. As of a month ago, the company said it expected to reduce its combined US sales force of 1,300 by 30% through layoffs, buyouts, and attrition. The company took an aggressive stance in selling during the TV upfronts sales period and didn't sell as much as it hoped. It previously downgraded its earnings forecast for 2022 as it deals with challenges to the streaming business and an overall slowdown in ad spending, calling it a "transition year." The company missed Wall Street's expectations for revenue in its third-quarter earnings report today. With the upcoming cuts, sales support areas like marketing, research, and ad ops are expected to bear the brunt, the three insiders said. Layoffs were inevitable as part of the acquisition, but sales staff cuts have already caused concern among insiders and partners about the company's ability to service its advertising customers. Further dampening morale, salespeople also are expecting their all-important year-end bonuses to take a hit, per one of the insiders. It's a similar story over at WBD unit CNN, where new CEO Chris Licht has been leading a cost-cutting exercise and more layoffs are coming. A second insider said WBD was closely scrutinizing vendor contracts as it tries to find cost savings wherever possible. "They're just hammering everyone," this person said. Questions are also swirling about the company's new streaming service that will combine Discovery+ with HBO Max. The initiative is key to WBD's effort to be profitable in streaming, and the company announced today it would move up its launch plan to spring 2023 from the summer. The company is weighing three possible names for the streamer, according to the first insider and a fourth WBD source. But some WBD insiders have expressed doubt that the company will meet its earlier timeframe because of the massive task involved in combining two streamers with separate tech backbones and separate sets of licensing agreements for their content offerings. An industry insider with knowledge speculated that the company will end up pushing back the launch while it waits to see the impact of Netflix's and Disney+'s own ad-supported streamers launching this year.

Elon Musk confirms Twitter employees were essentially allegedly taking payoffs to personal accounts, abusing their power at the company to verify users! original post: https://twitter.com/WSBChairman/status/1588973918379200512 archive version: https://archive.ph/FcA2O SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove

David Zaslav explained in his most recent earnings report call, unlike conventional wisdom that more and more content is what makes a streaming service great, its now about who has great content on their streaming service, not simply the most. Zaslav also made clear it's a big mistake to only distribute new films and TV shows exclusively to streaming platforms when audiences consume their content in so many different ways now. I play clips from the conference call, you can hear exactly what he has to say about the bright future of content. PLAYLIST 70 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 WARNER BROS CEO David Zaslav DESTROYS NETFLIX! David Zaslav: (except from transcription) https://seekingalpha.com/article/4552979-warner-bros-discovery-inc-wbd-q3-2022-earnings-call-transcript A few quick examples. One is related to the product user experience. Previously, when a series concluded on HBO Max, there was no end card that would then recommend additional programs for the user to enjoy, an obvious way to drive greater consumer engagement. We've started rolling this out and are already seeing very promising engagement uplift. A second example around content, we've begun experimenting with bringing D+ content onto HBO Max. Starting with select Magnolia Network shows such as Fixer Upper: The Castle, which was a top five show after only its first few days on the service. These early green shoots bolster our strategic thesis that the two content offerings work well together and when combined, should drive greater engagement, lower churn and higher customer lifetime value. And lastly on churn, we've implemented a number of initiatives to improve customer retention and these have helped drive our voluntary churn rates to record lows in the last few weeks. We've still got a long way to go, but these early signs are certainly encouraging. As we said, we plan to roll out the new service here in the U.S., followed by Latin America in 2023, then in Europe and APAC thereafter. We see significant opportunity across the globe and we're excited to resume expanding our distribution in countries where we are currently not represented. As you would expect, we made the strategic decision to hold off on active expansion until our new offering is set to launch. Before I turn it over to Gunnar, I was recently asked if I thought the golden age of content was over and I said absolutely not. There's nothing more important than content. People are consuming more content than they ever have, but it has to be great content. It's no longer about how much, it's about how good. And ultimately, it is the consumer who tells us what is good. And the consumer is telling us right now with House of the Dragon, Euphoria, Batman, Harry Potter, Friends, Big Bang Theory. You take a look at the portfolio of tentpole assets across Warner Bros. Discovery. And the breadth is large and the opportunity is real. No one has a better or more recognizable hand of content, IP, brands, franchises and personalities than we do. That said, I believe the grand experiment, facing subs at any cost is over. Let's face it, the strategy to collapse all windows, starve linear and theatrical and spend money with abandon, while making a fraction in return on the service of growing sub numbers, has ultimately proven in our view, to be deeply flawed. We believe there was a real opportunity to do things differently, to deliver the content consumers want and will pay for, while getting the full value of our offering. As we said last quarter, our focus is on delivering $1 billion of EBITDA in streaming by 2025. And we expect to make significant progress toward this goal next year. Profitability, not purely sub count is our benchmark for success. While we've got lots more work to do, and some difficult decisions still ahead, we have total conviction in the opportunity before us. Warner Bros. Discovery, we've got the best assets in the industry, reach that extends from premium, basic pay-TV and free-to-air to theatrical streaming, consumer products and gaming, exceptionally talented people across this great company, and the right strategy and financial framework to set us up for long-term success. With that, I'll turn it over to Gunnar and he'll walk you through the financials for the quarter.

David Zaslav wants new Harry Potter films because they have the potential to make BILLIONS and make fans very happy. THEMARYSUE.COM is an "inclusive, feminist" pop culture website focused on following trends in pop culture and their progressive agenda. THEMARYSUE.COM is in a panic because JK ROWLING does not agree with their politics and has a massive international following and they feel her ideas must be stopped. They are not happy. PLAYLIST 70 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 Warner Bros. Discovery C.E.O. Wants More ‘Harry Potter’ Movies With J.K. Rowling—Because Why Wouldn’t They https://www.themarysue.com/warner-bros-discovery-c-e-o-wants-more-harry-potter-movies-with-j-k-rowling-because-why-wouldnt-they/ WARNER BROS CEO Panics THEMARYSUE.COM Over HARRY POTTER! Terrified JK ROWLING Will Make New Films! The current CEO of Warner Bros. Discovery, David Zaslav, has been many several controversial choices since the merger was confirmed. Canceling movies like Batgirl, shuttering entire animation departments, and much, much more, none of it good. During a recent meeting with investors, Zaslav said he plans to focus on franchises, including Harry Potter, to increase profits for the company. “We’re going to focus on franchises,” Zaslav said during Thursday’s investor call, per The Hollywood Reporter. “We haven’t had a Superman movie in 13 years. We haven’t done a Harry Potter in 15 years. The DC movies and the Harry Potter movies provided a lot of the profits for Warner Bros…over the past 25 years.” He mentioned Harry Potter author J.K. Rowling by name, saying: “If we can do something with J.K. on Harry Potter going forward.” Beyond that strange bit of math about not making a Superman or Harry Potter movie in 13/15 years, this shows that despite J.K. Rowling’s controversy as the most well-known transphobe in the world and the fact that the Fantastic Beasts movies are horrible—they are still seen as profitable. This shouldn’t surprise anyone. Because while there are certainly those who have stopped buying and consuming Harry Potter, as well as Harry Potter-related fan sites and organizations that have parted ways with Rowling, more people either (a) don’t care about the politics, (b) are trying to separate the IP from the creator, and (c) endorse the hateful politics of J.K. Rowling and do it out of spite. I empathize with non-binary and trans fans of Harry Potter who want to enjoy the franchise in peace. It is exhausting having your identity politicized without your consent. And if you love this series and it helped you with something pivotal, it makes sense to want to keep it. But we need to ensure we do this with our eyes fully open to what Rowling is doing with the money she gets in royalties and who she is helping to platform with the messaging she spreads. Not just people who are openly transphobic, but there are also racists, people who affiliate with the proud boys, and anti-gay activists who have jumped onto transphobia to build their numbers. As someone whose entire personality was Slytherin for years, I get the loss that this can feel like. But there are still ways to enjoy the Potter verse without putting money into Rowling’s pockets. Fanfiction, fan art, and transformative fan works in general. I’ve even gotten some related fan merch from people on Etsy who have been trans-affirming. It is worth the effort to detach yourself from new material by Rowling, because it is directly allowing her to continue platforming some of the worst people and her own terrible views. Because she’s not going to stop. She has no reason to. She is immensely profitable. And she will remain so as long as we continue to act as though there is a clean separation between the stuff she is saying and the products featuring her IP. Like, if DanRad gets it—so should we.

Lucasfilm maintains a “diversity grid” system for determining diversity ratios throughout their programs. Just as interesting, the source who works with researching market reactions to franchise toys has informed us that Lucasfim’s diversity grid does not differentiate between “white” or “Caucasian” and “Latino” or “Hispanic”. As a result, Lucasfim properties supposedly can use a “Latino” or “Hispanic” character in lieu of a “white” character and still fulfill their “white ratio”. PLAYLIST 69 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 Rumor: The Lucasfilm Character “Diversity Grid” https://thatparkplace.com/rumor-the-lucasfilm-character-diversity-grid/ Rumor: STAR WARS Boss Kathleen Kennedy Using Strict RACE QUOTAS On All Stories And Casting! If you want to know what’s going on behind the scenes with major studios, the marketing and merchandising partners are often the first to find out. A toy industry expert and insider with more than three decades of experience at a Disney merchandising partner has been leaking information to us on a fairly regular basis. Now, the level of spice is being cranked up by more than a little. According to our anonymous source, whose identity we have corroborated but keep anonymous for purposes of protecting their career, Lucasfilm has a very interesting system going on behind the scenes. It lines up with other things we’ve seen and heard out of Disney, specifically out of their DEI initiatives “Reimagine Tomorrow” and “Stories Matter”. Our source is telling us that Lucasfilm maintains a “diversity grid” system for determining diversity ratios throughout their programs. Just as interesting, the source who works with researching market reactions to franchise toys has informed us that Lucasfim’s diversity grid does not differentiate between “white” or “Caucasian” and “Latino” or “Hispanic”. As a result, Lucasfim properties supposedly can use a “Latino” or “Hispanic” character in lieu of a “white” character and still fulfill their “white ratio”. On their diversity grid (which is not written down, but is part of discussions at project ground zero), Latino/Caucasian count as “the same thing”. So basically, Diego in Andor is considered Caucasian because he hits two birds with one stone. Totally crazy. Furthermore, having too many “white characters” in a show or movie is allegedly not permissible. And apparently that’s part of what caused major changes in the Obi-Wan Kenobi series on Disney+. Having the show be about Anakin, Luke and Obi-Wan in the original script treatment had resulted in a show that was deemed “too white, too male”. As a result, Luke had to be cut out of much of the show in favor of Leia, even if the narrative didn’t make terribly much sense with prior lore. Also, since Darth Vader and Obi-Wan couldn’t be dismissed easily, significant screen time was allocated to a woman of color. It’s not that diversity is bad at all — it’s that good stories with characters fans love can’t be had if they’re “too white”. That seems nonsensical. Yet stories, movies AND merchandise all need to reflect this diversity grid at Lucasfilm. An international merchandising agent had the following to say to our source: White men are so rejected at Lucas that they would not authorize a TV show starring Obi-Wan, Darth Vader and Luke Skywalker. It was forbidden because there were too many white men. Even though they knew less people would watch and buy, they had to rework and delay production to replace one character by a female character… Again, in my opinion, diversity is a wonderful thing. It should be lauded. But as with all things, when a concept is taken too far, it becomes malignant. Water is healthy and should be used to hydrate, but even water if taken in excess becomes toxic. The sun is the source of all life, yet sitting outside in July with no shelter from the rays of sunlight will cause pain. So too is diversity. Everything needs parameters. Having a diverse background for people working in and around a project is important — but if you can’t tell a great story with great characters because of diversity, you’ve not constrained the concept to its appropriate usefulness. Imagine if Wakanda Forever had to have some artificial quota of Asian actors that made Wakanda be not so much about Africa but about multiculturalism. That would artificially change the story in a way that isn’t appropriate. When Luke, Obi-Wan and Anakin can’t be featured in a story due to a diversity grid system, there’s a problem. Of course it isn’t just Lucasfilm. As we’ve been documenting, this unconstrained paint-by-numbers system of setting arbitrary race quotas seems to extend throughout The Walt Disney Company. Again from our main source:

Warner Bros. Discovery, Inc. Reports Third-Quarter 2022 Earnings Results https://wbd.com/wp-content/themes/warner-bros-discovery-corporate/pdf/WBD-3Q22-Earnings-Release.pdf PLAYLIST 69 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 Warner Bros. Discovery, Inc. (the “Company”) (Nasdaq: WBD) today reported financial results for the quarter ended September 30, 2022. David Zaslav, President and Chief Executive Officer of Warner Bros. Discovery said, “At Warner Bros. Discovery, we have one of the strongest portfolio of assets and IP across sports, news, and entertainment, and the best leadership team in media executing against the right strategy and financial framework to drive profitability, generate meaningful shareholder value, and ultimately position us for long-term success. We are reimagining and transforming the organization for the future while driving synergy enterprise-wide, increasing our target to at least $3.5 billion, and making significant progress on our combined DTC product. While we have lots more work to do, and there are some difficult decisions still to be made, we have total conviction in the opportunity ahead.” Financial Summary & Operational Highlights: Q3 total reported revenues were $9,823 million. Revenues decreased 8% ex-FX compared to the prior year quarter, on a pro forma combined basis. Net loss available to Warner Bros. Discovery, Inc. was $(2,308) million, and included $1,924 million of pre-tax amortization from acquisition-related intangible assets and $1,521 million of pre-tax restructuring and other charges. Total reported Adjusted EBITDA was $2,424 million. Adjusted EBITDA decreased 8% ex-FX compared to the prior year quarter, on a pro forma combined basis. Cash provided by operating activities decreased to $124 million and reported free cash flow decreased to $(192) million. Ended Q3 with $2.5 billion of cash on hand, $50.4 billion of gross debt, and 5.1x net leverage. Ended Q3 with 94.9 million global DTC subscribers, an increase of 2.8 million versus 92.1 million subscribers at the end of Q2. In Q3, Warner Bros. Discovery was the #1 TV portfolio in total time spent by viewers in the U.S. WARNER BROS. DISCOVERY REPORTS THIRD-QUARTER 2022 RESULTS About Warner Bros. Discovery: Warner Bros. Discovery (Nasdaq: WBD) is a leading global media and entertainment company that creates and distributes the world’s most differentiated and complete portfolio of content and brands across television, film and streaming. Available in more than 220 countries and territories and 50 languages, Warner Bros. Discovery inspires, informs and entertains audiences worldwide through its iconic brands and products including: Discovery Channel, discovery+, CNN, DC, Eurosport, HBO, HBO Max, HGTV, Food Network, OWN, Investigation Discovery, TLC, Magnolia Network, TNT, TBS, truTV, Travel Channel, MotorTrend, Animal Planet, Science Channel, Warner Bros. Pictures, Warner Bros. Television, Warner Bros. Games, New Line Cinema, Cartoon Network, Adult Swim, Turner Classic Movies, Discovery en Español, Hogar de HGTV and others. For more information, please visit www.wbd.com.

Kathleen Kennedy’s stewardship of the movie franchise continues to baffle as a key right-hand exits and a new film, perhaps the one in development with Damon Lindelof, isn’t expected until at least 2025, six years after ‘Rise of Skywalker.’ With Marvel churning out multiple movies every year, such a massive pause is borderline corporate negligence. PLAYLIST 67 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 Kathleen Kennedy’s stewardship of the movie franchise continues to baffle as a key right-hand exits and a new film, perhaps the one in development with Damon Lindelof, isn’t expected until at least 2025, six years after ‘Rise of Skywalker.’ With Marvel churning out multiple movies every year, such a massive pause is borderline corporate negligence. Kathleen Kennedy, president of Lucasfilm Kathleen Kennedy, president of Lucasfilm. Photo: Alberto E. Rodriguez/Getty Images for Disney MATTHEW BELLONI October 23, 2022 Last November, right after Patty Jenkins’ much-touted Rogue Squadron was placed on the dreaded back burner, I politely asked Disney C.E.O. Bob Chapek to remove Star Wars movies from the purview of Lucasfilm president Kathleen Kennedy. After five films and about $6 billion in box office under Disney, this A+-level film franchise—a property other studios would kill for—had been essentially left half-digested in a Sarlacc pit. No continuing storylines, no new characters worth following, several top-tier creators hired and then discarded, and little overarching creative vision. Lucasfilm was continuing to churn out a mixed bag of competently made and highly-watched series for Disney+, but on the film side, the franchise was essentially dormant, and, at least to me, Kennedy’s stewardship was a stunning example of I.P. mismanagement. Maybe I was a bit harsh. But now, nearly a year later, things are… pretty much the same. No new Star Wars film before at least December 2025, which would be a six year gap after the much-maligned The Rise of Skywalker. You can argue that former C.E.O. Bob Iger’s initial one-movie-a-year mandate was too much, and that it led to rushed decision-making and hired-and-fired filmmakers like Gareth Edwards (Rogue One), Lord and Miller (Solo) and Colin Trevorrow (Rise of Skywalker), and that a little break for a reset is a good thing. But with Marvel churning out multiple movies and D+ series every year, such a massive pause at Lucasfilm is borderline corporate negligence. And that’s if the 2025 date holds. After all, none of the three projects that are furthest along in development have been officially greenlit. Disney’s D23 event came and went last month without Kennedy offering even a status update on the film side. (Next summer’s Indiana Jones, also from Lucasfilm, did get a spotlight.) Yes, the company has been focused on stocking Disney+ with Star Wars shows like The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi, the currently airing (and very good, though underwatched) Andor, and the in-the-works Ahsoka, The Acolyte, and The Skeleton Crew. If Mandalorian hadn’t hit so big right out of the gate in 2019 and established a template for a big I.P.-driven streaming series, would Disney+ be anywhere near 152 million subscribers worldwide? Similarly, Star Wars is still thriving in the theme parks and on store shelves. All the more reason why the film franchise seems adrift. At this point, part of the hesitation is simply media management. I’m told Kennedy was advised by Disney to stop announcing projects and creative partners, lest the ravenous nerd press pounce when those projects don’t actually happen, as is the case frequently at Lucasfilm. Remember that hokey video with Jenkins in a flight suit that played at Disney’s investor day in 2020? Ummm… Or the triumphant press releases about new trilogies from The Last Jedi director Rian Johnson and the Game of Thrones guys? Seems like ancient history now.

Disney Marvel Race Swapping X-Men To Remove White Characters If you thought things were bad under Feige with the MCU now, it's going to get a lot worse. Disney Marvel Race Swapping X-Men To Remove White Characters https://cosmicbook.news/disney-marvel-race-swapping-x-men-remove-white-characters Toy Industry Insiders: Marvel Planning Race Swaps for X-Men https://thatparkplace.com/toy-industry-insiders-marvel-planning-race-swaps-for-x-men/ WOKE MARVEL Doing MASSIVE Race Swaps On The X-MEN! Kevin Feige And Bob Chapek Strike AGAIN! It’s claimed that when the X-Men come to the MCU, that Disney, Marvel, and Kevin Feige will be race-swapping various characters to remove white characters from the X-Men. The info comes from known Disney leaker WDW Pro via That Park Place who recently leaked the information about the return of Chris Evans as Captain America, where Evans, Disney, and Marvel want to take Captain America in a new direction away from American patriotism. Related: James Gunn’s DCU plans include a political commentary crossover and story. WDW Pro explains that Disney and Marvel are hard at work with their partners developing the future of the X-Men. So part of the development process includes syncing things with merchandise where a toy industry insider offers Disney wants to race swap various members of the X-Men to in effect reduce the number of caucasian characters. Worth a mention is that Kevin Feige just race-swapped Wonder Man. X-Men at Fox Studios X-Men at Fox Studios Disney Marvel wants to move away from white men The toy industry expert insider sent WDW Pro a message which mentioned that Disney wants to move away from having white men be present more than they want them to be. An ABC exec for Disney previously admitted they turn down good ideas involving shows about white families because they are white families. The toy industry expert says the big question surrounding the X-Men at Disney and Marvel is how much race swapping to include. It’s said the thinking at Disney Marvel is that the race swaps will be more accepted if they cast a big-name actor and that it will be harder for fans to object or criticize if they use a marquis name. It’s claimed that Disney and Marvel are going to use the Fox X-Men actors as bait and switch where the white actors would be briefly used but then the race-swapped version would be introduced. (My guess: Something like Avengers: Secret Wars would bring in the Fox X-Men actors and characters for a brief time as part of the Multiverse war, but then the MCU versions would enter the fray and be race-swapped, and/or that is what could be happening with Hugh Jackman back as Wolverine in Deadpool 3) fox x men Disney Marvel Race Swapping X-Men To Remove White Characters How to play alphabet is also being mapped out for X-Men It’s further claimed that various X-Men actors and characters Marvel fans have come to know will be jobbers for the new Marvel characters. “How to play alphabet is also being mapped out for X-Men, which is at least as of two weeks ago still being referred to as X-Men,” says the toy expert referring to Marvel Studios producer Victoria Alonso stating she thinks the term “X-Men” is outdated because it contains “men.” “They are working hard at trying to find a palatable-to-them balance between the minimum property authenticity to ensure commercial success and their main focus of being reflective of not only today’s society but also of the society of tomorrow,” says the leaker. “One Marvel mid-line creative referred to this as unfortunate because that means having white men be more present than we want to. Patrick Stewart X-Men Disney is okay with taking a loss to remove white characters The toy industry expert does note that focus groups have indicated that the large majority of fans don’t want any of this in their superhero entertainment, but that one of the main objectives at Disney and Marvel is to “continue to move on, to transit from white men even if this means leaving money on the table.” It’s further noted they realize “unfortunately white men are the money in the whole revenue stream chain, which includes multiple viewings, more merch at higher price points, secondary media spends, etc. We want to give the minimum possible needed to get the most that we can out of them. We’ll have to throw them a couple of bones.” It’s said that Disney is okay with taking a loss as they can make it up in parks, the boats, and football to pay the bills.

THEMARYSUE.COM is an "inclusive, feminist" pop culture website focused on following trends in pop culture and their progressive agenda. They were excited about James Gunn joining DC Studios last week, but this week have started to catch up to reality. It's much worse for their agenda than they understand but they are visibly upset the change they want to see happen is never going to happen now. They are not happy. PLAYLIST 67 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 It’s Hard to Be Excited Over DC Movie News, Even for Fans of James https://www.themarysue.com/its-hard-to-be-excited-over-dc-movie-news-even-for-fans-of-james-gunns-work/ WARNER BROS CEO Panics THEMARYSUE.COM! Realize DC Studios Will Never Be MARVELIZED Into Feminism! Recently, it was announced that James Gunn and Peter Safran would both be the top creative leads at DC. While I like some of Safran’s work, and much of Gunn’s over the last few years, it’s very hard to be excited about this announcement considering the decisions of Warner Bros. Discovery (WBD) over the course of most of this year and the circumstances around the recent departure of previous DC head Walter Hamada. The first reason for concern was outlined extensively in the report that whoever would head DC would still have to report directly to WBD CEO David Zaslav. In a perfect world, this would actually streamline things because reporting to a full board would be messy and subject to having too many chefs trying to write a menu. However, considering how Zaslav rose to power and his toxic strongman approach to leadership, this is a red flag. Now, even before Zaslav and his wrecking crew came in, guns a-blazing, Hamada was not going to stick around. Shake-ups like this aren’t uncommon, even if it’s not so sudden and violent in every sector (see the gutting of animation), and Hamada found out about Batgirl‘s cancellation at the same time as everyone else. If he didn’t know he was leaving or not valued, this definitely sent that signal. Also, there’s a lack of patience and a demand for results regarding making the DC Universe comparable to the Marvel Cinematic Universe. That’s despite the critical and/or commercial success of the films released since Hamada’s appointment in 2018. This includes Shazam!, Joker, Birds of Prey, Wonder Woman 1984, the Zack Snyder’s Justice League, The Suicide Squad, The Batman, and now Black Adam. Although, with Justice League come accusations from Ray Fisher of undermining the investigation into the abuse Fisher faced on the film’s set. That alone is a reason for many to be wary of Hamada’s leadership and show the limits of representation. Yes, I’m going to make it about race All of this aside, even if everything were sunshine and rainbows, I fully expected Hamada to be replaced by a white man. I’m just surprised it was two of them. That Dan Lin rumor didn’t phase me when projects and positions led by marginalized communities in WBD were cut left and right. Days before the announcement of DC films’ new leaders, WBD cut and then reinstated (possibly because they legally can’t cut it) a pipeline for more diverse talent behind the scenes. This is because Discovery (pre-merger) was super white, and the first investor call for the merged company spoke so much about nostalgia, capitalizing on existing IP (which is mostly white), and the need to court more audiences in middle America. Middle America is home to people of all types, including many refugee and immigrant populations, but that’s not what most people mean when they allude to this region. Also, I suspect that by naming two heads of DC, he is also diluting the creative power of each of them. Now, here are three visions for how to move forward. Based on Peacemaker and The Suicide Squad alone, I see Gunn and Zaslav with competing visions. Ideally, Gunn and Safran would always work together and be cohesive, but it will only take one begrudged head to ally with Zaslav. Or if one has a falling out or public clash with Zaslav or anyone at WBD, the other can be used as insurance.

Confirming rumors from a couple of weeks ago, Yahya Abdul-Mateen II is indeed jumping ship to Marvel and is playing Wonder Man for Marvel. What Feige is doing is wiping away decades and decades worth of comic book stories and could care less, which is his approach to Phase 4 and beyond. PLAYLIST 66 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 Yahya Abdul-Mateen II Confirmed As Marvel’s Woke Wonder Man https://cosmicbook.news/yaha-abdul-mateen-ii-confirmed-marvel-wonder-man Kevin Feige Turned Down Comic Accurate Skaar https://cosmicbook.news/kevin-feige-turned-down-comic-accurate-skaar Woke WONDERMAN Confirmed From MARVEL! Kevin Feige Continues DESTROYING Marvel Universe! Confirming rumors from a couple of weeks ago, Yahya Abdul-Mateen II is indeed jumping ship to Marvel and is playing Wonder Man for Marvel. Wonder Man in the comics is known as Hollywood white dude Simon Williams, with James Gunn actually casting Nathan Fillion as the character in Guardians of the Galaxy 2 before it was cut. However, as this is Kevin Feige’s woke MCU we are talking about here, Feige again replaces a classic Marvel character with a woke version, this time with a POC actor. What Feige is doing is wiping away decades and decades worth of comic book stories and could care less, which is his approach to Phase 4 and beyond. A friend of mine close to Stan Lee actually told me Stan Lee wasn’t happy when Feige replaced Mar-Vell with a female character in Captain Marvel — the same friend that told me about the Stan Lee DC Comics project. Yahya Abdul-Mateen II also plays Aquaman villain Black Manta, but as I said, there hasn’t been any chat at all about Yahya Abdul-Mateen II as Black Manta in the sequel aside from James Wan releasing concept art. Recently also saw Yahya Abdul-Mateen II shit on Aquaman and comic book movies when he called them “clown work.” So Yahya Abdul-Mateen II throws Aquaman and DC under the bus while joining Marvel. Nice. Certainly sounds like a Feige protégé. Well, he is certainly going to get a chance to perform a lot of clown work as Wonder Man as the show is described as following Simon Williams, a failed actor, in a comedy series and a satire of Hollywood. So think more along the lines of She-Hulk where Wonder Man will also probably make fun of the Marvel source material and the fans. Marvel Comics Wonder Man Marvel Comics Wonder Man Wonder Man is more Kevin Feige “clown work” We can guess that is why Yahya Abdul-Mateen II probably signed on in order to get a chance to do just that. Yahya Abdul-Mateen II is actually coming off of Broadway’s revival of the Pulitzer Prize-winning Suzan Lori Parks play Topdog/Underdog, which is when he made those Aquaman comments, so going from something like that to Wonder Man seems pretty odd. Additional details for Wonder Man include it will be released on Disney Plus and that Shang-Chi and Avengers: The Kang Dynasty director Destin Daniel Cretton is serving as executive producer and could direct episodes, with Andrew Guest writing the series who is known for writing comedies such as Brooklyn Nine-Nine and Community. Ben Kingsley is also returning as the goofy Trevor Slattery, another failed actor suffering from drug addictions and various legal problems, which is guessed how he knows Simon Williams. The Marvel Disney Plus shows aren’t watched by a lot of fans which is explains why Disney doesn’t give them a decent budget, so just like Hawkeye, Ms. Marvel, and She-Hulk, Wonder Man will probably not deliver.

PLAYLIST 66 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 DC STUDIOS Five MAJOR ISSUES! Plus New Massive Podcast Interview With David Zaslav! Five Awkward Questions for the New DC Studios https://puck.news/five-awkward-questions-for-the-new-dc-studios/ Warner Bros. Discovery: David Zaslav on the Past, Present and Future of Entertainment https://podcasts.apple.com/us/podcast/warner-bros-discovery-david-zaslav-on-the-past/id1434613123?i=1000583712205 DC STUDIOS Five MAJOR ISSUES! Plus New Massive Podcast Interview With David Zaslav! The inside conversation percolating in Hollywood about the new Gunn-Safran regime, and what it might reveal about Zaslav’s strategy to take on Marvel. James Gunn Warner Bros. Discovery C.E.O. David Zaslav tapped director James Gunn (pictured) and Peter Safran to run DC Studios. Photo: Axelle/Bauer-Griffin/FilmMagic Did Warner Bros. Discovery C.E.O. David Zaslav pull off an executive coup? Or were our expectations for DC just so low, especially after his first pick, producer Dan Lin, didn’t work out? I can’t decide, but the industry and the fans seem to like James Gunn and Peter Safran running DC Studios. In Gunn, Zaz gets a filmmaker (Guardians of the Galaxy) with comic book bona fides, and he takes Gunn off the table for Marvel gigs (though WBD consultant Alan Horn must have chuckled at hiring the guy he once fired from Guardians 2 for bad tweets). And Safran, a producer who presents as the buttoned-down adult in the room, will likely be held accountable for the business, anyway. Still… the move raises a few questions: 1. What will the DC brand, and sensibility, become? Zaslav is pretty transparent about his intentions here. “When you compare DC to Marvel, Marvel is 7, 8, 9 times bigger, but we have Batman, Superman, Wonder Woman,” he said on an investor podcast this week. But if Zaz really wants Marvel—meaning a superhero universe connected across all media and tied together with one coherent sensibility—that is not the current iteration of DC. Warners has always maintained that the strength of the DC brand is that it can house hard-R psychological thrillers (Joker) and kid-friendly escapism (Shazam!) under one roof. So figuring out what New DC stands for—and if it still stands for many different styles—will be Job One on the film side. It’s even harder because DC is not starting from scratch here; it’s got the burden of all that’s come before—including the fact that DC’s biggest heroes were created around World War II and are inherently less accessible than Marvel’s more fun and emotional characters. Remember, DC only recently escaped Zack Snyder’s dreary sensibility, which turned the movies into a morose parade of humorless quasi-gods. And it’s especially tricky because Gunn’s own movies are wacky and often violent (I went to the premiere of The Suicide Squad and had to avert my eyes toward my complimentary popcorn). I’m sure Zaz would prefer DC films to be mainstream, fun but not too edgy, and rated PG-13. On the TV side, the big challenge is coherence. Before, there was nothing that DC head Walter Hamada could do to prevent WBTV’s Channing Dungey and HBO’s Casey Bloys from making, say, a Watchmen show, even if it took the characters in a direction that didn’t fit what Hamada had planned for film. Now it’s all under one brand manager in Gunn and Safran, who have to figure out how to best share the I.P. to create maximum value across different and at times competing platforms. Not easy. 2. Will filmmakers take notes from a peer? Already, I’m told Todd Phillips has made it clear that his Joker sequel, which starts shooting Nov. 28, will stay under Warners Proper, not DC. And I can’t imagine Batman franchise writer-director Matt Reeves would be thrilled about a story or character veto from his former peer. But this seems like a small issue—and Gunn could actually serve as a mentor figure for less experienced filmmakers. Plus, I’m told that DC is keeping film executives Galen Vaisman and Chantal Nong for continuity. 3. How will Warners execs play in the DC sandbox? The WBD announcement was careful to note in the first paragraph that Gunn and Safran will “work closely” with Warners film leaders Mike De Luca and Pam Abdy, despite reporting to Zaslav, and a gushing quote from the duo was helpfully provided to the media. The other WBD division heads that the DC guys will “work collaboratively with” were relegated to the second graph, and with no quotes. That’s partly because DC shares resources and a P&L with Warners’ film group, and Hamada previously reported to De Luca.

Hollywood Reporter claims "Dwayne Johnson's superhero pic fell off more than expected in its second outing, while the reverse is true for 'Ticket to Paradise" which is absolutely not true. They also claim BLACK ADAM "dropped 59 percent, one of the bigger declines for a film starring Dwayne Johnson in a lead role" while it only dropped 45%, a massive deference and is considered a success by DEADLINE and better than expected! PLAYLIST 65 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 Box Office: ‘Black Adam’ Leads So-So Halloween Weekend With $27.7M https://www.hollywoodreporter.com/movies/movie-news/black-adam-leads-halloween-box-office-1235251496 ‘Black Adam’ Muscles Up To $250M Global Through Sophomore Frame; ‘Smile’ Nearing $200M WW – International Box Office https://deadline.com/2022/10/black-adam-box-office-global-international-box-office-1235158545/ Woke Media PANICS And LIES About BLACK ADAM Box Office, Now Up To $250 Million Worldwide! DC and Warner Bros.’ Black Adam had no trouble topping the Halloween weekend box office, although the superhero pic dropped more than expected considering it had little competition. The film earned an estimated $27.7 million from 4,402 theaters in its second outing. That’s a drop of 59 percent, one of the bigger declines for a film starring Dwayne Johnson in a lead role (excluding the primary Fast & Furious franchise). Nonetheless, the movie raced past $100 million at the domestic box office on Saturday and is projected to finish Sunday with a domestic cume of $111.1 million. Related Stories James Gray MOVIE NEWS James Gray on Casting Non-Jewish Actors as Jewish Characters in 'Armageddon Time': "I Reserve the Right" (L-R): Lo’ak and Kiri in 20th Century Studios' AVATAR: THE WAY OF WATER. MOVIE NEWS 'Avatar: The Way of Water' Runtime Sails Past Three Hours And, thanks to Johnson’s star power overseas, Black Adam declined just 45 percent at the international box office to $39 million for a foreign tally of $139 million and $250 million globally. Among relatively recent Johnson movies, Jungle Cruise fell 55 percent in its second weekend domestically, although it had a far smaller opening with $35 million. Fast & Furious spinoff Hobbs and Shaw is a better comparison since it debuted at $60 million and Black Adam opened to $67 million. Hobbs and Shaw fell 58 percent in its second weekend. When it comes to superhero fare, it isn’t uncommon to see a studio title fall off 60 percent or more domestically if opening north of $100 million. That includes summer 2022’s Thor: Love and Thunder, which tumbled 68 percent after a $144 million launch. Superhero releases that opened more in line with Black Adam include Eternals, which fell 62 percent in its sophomore outing after opening to $71 million (that movie was considered a miss) or Ant-Man & Wasp, which likewise fell 62 percent after a $76 million launch. Universal’s romantic comedy Ticket to Paradise held well in its second weekend, dropping 39 percent to $10 million from 3,692 cinemas for a 10-day domestic total of $33.7 million and $119.4 million globally. The Julia Roberts and George Clooney movie is a needed win for adult-skewing fare, as well as for romantic comedies. The major Hollywood studios generally avoid opening big event pics over Halloween weekend (this year the actual holiday falls on Monday), save for horror fare. Lionsgate’s new horror pic Prey for the Devil opened in third place with an OK $7 million from 2,980 theaters. The film faced plenty of competition between Smile, which remained a standout in its fifth weekend, and Halloween Ends. Prey for the Devil has earned $12 million overseas for an early global cume of $19 million. Smile, from Paramount, placed No. 4 with $5.1 million from 3,221 locations as it crossed the $92 million mark domestically and an astonishing $93 million overseas for a global haul of $186 million against a small budget of $17 million. Universal, Blumhouse and Miramax’s Halloween Ends followed with $3.8 million from 3,419 sites in its third weekend for a domestic tally of $60.3 million and $94.7 million globally. (The pic is available on Peacock in the U.S.) Halloween or no Halloween, there was plenty of action at the specialty box office as awards season heats up.

Despite the numerous, various, ever growing, and near unending examples to the contrary, Disney CEO Bob Chapek has rejected the notion that the House of Mouse has become ‘too woke’, instead arguing that the company’s recent slate of political and creative decisions are simply a result of their following the same long-term key for success they always have: “catering to our audience”. PLAYLIST 64 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 Not WOKE? Disney CEO Denies Being Woke, Says Only Catering To Fans Like They Have For 100 Years! The ever-divisive CEO shared his opinion on the matter during a recent appearance on The Wall Street Journals’ “money, business, and power”-centric podcast, The Journal. Bob Chapek attend the Doctor Strange in the Multiverse of Madness World Premiere at the Dolby Theatre in Hollywood, CA on Monday, May 2, 2022. (photo: Alex J. Berliner/ABImages) Asked by the WSJ’s Editor-in-Chief Matt Murray if he believes the people who say “Disney has become too politically correct” are either “right” or “have a point”, Chapek replied, “I think the more complex something is, the more you have to really drill down into the basics.” “We want our content to reflect the rich, diverse world that we live in,” he explained. “Again, I guess that’s another way of saying catering to your audience.” Source: Falcon and the Winter Soldier Season 1 Episode 1 “New World Order” (2021), Marvel Entertainment RELATED: Disney Doubles Down On J.J. Abrams’ Influence, Taps His ‘Lost’ Co-Creator Damon Lindelof To Pen New ‘Star Wars’ Film “But the world is a rich, diverse place and we want our content to reflect that, and we’re so blessed to have the greatest content creators, and they see it similarly,” the CEO continued. “But I think that’s good from a commercial standpoint as well, because then you appeal to the largest possible audience, and certainly we live in a world now where everything seems to be polarized.” Source: Star Wars: Episode IX – The Rise of Skywalker (2019), Disney To this end, he asserted, “I think we want Disney to stand for bringing people together, and I think we’ll do that by diverse stories and diverse characters.” Murray then specifically inquired of Chapek what he thought ” your role as CEO of this gigantic company is very specifically on that storytelling front?”, particularly as it related to his role in “shaping” the messaging of Disney’s productions. Source: Ms. Marvel Season 1 Episode 6 “No Normal” (2022), Marvel Entertainment RELATED: Rachel Zegler Says She’s Bringing A “Modern Edge” To Disney’s Live-Action ‘Snow White’: “She’s Not Going To Be Saved By The Prince Or Dreaming About True Love” “Do you have views about what you should be doing there?” pressed the WSJ head. “Do you meet with the creators and do you get to express your opinions?” “Yeah,” said Chapek. “We talk about shaping our content a lot, and some of the push/pull of all these different forces, but in the end we have to follow our North Star, which, again, is storytelling and catering to the audiences that actually love Disney, and our audiences that love Disney.” Source: Baymax! (2022), Walt Disney Animation Studios “So to be clear, you don’t think Disney is too WOKE?” Murray then asked, seeking one last clarification on the topic. “I think Disney is a company that survived for a hundred years by catering to its audience, and it’s going to thrive the next hundred years by catering to its audience,” affirmed Chapek in turn. Source: Obi-Wan Kenobi Season 1 Episode 1 (2022), Disney Plus RELATED: Prominent Anti-ESG Disney Investor Calls On Company To “Commit To Political Neutrality” Before They’re “Expected To Take Sides That Won’t Be Favorable” Of course, with the topic broached, Murray took the opportunity to then ask the Disney CEO what “lessons” he had learned from involving the company in the now infamous legislative battle surrounding Florida’s Parental Rights In Education law. “I think the lesson is the lesson that we probably always knew, which is that Disney is all about the cast members, as we call them,” Chapek opined. “If you think about the nature of why people have great Disney memories…remember, the end benefit is magical memories that last a lifetime.” “The reason they have those, yeah, it’s about the castle, and yeah, it’s about the great attractions, or they really enjoyed that churro on Main Street, but really what they remember more than anything is the guest/cast interactions,” he told Murray. “So if that’s the secret sauce for making those magical memories and we’re all about the guest and the audience, maximizing their experience, then you have to make sure that the cast is at the center of everything you do.”

Marvel Studios has been cruising along for years on the success of their earlier films created by the fan service and respect for the comic books the superheroes were based on. As of the MCU phase four it's obvious they plan on trashing the history of these iconic characters in favor of promoting woke characters while "destroying the patriarchy". What's actually going to happen is the new DC Studios is going to destroy them by focusing completely on fans service-- the secret source of all long term success in brands! PLAYLIST 64 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 DC STUDIOS WILL CRUSH MARVEL STUDIOS! Only A Matter Of Time Before Marvel Studios Collapses! Woke Marvel Fails To Deliver On Disney Plus https://cosmicbook.news/disney-plus-skews-heavily-male-explains-marvel-star-wars-failures Woke Marvel Fails To Deliver On Disney Plus The Marvel content is not enough on Disney Plus to build subscribers which is probably because of the lack of quality content. Confirming exactly what the skeptics from Wall St. said, it’s reported that Kevin Feige’s Marvel is failing to deliver on the Disney Plus streaming service. Back in November of 2021 following a big drop in Disney Stock, Wall Street analysts let it be known that they doubted both the Marvel and Star Wars brands’ ability to grow Disney Plus. Now a new report from Business Insider, which also follows Disney’s stock dropping significantly, states that the Marvel shows on Disney Plus are only catering to existing fans and are not bringing in any new subscribers. It’s said that while Moon Knight and other Marvel shows have peaked as the No. 1 shows in the world, they’re not enough as Disney Plus can’t just rely on Marvel. According to Parrot Analytics, what the data shows is that while Marvel has been a massive success with existing subscribers, they haven’t gone far in attracting new fans and growing the subscriber base. In other words, Marvel only has a small following on Disney Plus and it isn’t going up. It is noted that Disney Plus seems to be making changes in an attempt to broaden its appeal as at first Disney Plus was touted as more family-friendly, but now is adding more mature content, such as the Marvel shows that were on Netflix including Daredevil. Worth a mention – and worth a worry – is that 40% of the worldwide subscribers of Disney Plus don’t subscribe for the Disney, Marvel, or Star Wars content, but do so they can watch sports events in locations like India, so bear in mind whenever Disney Plus reveals subscriber numbers to basically deduct around 40%. What could be particularly worrisome is if Disney Plus ever loses those sports licenses as certainly, those viewers would turn their attention to wherever they can watch said sports events and cancel Disney Plus . Kamala Khan Captain Marvel America Chavez Marvel fans not subscribing to Disney Plus Regarding why the Marvel fans aren’t coming to Disney Plus in droves like they did for say Spider-Man: No Way Home, the Marvel content hasn’t been all that good as none of it comes off as a “must see” TV. WandaVision was the Marvel flagship launch on Disney Plus, but I think younger fans were turned off by its sitcom approach. Kevin Feige also let it be known that he cut Doctor Strange from the series because Benedict Cumberbatch and the character are white males, yet it’s okay for Wanda and a gay female character to appear in Doctor Strange 2. Feige and Marvel also replaced Chris Evans and Captain America with a Black Captain America and Anthony Mackie, introduced a better version of Loki with the female version, and replaced Captain America with a female version in the What If? animated series. They also replaced Jeremy Renner as Hawkeye with a female version, we just might see a female Moon Knight in this week’s last episode, and Marvel’s plans on Disney Plus include replacing the Hulk with She-Hulk, going with the “politically oppressed” Muslim teenager Ms.Marvel that is being forced on the fans much like Brie Larson and Captain Marvel, and whatever else Feige has planned to sync up with his woke Phase 4 that is all about diversity and not about quality content. Oh yeah, the date-and-date release of Black Widow was a huge failure on Disney Plus, a movie Scarlett Johansson promoted as a “Me Too” flick and one that replaced a fan-favorite villain from the comics. Also, all the money that Black Widow did bring in on Disney Plus was burned when Johansson sued Disney. Who wants to watch this garbage? Answer: No one.

Without fear of Hollywood's constant complaining management successfully continues it's constant layoffs, cancellations and consolidations throughout the WarnerMedia division. This video covers the most serious problems at WBD and how they are handling them! PLAYLIST 62 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 WARNER BROS Is Fixing MAJOR PROBLEMS With DC Studios, DC Comics, CNN, Cartoon Network, and HBO Max! Warner Bros. Discovery Has New DC Heads, but Here Are 8 Major Headaches It Still Faces https://www.indiewire.com/2022/10/warner-bros-discovery-problems-it-faces-1234774264/ After a prolonged search for a new DC Films leader, Warner Bros. Discovery has finally solved one — just one — of their many conundrums. Director James Gunn and producer Peter Safran are set to become the new co-chairman and CEO of Warner Bros. Discovery’s superhero film, TV and animation branch next week, starting on November 1. The change was accompanied by the announcement that DC Films is being rebranded as DC Studios — probably not coincidentally, this puts it more in line with its closest rival, Marvel Studios, over at Disney. The duo of Gunn and Safran have worked extensively at the company — Gunn directed “The Suicide Squad” and HBO Max’s “Peacemaker,” while Safran executive produced those projects and other DC films such as “Aquaman” and “Shazam!” — although Gunn’s appointment as a director with somewhat minimal producing experience is unusual for a major studio role like this. Details on their full vision are a bit hazy, but one thing is clear — the two will be inheriting a ton of baggage. On the one hand, Gunn and Safran will begin their post almost immediately after the relative box office success of “Black Adam,” which received terrible reviews but opened to a solid $67 million. On the other hand, they’ll be tasked with whipping DC’s film and TV slate, which can charitably be described as “messy,” into shape, and contending with some bad press plaguing WBD overall. The company — which was founded a mere six months ago from the merger between WarnerMedia and Discovery — has been racking up impressive amounts of controversy, carries a debt of $55 billion, and has seen its stock fall 50 percent in value since April. It’s not the worst merger in the history of the universe (or even in Warner’s own history: the infamous failed 2001 AOL TimeWarner merger still has it beat), but the company has definitely had the messiest 2022 of any entertainment corporation. And many of the biggest profile blunders facing the company relate to how it’s handled its DC shows and films, so presumably some of the pressure to fix it will end up on Gunn and Safran’s laps. Here’s a shortlist of all the controversies at WBD, as well as what’s on Gunn and Safran’s plate as DC’s new head honchos. Henry Cavill as Superman Henry Cavill as Superman "Man of Steel"/Warner Bros. Making Sense of the DC Film Slate Reportedly, part of the reason for the search, and the stepping down of former DC Film head Walter Hamada, was that WBD president David Zaslav wanted DC to have its equivalent to Marvel Studio’s Kevin Feige, someone who can guide the films and TV shows produced in a cohesive direction. Currently though, DC’s slate is anything but cohesive. Upcoming films set to be released include movies that take place in the same general universe established by 2013’s “Man of Steel,” (“Shazam! Fury of the Gods,” “The Flash,” “Blue Beetle,”), but also two movies that exist in their own franchises: the in-development sequel to this year’s “The Batman,” and “Joker: Folie à Deux,” a followup to 2019’s “Joker.” Considering how successful both of the previous films in those series were critically and commercially, WBD presumably wants as many installments for both as possible. But at the same time, plans seem in place to keep the “Man of Steel” universe going, judging from Henry Cavill’s promise that he will be in another film as Superman following his “Black Adam” cameo.

Elon Musk's deal to buy Twitter is getting finalized any minute and woke media is losing their minds with panic! While Musk says he only wants people to discuss ideas and come up with their own conclusions, woke media refuses to accept his good intentions or the loss of their control over the marketplace of ideas on Twitter. They claim free speech leads to murder (no exaggeration), misinformation, and suffering! SUBSCRIBE TO ADAM POST SPEAKS: https://www.youtube.com/c/AdamPostSpeaks Follow ADAM POST on Twitter: https://twitter.com/comicswelove Why Elon Musk’s Idea of “Free Speech” Will Help Ruin America https://newrepublic.com/article/168309/elon-musk-twitter-free-speech-ruin-america WOKE Media PANICS Over FREE SPEECH Coming To Elon Musk’s Twitter! Twitter will not be the “free-for-all hellscape” some are fearing it will become when Elon Musk completes his takeover, the billionaire tweeted Thursday. While Musk has previously raised concerns with his focus on free speech and by saying he would allow former President Donald Trump and other banned members to return to the platform, he sought to reassure a key demographic Thursday, under the headline “Dear Twitter Advertisers.” Musk struck a conciliatory tone on Twitter as he laid out his case for acquiring the social media company, saying he seeks to encourage dialogue between users with different beliefs. In Halting Twitter Lawsuit, Elon Musk May Have Cornered Himself “The reason I acquired Twitter is because it is important to the future of civilization to have a common digital town square where a wide range of beliefs can be debated in a healthy manner, without resorting to violence. There is currently great danger that social media will splinter into far right wing and far left wing echo chambers that generate more hate and divide our society,” Musk tweeted. The Tesla mogul’s note follows a Wall Street Journal report on Thursday which said that advertisers were concerned about Musk’s plans to lessen content moderation on the platform once he buys the company. Musk is expected to complete his $44 billion takeover of the company by Friday. (He tweeted a video of himself carrying a sink into Twitter headquarters this week to underline the point). This comes after months of back and forth between the billionaire and the social media company and a court case in which Twitter sued Musk in order to ensure he completed the deal. While Musk has previously spoken of Twitter as a “digital town square,” he now added that there must be a degree of content moderation in his open letter. “That said, Twitter obviously cannot become a free-for-all hellscape, where anything can be said with no consequences! In addition to adhering to the laws of the land, our platform must be warm and welcoming to all, where you can choose your desired experience according to your preference, just as you can choose, for example, to see movies or play video games ranging from all ages to mature,” the tweet reads. Though Musk has previously said he hates advertising, he also changed his tune on that Thursday, saying that he wants “highly relevant” ads for users on the platform. “I also very much believe that advertising, when done right, can delight, entertain and inform you; it can show you a service or product or medical treatment that you never knew existed, but is right for you,” he said.

WARNER BROS announces massive cuts, layoffs and cancelled shows. It's much more than just Batgirl and a few employees. It expects to take $3.2 billion to $4.3 billion in pre-tax restructuring charges tied to its WarnerMedia acquisition, including writedowns related to content of between $2 billion to $2.5 billion! PLAYLIST 62 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 Warner Bros. Discovery to Take $2B-Plus Writedown on Content and Development Amid Restructuring https://www.hollywoodreporter.com/business/business-news/warner-bros-discovery-content-layoffs-restructuring-writedown-1235247712/ Woke Wipeout At WARNER BROS! Over $4 Billion Of Massive Layoffs, Cuts, Cancelled Movies & TV Shows! Warner Bros. Discovery’s restructuring costs are beginning to take shape. On Monday the company said in a securities filing that it expects to take $3.2 billion to $4.3 billion in pre-tax restructuring charges tied to its WarnerMedia acquisition, including writedowns related to content of between $2 billion to $2.5 billion. WBD has been engaged in what it has called a “global strategic review of content” since the WarnerMedia deal closed, canceling projects, nixing development and shelving unproductive library content. In its first quarter after the deal closed, it disclosed an $825 million writedown on content, and a substantially similar number is expected in in its Q3 report. Related Stories Chris Licht TV Layoffs to Hit CNN as CEO Chris Licht Tells Staff That Restructuring "Will Accelerate" Soon Inside the NBA renewals TV TNT's 'Inside the NBA' Team Locks in Long-Term Deals Among the projects scrapped were the nearly-completed Batgirl movie (which was developed for HBO Max), a Wonder Twins movie, and TV shows like Full Frontal with Samantha Bee. In addition to the high-profile content cancelations and abandoned development, the company has also been laying off employees on a rolling basis, with different departments seeing cuts in recent months. The Warner Bros. TV Group was impacted earlier this month. To that end, WBD says it expects organizational restructuring costs of between $800 million-$1.1 billion and facility consolidation and other contractual savings of between $400 million-$700 million. Critically, the WBD filing suggests that around 70 percent of that $3.2 billion-$4.3 billion figure has been taken since the acquisition, meaning that it is mostly done with its strategic review of the company’s business, though it adds that its write-down and restructuring efforts are “expected to be substantially completed by the end of 2024.” And the company also plans to save costs by merging its streaming services Discovery+ and HBO Max next year, which will enable the company to reduct the number of service providers it uses, and consolidate some technical costs. It will also consolidate office space, though specifics of its future footprint in New York (where it has offices in both Hudson Yards and Park Avenue South) remain to be seen. Monday’s filing is the clearest picture yet of the restructuring efforts being undertaken by the company, which originally promised $3 billion in cost savings from the merger. The $2 billion-plus content writedown is particularly eye-opening, and likely includes writedowns not just to the canceled and abandoned film and TV projects, but also WBD’s decision to remove some library programming from HBO Max. Of course, the company will also continue to spend $20 billion or so on content each year, though executives have told analysts that they expect to spend that money “smartly,” and to “drive for the highest level of financial discipline here to make sure that every dollar spent is purposeful and measured,” per CFO Gunnar Weidenfels. At a town hall last month, WBD CEO David Zaslav and other top executives acknowledged the “disruption” and “difficulty all media companies are facing” in the current environment, and also the “challenges” in integrating WarnerMedia and Discovery. However, he reiterated that the company is “absolutely not for sale,” and that it expects to be competitive as a pure-play content company with its current assets.