Tag Archives: Black Widow

Scarlett Johansson Black Widow Marvel Lawsuit: Disney CEO Speaks

The Black Widow lawsuit continues to rev up (sorry, not sorry).
Image: Marvel Studios

The covid-19 pandemic has gone a long way in forcing Hollywood to change the way it looks at movie releases, for good or ill—and how adapting to that change doesn’t always work out amicably. As Disney continues to try and settle its ongoing legal battle with Marvel’s Black Widow star Scarlett Johansson behind closed doors, however, CEO Bob Chapek has spoken about how the case shows how the studio, and industry at large, needs to adapt to the times.

Deadline reports that Chapek publicly addressed the situation with Johansson—who is suing Disney for an alleged breach of her contract regarding the simultaneous release of Black Widow earlier this year at theaters and as part of Disney+’s “Premier Access” service—during Goldman Sachs’ 30th annual Communacopia Conference. But while Chapek wouldn’t directly name Johansson or even her lawsuit (one that, after disparaging it as a move trying to take advantage of a poor studio worth $122.18 billion during a global pandemic, the studio is now looking to settle privately), the CEO did acknowledge that the last few years have changed the way studios should be approaching deals with talent.

“We’re in a moment of time where films were envisioned under one understanding about what the world would be, because frankly it hadn’t changed much,” Chapek said. “Remember, those films were made three or four years ago; those deals were cut three or four years ago. Then they get launched in the middle of a global pandemic where that pandemic itself is accelerating a second dynamic, which is this changing consumer behavior. So we’re sort of putting a square peg in a round hole right now where we’ve got a deal conceived under a certain set of conditions, that actually results in a movie that is being released in a completely different set of conditions.”

Chapek’s right in that it goes beyond the impact the pandemic has had on Hollywood and the theater industry to show the pace at which moviemaking has changed—it’s not just hybrid releases that have come along, but the platforms those releases are happening on in the first place as well. Four years ago services like Disney+, HBO Max, Apple TV+, and Paramount+ were still all big ideas in the works, let alone services that would suddenly become the major debut platforms for tentpole blockbusters for the studios behind them. The move toward studio-owned streaming and the desire for audiences to stay at home to limit the spread of a deadly virus created a one-two punch that not even a force like the House of Mouse could’ve predicted and prepared for when deals for movies like Black Widow were first being drawn up.

But that’s only an excuse in that no one, Disney or otherwise, could’ve seen the state of 2020-2021 coming. It doesn’t excuse the way Disney went about first trying to address Johansson’s grievances, nor does it address what the studio’s going to be doing going forward in this new normal. But Chapek at least paid lip service to what should probably be a basic concept for Disney at this point: it should be doing right by the people who work for it. “Ultimately, we’ll think about that as we do our future talent deals and plan for that and make sure that’s incorporated. But right now we have this sort of middle position, where we’re trying to do right by the talent, I think the talent is trying to do right by us, and we’re just figuring out our way to bridge the gap,” Chapek concluded. “Ultimately we believe our talent is our most important asset, and we’ll continue to believe that, and as we always have, we’ll compensate them fairly per the terms of the contract that they agreed to us with.”

I’d say maybe don’t say that your aggrieved movie stars have a “callous disregard” for the times in which we live is a good starting point for believing those stars are your most important asset, but then again, I’m not worth $122.18 billion, so what do I know.


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Disney releasing remainder of 2021 films in theaters only

Disney on Friday announced that it would be releasing the remainder of its 2021 films exclusively in theaters for an extended period before eventually making them available on Disney+ following the box office success of recent films despite the coronavirus pandemic. 

The company’s media and entertainment division announced the move in a press release, revealing that each of its five upcoming movies will have a minimum 45-day exclusive theatrical release before being offered via streaming to subscribers. 

The upcoming films include the November release of Marvel’s “Eternals,” which follows a group of immortal beings with superhuman powers, as well as the long-anticipated remake of the classic musical “West Side Story,” which is scheduled for a December premiere. 

The news follows reports that the latest Marvel film, “Shang-Chi and the Legend of the Ten Rings,” brought in an estimated $94.7 million in ticket sales at U.S. and Canadian theaters over Labor Day weekend, setting a new record for a September holiday opening weekend, according to Reuters. 

The film was released exclusively in theaters for a 45-day run before it will be added to Disney+, a shift from the simultaneous release of “Black Widow” in theaters and through the streaming platform’s Premier Access. 

The dual release prompted a lawsuit from the film’s star, Scarlett Johansson, who argued that the move was in violation of her contract, which set her salary based exclusively on the movie’s box-office performance. 

Kareem Daniel, chairman of Disney Media & Entertainment Distribution, said in a statement Friday, “Following the tremendous box office success of our summer films which included five of the top eight domestic releases of the year, we are excited to update our theatrical plans for the remainder of 2021.” 

“As confidence in moviegoing continues to improve, we look forward to entertaining audiences in theaters, while maintaining the flexibility to give our Disney+ subscribers the gift of ‘Encanto’ this holiday season,” he added, referring to the animated film that will be added to Disney+ on Christmas Eve following an exclusive 30-day run in theaters. 

While movie theater attendance largely remains below pre-pandemic levels, more people have been heading back to in-person showings even amid surges in the highly contagious delta variant. 

AMC announced this week that Labor Day weekend marked “the first time since the beginning of COVID that attendance during a weekend in 2021 exceeded the same weekend in 2019.” 

The movie theater chain also said that it broke its admissions revenue record over the holiday weekend.



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Kevin Feige on Shang-Chi controversy, Scarlett Johansson lawsuit

Kevin Feige
Photo: Rich Fury (Getty Images)

Marvel has had an uncharacteristically tricky summer. After leaving the world with Avengers: Endgame and Spider-Man: Far From Home, it was safe to assume that their place at the top of the blockbuster entertainment heap was secure. But roughly a month after the release of their first big-screen release since Spider-Man nearly two years ago, the multi-verse is spiraling out of control. First, Scarlett Johansson sued the powerhouse for simultaneously releasing her first solo outing Black Widow in theaters and on Disney+. Then, weeks later, Disney CEO Bob Chapek referred to the upcoming Shang-Chi And The Legend Of The Ten Rings as an “interesting experiment.” Although Chapek was talking about giving Shang-Chi a 45-day exclusive theatrical release, many, including the film’s star Simu Liu, interpreted his comments as a derogatory remark about the film’s predominantly Asian cast.

Since the news of the lawsuit and Chapek’s comments broke, we’ve heard very little from Marvel Studios boss Kevin Feige, the ringleader of the MCU. However, at the premiere of Shang-Chi, Feige attempted to put out the fires.

“He is not a shy man,” Feige said about Liu’s tweet. “I think in that particular tweet you can see, and I think everyone does, a misunderstanding. It was not the intention. The proof is in the movie and we swing for the fences as we always do. With the amount of creative energy we put in and the budget, there’s no expense spared to bring this origin story to the screen.”

Over the weekend, Liu tweeted in response to Chapek, “We are not an experiment. We are the underdog; the underestimated. We are the ceiling-breakers. We are the celebration of culture and joy that will persevere after an embattled year. We are the surprise. I’m fired the f**k up to make history on September 3rd; JOIN US.”

At this point, Feige is doing damage control, understandably trying to keep attention off of this controversy and on the film he’s releasing. Anyway, Feige’s two-stepping around controversy continued as he said he’s “all for amicable solutions” when it came to the ScarJo suit. Giving a milquetoast soundbite is Feige’s superpower.

[via The Hollywood Reporter]



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Black Widow Box Office Decline: Theater Owners Blast Disney

Melina, Narasha, and Yelena hearing the news.
Image: Disney+/Marvel

Though Marvel Studios’ Black Widow was at the top of the box office when it premiered simultaneously in theaters and on Disney+ (with “Premiere Access”), it fell to the second spot this past weekend as Warner Bros.’ overstuffed Space Jam spiritual successor took the lead.

While Black Widow’s initial $80 million domestic theatrical box office was nothing to sneeze at by covid-19 pandemic-era standards, the movie made just $26.3 million the following weekend—a steep drop that has many theater owners apoplectic. In response to Black Widow’s second weekend box office drop, the National Association of Theater Owners (NATO) released a public statement detailing the organization’s concerns about the movie’s “stunning collapse” and how Disney+’s Premiere Access stunts revenue by depressing theater turnout.

“Why did such a well-made, well-received, highly anticipated movie underperform,” NATO rhetorically pondered in the incendiary statement. “Despite assertions that this pandemic-era improvised release strategy was a success for Disney and the simultaneous release model, it demonstrates that an exclusive theatrical release means more revenue for all stakeholders in every cycle of the movie’s life.”

Along with Black Widow’s $80 million box office, Disney also proudly touted the $60 million the movie initially made from Disney+, where subscribers could purchase access to the movie for $30 day-and-date with its theatrical debut. NATO was careful to point out in its statement that Disney has to cede a percentage of its Premiere Access revenue to the various other platforms where Disney+ is made available. But the larger issue NATO sees with Disney’s Black Widow releasing strategy is how immediate Disney+ access both encourages piracy and cuts into box offices sales that might have otherwise come from repeat theatergoers who tend to flock to theaters for Marvel tentpoles. For all of Black Widow’s Premiere Access success, NATO insisted, there are questions left about how much more money the movie could have made in a world where people don’t share login passwords.

“Combined with the lost theatrical revenue and forgone traditional PVOD revenue, the answer to these questions will show that simultaneous release costs Disney money in revenue per viewer over the life of the film,” NATO said. “Piracy no doubt further affected Black Widow’s performance, and will affect its future performance in international markets where it has yet to open.”

From NATO’s perspective, Disney’s strategy with Disney+ should be considered “a pandemic-era artifact that should be left to history with the pandemic itself.” What’s important to bear in mind is that while we may want to think of the pandemic as history, it is still ongoing and affecting people on a daily basis. At the same time that theaters are re-opening and film studios are getting back to reporting box office numbers as if things are back to normal, covid-19 cases are once again on the rise in the U.S. as the delta variant of the virus has begun to spread. According to the Hollywood Reporter, Disney declined to respond to NATO’s statement, but the studio has undoubtedly heard concerns like this before, and this won’t be the last of them. What Disney and the other major Hollywood studios are going to have to do going forward is weigh those concerns against its their financial interests, while also being cognizant of the fact that this is exactly the kind of response that tends to come from major tectonic shifts in the market.

Black Widow is now in theaters and streaming on Disney+ with Premiere Access.


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Black Widow/Falcon and Winter Soldier Link: One Covid Change

Natasha Romanoff, on the hunt for Mephisto. Maybe.
Image: Marvel Studios

Marvel gets a lot of credit—perhaps too much credit—for the idea that its cinematic universe is meticulously laid out years in advance, a grand plan that we and it alike are pulled along with as if by inevitability more so than the planning power of a studio worth billions of dollars. But given the last 18 months and counting that the world has had, surely some of that planning has been put askew? Only a tiny bit, apparently, according to Kevin Feige.

Speaking to On The Red Carpet for the premiere of Black Widow—a film that was originally meant to kick off Marvel’s “Phase 4” plans before the pandemic saw it delayed multiple times—Feige discussed Marvel Studio’s general reaction to the impact covid-19 has had on its rollout. Beyond Black Widow, films like The Eternals and Shang-Chi have been pushed back along with the rest of Disney’s calendar for the next year or two, but the company has managed to leverage the arrival of its Disney+ shows—WandaVision, Falcon and the Winter Soldier, and the currently ongoing Loki, all of which Widow was meant to release ahead of—to fill the gap between its movie releases.

But that’s relatively minor shuffling, all things considered. It’s only really Widow’s delayed release that’s largely changed what we knew to expect out of Marvel’s post-Endgame catalogue so far, and according to Feige, all that’s largely impacted is the early reveal of one connection between the movie and the Disney+ shows. “There’s also an Easter egg that originally was going to appear first in Black Widow, and then show up in Falcon and the Winter Soldier, and because of the pandemic—it’s the only thing within our Phase 4 that was twisted a little bit,” Feige explained. “So for fans that watched Falcon and the Winter Soldier, there’s something waiting for them as an Easter egg in this film.”

That Easter egg had already been reported by Vanity Fair to have been the arrival of Julia Louis-Dreyfus’ Valentina Allegra de Fontaine. She’s a character from the comics with links to a whole Rolodex’s worth of the publisher’s spy-fi secret organizations—from SHIELD to Hydra (she was, for a time, the owner of the Madame Hydra mantle), to perhaps most likely connected to Black Widow itself, the former Soviet spy cell Leviathan (which previously appeared in Agent Carter). Given that de Fontaine’s plans are still relatively nebulous to us as an audience, outside of the fact that we know she’s teamed up with Wyatt Russell’s John Walker, aka the U.S. Agent, in the present, meeting her in Falcon before Widow likely doesn’t have all that much of an impact. Perhaps the fact that Feige claims it’s the only major reshuffle in the studio’s plans for Phase 4 makes it all the more impressive.


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Marvel’s Avengers, Six Months Later

Screenshot: Crystal Dynamics / Square Enix

Marvel’s Avengers was as plagued by buzz as it was inertia. Before the game released, it was defined by a chaotic din of muddy messaging, sky-high expectations, and that little thing called the Marvel Cinematic Universe. After launch, the conversation shifted: Would it become another success like Destiny, go the disappointing way of Anthem, or land somewhere in the middle? Six months later, here’s where things stand.

  • In 2017, Square Enix announced a partnership with Marvel to make games based on Marvel franchises. Crystal Dynamics, hot off the Tomb Raider reboots, would lead development on a game based on Marvel’s enormously popular Avengers franchise. Eidos Montreal (Deus Ex: Mankind Divided) would pitch in.
  • Crystal Dynamics pulled back the curtain on Marvel’s Avengers at Square Enix’s E3 2019 presentation, announcing a release date of May 15, 2020.
  • About that demo. Fans noticed that something was…off. The five playable characters—Black Widow, Thor, The Hulk, Iron-Man, and Cap—bore a remarkable resemblance to their on-screen counterparts in the Marvel Cinematic Universe, and even bantered like a bunch of Hollywood Chrises. It seemed a bit like Crystal Dynamics was trying to copy a facsimile of a fictional universe that already existed. Also, where was Hawkeye?

No, that’s not Chris Evans.
Screenshot: Crystal Dynamics / Square Enix

  • At the 2019 New York Comic Con, Crystal Dynamics revealed that Kamala Khan (whom you may know as Ms. Marvel) would be the sixth playable character in Marvel’s Avengers. She’d turn out to be the driving force of the game’s narrative.
  • Throughout much of 2019, it was clear that Marvel’s Avengers would be a single-player game with cooperative elements, and that it would have games-as-a-service elements, a la Destiny. The E3 presentation sure looked neat. But it wasn’t clear how, exactly, all the disparate parts would come together. A late-October video put things in startling clarity. Bring on that loot grind, baby!
  • Two weeks into 2020, Square Enix delayed the game to September 4.
  • As cities across the nation made moves to (finally) remove Confederate monuments, the official Marvel’s Avengers Twitter account posted a brief ad spot showing a defaced Captain America statue, flanked by drones flashing some very police-looking lights. The account quickly deleted the tweet and posted an apology.
  • Ah, there’s Hawkeye! In July 2020, Crystal Dynamics revealed that Clint Barton, a.k.a. The Guy Who Totally Bailed On Infinity War, would be the first DLC hero for Marvel’s Avengers. A week later, Crystal Dynamics announced that Spider-Man would also join the roster—but only for the PlayStation version. Oh, yeah, and he’d be free. Console-exclusive DLC, folks: It sucks. It also doesn’t make any sense.
  • Throughout August 2020, Crystal Dynamics held a series of open betas. Kotaku’s Mike Fahey gave the game a spin, but came away unimpressed, not quite inspired by the same-old-same-old combat and repetitive mission structure. Zipping around as Ms. Marvel and Iron-Man was pretty cool, though.
  • Right before the game launched, one enterprising individual superimposed the actual faces of MCU actors onto the in-game models of Marvel’s Avengers. (Warning: Don’t click that link if you don’t want nightmares of the uncanny valley.)
  • A third post-launch character! Crystal Dynamics announced that Kate Bishop, rather than Hawkeye, would be the game’s first post-launch hero. No hard feelings between mentor and mentee, right?

Like her mentor, Hawkeye, Kate Bishop wields a bow with Legolas-like accuracy.
Screenshot: Crystal Dynamics / Square Enix

  • During a pre-launch stream, Crystal Dynamics hinted that Black Panther would also join the Marvel’s Avengers roster at some point. Following the tragic death of Chadwick Boseman, who portrayed the hero in the films, Crystal Dynamics altered the initial plans for that stream.
  • Marvel’s Avengers officially released on September 4, 2020, but those who picked up the deluxe edition were able to play on September 1. With his hands on the full game, Kotaku’s Mike Fahey found himself more impressed than he was with the beta, chiefly because the game’s story missions—anchored by a scene-stealing Ms. Marvel—were creative, engaging, and a true delight for any longtime Marvel fan.
  • The spectre of microtransactions, which have infringed on basically every live game to some degree, didn’t turn out nearly as intrusive as prospective players feared.
  • The other big cloud hanging over Marvel’s Avengers before launch: “How bad is the grind?” That, too, didn’t turn out nearly as bad as many expected. Of course, with all of the various in-game currencies and level-up gauges, some level of watching-numbers-go-up was to be expected. But the campaign was, surprisingly, the focus, and you could play Marvel’s Avengers as a one-off single-player game. The grind was there—but only if you wanted it. What a pleasant surprise.
  • Of course, those who wanted the grind quickly stumbled upon issues. Less than a week after launch, players in the endgame noticed that loot drops at the end of certain high-level missions sometimes dropped low-level gear or, worse, no gear at all—despite the fact that those same missions stood the chance of dropping top-tier gear. Crystal Dynamics acknowledged the issue about the loot drops and announced a fix, but noted that the highest-level items were dropping “as intended.”
  • Marvel’s Avengers isn’t based on or even related to the Avengers movies. Easter eggs are fair game, though. In one of the game’s multiple hubs (more on that irksome design choice in a bit), players discovered a neat reference to Avengers: Age of Ultron. Who’s worthy now?

Though he was featured in the game’s marketing, Thor played a minor role in the campaign, not showing up until the back half.
Screenshot: Crystal Dynamics / Square Enix

  • The game was plagued with a raft of small issues, from poorly balanced combat to the occasional infinite load screen, but few things bugged players more than the computer-controlled teammates. Among other errs, AI Hulk, Cap, and co. would attack enemies when you needed a revive and would neglect to attack enemies when you were absolutely still alive. Earth’s Mightiest Heroes? Sure. Earth’s Smartest Heroes? No way.
  • Crystal Dynamics dropped the first major patch for Marvel’s Avengers on a Friday evening in the middle of September. It addressed a bunch of those aforementioned small issues but did not change any of the more fundamental issues (specifically, a dearth of new content or engaging endgame activities).
  • Then, crickets, for a while. As players maxed out rosters and endlessly replayed the endlessly replayable missions, enthusiasm for the game waned. In early October, more than a month after launch, the Steam playbase dipped below 2,000. Crystal Dynamics told Kotaku that the game would become exciting again, citing the then-upcoming releases of Kate Bishop, Hawkeye, and new mission types as examples of content coming to the content-starved game. Meanwhile, the most fun we were having by then was in an in-game chair. 
  • In mid-October, Crystal Dynamics dropped a second large patch. Much like the first one, it consisted almost entirely of quality-of-life tweaks. There was one big addition, though, with the inclusion of a new hub: the S.H.I.E.L.D. Substation. Beyond that, the patch also made it so factions weren’t relegated to specific hubs. (Prior to the update, if you wanted to collect one faction’s bounty, you’d have to load into one hub, collect all your assignments, load into the other hub, collect those assignments, and so on. The update made it so you could do all that busywork in one place. Sweet relief.)
  • In October 2020, Crystal Dynamics delayed the Kate Bishop DLC from that month to an unspecified date. Further, the next-gen versions of the game, which were planned to launch alongside the PlayStation 5 and Xbox Series X/S in November, were pushed into 2021. Crystal Dynamics cited difficulties with a work-from-home framework as a reason for the delay.
  • The Kate Bishop launched in early December with an Operation—that’s Marvel’s Avengers-speak for “main mission”—called, unforgivably, “Taking A.I.M.” The expansion was quite fun, at least for a little, thanks to an engaging, if brief, storyline and the sheer awesomeness of Kate’s powers.
  • It took months, but, in December, Crystal Dynamics made it so Captain America could use his shield to refract Iron-Man’s laserbeam.
  • Iron-Man received a suit that makes him look like a dead-eyed bug. It’s purely cosmetic—and just as terrifying as it is hilarious.

And there’s where things are at. Marvel’s Avengers no doubt generated more excitement in the weeks before it released than in the weeks after, but it’s not down for the count. On March 18, the Hawkeye DLC—which looks utterly bonkers—will come out, along with those next-gen versions. Consider, too, that there are more Marvel superheroes than grains of sand on Earth. That’s a bottomless well to draw on, and could serve as the basis for one seriously heroic comeback.

But these superhero stories always have a big bad, and for Avengers, it’s not M.O.D.O.K. or Thanos or some other purple-faced giant thumb. It’s the grind. When that Hawkeye expansion hits, the game’s grind will receive a major overhaul, switching from a linear experience-point system to an exponential one. It’ll kick in for all characters “around level 25”—the halfway point—which essentially does nothing but add more grind to the game. Crystal Dynamics explained the change by saying it could help “new players” acclimate to the game’s skill system. Now, all the game needs is those new players.

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