Tag Archives: the Oscars

D23 Expo reimainging, sequel, Pixar, and more news roundup

All the Disney princesses
Photo: Olga Thompson (Walt Disney World Resort via Getty Images)

Now that another Disney+ Day has come and gone, we can get on to the meat of Disney’s big weekend: The D23 Expo, where the greatest fans in the world can get a look at the stuff they’ve already seen before but now reimagined.

Kicking off the day was Cynthia Orivio, our new Blue Fairy, who reminded the audience that there was a new version of Pinnochio currently being memory-holed on Disney+. Continuing the theme that these sorts of things were now the order of the day, Disney Studios chairman Alan Bergman took the stage to remind us that these reimaginings, such as The Lion King, Beauty And The Beast, Cinderella, and Cruella, were “iconic.” We assume he meant that the movies use “iconic imagery,” but regardless, more of these iconic reimaginings and sequels are coming down the pike.

Bergman then brought Walt Disney Studios president Sean Bailey out to take us through the upcoming ways they’re reviving old brands.

Don’t worry: Hocus Pocus 2 and Disenchanted are still coming

First up were the sequels. Hocus Pocus 2 debuts later this month, and since we already shared the trailer, we’ll move on to the other big sequel announcement: Disenchanted. Don’t get it twisted with Matt Groening’s Netflix comedy Disenchantment. This is a sequel to the wonderful Amy Adams comedy Enchanted from 2007. The whole cast is back, including Adams, Patrick Dempsey, Adele Dazeem Idina Menzel, and James Marsden. They’ve upped the ante by adding a Maya Rudolph, too. And now, there’s a trailer.

Disenchanted lands on Disney+ on November 24, 2022.

Disenchanted | Official Trailer | Disney+

Reimagining the past is Disney’s future

The presentation was done round-robin style, with Bailey shuffling VIPs on stage for about five minutes, playing a clip, and then shuffling them off. So next up, Jude Law and the cast of Peter Pan & Wendy took the stage.

Directed by David Lowery, who directed one of the best films of 2021, The Green Knight, and Disney’s delightful remake of Pete’s Dragon, Peter Pan seems a bit more stylish than the other movies announced today. It’s still filled with nostalgic images pulled straight from the Disney vault, but also a distinct visual style, location shooting, and a fish-eye lens that won’t quit. So how will this differ from literally every other revisionist Peter Pans from the last 20 years? Those got theatrical releases.

Our new Captain Hook, Jude Law, said that this version gets into the “backstory a little more” when Peter and Hook “were once friends.” But, again, it remains to be seen how this one will differentiate itself from the numerous other Peter Pans.

Perhaps the trickiest aspect of the movie is Tiger Lily, a character that hasn’t been treated with much respect by Disney in the past. Nevertheless, newcomer Alyssa Wapanatâhk said she was very “excited to have the honor” of playing Tiger Lily. “To be able to tell the story for her, that was phenomenal for me.”

Peter Pan & Wendy [sigh] hits Disney+ next year.


After pushing Peter Pan back to Neverland, Sean Bailey introduced the trailer of The Haunted Mansion and announced that Winona Rider was joining the cast. Director (and former Disneyland employee) Justin Simin also mentioned that “according to TikTok,” Jared Leto is playing the Hatbox Ghost. We await the horror stories from his fellow castmates about how hard he tried to fit into a hatbox for the role. But really, this one is for the real Hatbox heads.

“That script was funny and filled with interesting characters, but it had a little bit of like a dark edge to it,” Simin told the crowd at D23. “I just really related to it. I felt like I knew how to make it. I felt like I understood New Orleans. And, of course, I’m a fanboy. So I felt like I understood the ride, and I felt like I got a responsibility here to make sure all the little details, all the Easter eggs are there because I’m a nerd for real.”


Bailey brought out Oscar-winner Barry Jenkins for a sneak peek of Mufasa: The Lion King. Jon Favreau’s The Lion King made over a billion dollars, so that means people liked it. However, the “live action” animation in Mufasa probably won’t convert anyone turned off by the last trip to Pride Lands. Still, then again, Barry Jenkins is very good at making movies. Here’s what Barry Jenkins said about the film:

Mufasa is the origin story of one of the greatest beings in the history of the alliance. Mufasa, all caps. It’s a story told in a few different time frames. Rafiki, Timon, and Pumbaa, who we all know and love, are relating the story of Mufasa and how he came to a very beautiful, awesome, fantastic young cub. It’s a story about how Mufasa rose to royalty. We assume he was just born into his lineage. But Mufasa was actually an orphaned cub, who had to navigate the world alone. And in telling this story, we get to experience the real journey of how Mufasa found his place and the circle of life. It is pretty awesome.

I felt I had to make this movie because when I was 14, I was helping raise two nephews. And there was a VHS tape that we watched maybe 95 times in the span of 20 days. So I really knew this character. I loved him. But then as I was reading this wonderful script, I was thinking about Mufasa and why he’s great and how people become great. And it’s crazy. I am not a king, but when I make my movies, I was on stage at the Oscars with Moonlight, and I was there and five of my best friends from college were also there. And what you are learning the story is that Mufasa is who he is. He is great because of the family and the friends he has with them. And so I saw myself in that. I thought, this is a really beautiful story to tell.


For Marc Webb’s Snow White, Gal Gadot and Rachel Zegler took the stage to show some footage. There are no dwarves yet—and seeing as they were cut from the title, who knows what their role will be. Thus far, it looks similar to the other remakes, recreating the look of the animated classic. But we’ll need to see Dopey to know how scary this thing is going to look.

Similarly, Rob Marshall invited Halley Bailey on stage to show off The Little Mermaid teaser and a clip of “Part Of Your World.” It doesn’t look like all the effects are done yet, but right now, it’s reminiscent of Avatar and the “merman” commercial from Zoolander. On the other hand, Marshall did promise four new songs from Alan Menkin and Lin Manuel Miranda, so that’s something.

Pixar on Disney+

The director of The Good Dinosaur, Peter Sohn, is back, and he brought some clips and concept art for the next Pixar movie Elemental. Sohn described the film as “very personal” and that the germ of the idea came from his parents. “We immigrated to the U.S. from Korea in the early seventies,” Sohn said. “They had no money, no family, no English. But they managed to create a life in New York.”

Similarly, Elemental files a “fire family” assimilating in Element City, “where Earth, air, water, and fire are characters in our community.


More Pixar is coming in 2023 as we got a little more information on Win Or Lose, the studio’s first television series. The show stars Will Forte as the coach of a ragtag little league baseball team, the Pickles, and the week leading up to their big game. Each episode will focus on a different character’s perspective, allowing for various animation styles.

Pixar also announced two new features Elio and Inside Out 2, which we wrote about here.

Wait! Disney also has some cartoons to share

Disney Animation Studios will not be outdone. Today, they showed clips of their upcoming series Zootopia+ and Iwájú.

Zootopia+ is a six-part series that, like Win Or Lose, focuses on a different character and genre in each episode with various animation styles—some of which look really cool and others like Pixar.

On the other hand, Iwájú is a downright historic collaboration between Disney and an outside animation studio. Jennifer Lee, the Chief creative officer of Walt Disney Animation Studios, retold the story of how she had read about a Nigerian animation studio that was going to take down Disney. So she did like many Disney execs before her and bought the competition.

With the team from Kugali, Disney will premiere the futuristic sci-fi series Iwájú next year.

Finally, Lee brought out the cast from their upcoming 61st animated feature, Strange World. Jake Gyllenhaal, Dennis Quaid, Jaboukie Young-White, and Lucy Liu star in an outer space adventure about a dysfunctional group of explorers. This one comes out on November 23.

Strange World | Teaser Trailer | Walt Disney Animation Studios

“Our film is inspired by some of the great adventure stories that we grew up with,” said co-director Don Hall. “Specifically stories about a group of explorers that stumble upon a hidden world.”

What are we most excited to discover? Jaboukie Young-White’s character, Ethan Clave, which Young-White described as “the vibe master” who makes “the vibe great.”

And that’s everything from the D23 Expo Disney Animation Studios and Pixar presentation. Check back tomorrow when Disney tries to bury us under a mountain of Star Wars and Marvel announcements.

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Denzel talks about consoling Will Smith at Oscars

Denzel Washington
Photo: Kevin Winter (Getty Images)

Amidst the chaos that ensued at the Oscars on Sunday night—after-you-know-who abruptly took the stage to you-know-what you-know-whom straight in the face—one of the most calming presences in the Dolby Theater appears to have been Denzel Washington. The veteran actor was one of a few A-listers who joined ostensible Best Actor rival Will Smith in the aftermath of his altercation with comedian Chris Rock; his influence was soothing enough that Smith thanked him during his tearful acceptance speech a few minutes later, saying that Washington had told him, “At your highest moment, be careful, that’s when the devil comes for you.”

Now Washington has gone into a bit more detail about the devil and what went down that night, talking with pastor T.D. Jakes at Jakes’ Leadership Summit this weekend, and revealing that he, Smith, and Tyler Perry had prayed together during the stop-down after the slap. Describing the evening, Washington told Jakes, “There’s a saying: When the devil ignores you, then you know you’re doing something wrong. The devil goes, ‘Oh, no, leave him at home.’ My favorite. Conversely, when the devil comes at you, maybe it’s because you’re trying to do something, right. And for whatever reason, the devil got ahold of the circumstance that night.”

Washington declined to say what, exactly, the three men prayed about. But, “There but for the grace of God, go any of us. Who are we to condemn? I don’t know all the ins and outs of the situation, but I know the only solution was prayer.” (Also: A meaningful, shoulder-touching conversation with Bradley Cooper, who was also one of a handful of people who talked to Smith immediately after the slap.)

Fallout from the incident continues to develop; Smith resigned from The Academy last night, meaning he’ll no longer be eligible for Oscars voting going forward. (He also almost certainly won’t be asked back for the traditional job of handing out the Best Actress award next year.) While accepting his resignation, Academy president Dave Rubin noted that Smith will still be subject to disciplinary proceedings from the body later this month.

[via Variety]

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Potential EGOT winner Lin-Manuel Miranda forced to skip the Oscars

Lin-Manuel Miranda
Photo: Neilson Barnard (Getty Images)

Tomorrow night’s Oscars ceremony will be the second time—after the 2016 show, where his “How Far I’ll Go,” from Moana, got beat out for Best Original Song by La La Land’s “City Of Stars”—that Lin-Manuel Miranda has been up for an Oscar. (Specifically, his Encanto song “Dos Oruguitas” is up for the same award.) (And, yes, if it was us, we would have picked “We Don’t Talk About Bruno” or “Surface Pressure” instead, but ballads gonna ballad at The Oscars.)

All of which means that this is also the second time that Hamilton creator Miranda will be up for the unofficial, but much-coveted, EGOT, having already secured the E, G, and T in 2014, 2009, and 2008, respectively. (He’s won one or more of each award since, too.) Unfortunately, it now sounds like Miranda won’t be there to accept the award (or flash podcast-specific secret signals in the process) on Sunday night, announcing today that he’ll be skipping the event because his wife, Vanessa Nadal, has been diagnosed with COVID-19.

On the positive side, Miranda announced that neither he, nor his kids, have been diagnosed with the disease, and that his wife is feeling fine. Even so, caution has to win out: Miranda made it clear that he won’t be attending the Big Show, wishing love and luck to both his Encanto and Tick, Tick…Boom collaborators.

If he wins, Miranda will (in absentia) become the 17th person to accomplish the EGOT hat-trick-plus-one. Not that there’s shame in merely being an EGT winner, either; Miranda currently shares the distinction with the likes of James Earl Jones, Lily Tomlin, Dick Van Dyke, and the South Park guys, among others.

The Oscars will kick off at 7 p.m. Central on Sunday night, March 27th. The Academy announced new COVID protocols earlier this week, after a spike of cases was seen in the aftermath of the U.K.’s BAFTA awards.



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Knives Out 2 is Expected to Release in Late 2022

Image: Lionsgate

Back in 2019, Rian Johnson released Knives Out, a pretty good murder mystery starring Daniel Craig as the charmingly strange detective Benoit Blanc and a murder’s row of suspects, including Chris Evans, Ana de Armas, and the late Christopher Plummer in one of his final roles. Johnson’s film went on to become a smash critical and box office hit at $311.4 million. With his Star Wars tenure in seemingly in production purgatory for the forseeable future, Johnson had time to craft a new case for Benoit to solve. Now, the anticipated sequel—the first of two, remember— finally has a release window.

Variety broke the news on Friday, claiming that Knives Out 2 is expected to land towards the end of 2022 both on Netflix and in theaters. Before its release, release, it’s believed the film will appear during the end of year festival circuit, though which ones are currently unclear. Considering the first one was nominated for several awards, including Best Original Screenplay at the Oscars and Best Musical or Comedy at the Golden Globes, it makes sense that Netflix would try to push the sequel in the hopes it’ll net some awards. (Netflix will certainly make an effort this year, hence films like Don’t Look Up and Tick, Tick…Boom!)

Details on Knives Out 2 have been extremely quiet. All that’s known is that Craig is back as Blanc (maybe not his accent, though?), and Johnson’s been assembling a pretty stacked cast for the Southern detective to investigate and form a rapport with. The cast currently includes heavy hitters such as Jessica Henwick, Kathryn Hahn, Ethan Hawke, Dave Bautista, and Janelle Monae. Production on the film began in June and wrapped back in September.

With a late 2022 window now revealed, here’s hoping that we get some more info, and a trailer, on Knives Out 2 soon.


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Amazon’s coming-of-age dramedy peaks early

Andrew Scott and Lily James star in The Pursuit Of Love
Photo: Robert Vigalsky/Amazon Studios

The Favourite did what Sofia Coppola’s Marie Antoinette failed to do—inspire a revolution in period piece aesthetics. Since Yorgos Lanthimos’ oddball royal court dramedy swept the Oscars, Apple TV+’s Dickinson, Hulu’s The Great, Autumn de Wilde’s Emma, and Greta Gerwig’s Little Women have all found success in injecting contemporary style and a modern sensibility into the standard historical drama template. And for its first episode, at least, Amazon Prime Video’s interwar drama The Pursuit Of Love follows suit. When young British cousins Linda Radlett (Lily James) and Fanny Logan (Emily Beecham) meet their neighbor Lord Merlin (Fleabag’s Andrew Scott), the eccentric aristocrat is introduced in a fantasy sequence that channels ballroom culture by way of glam rock. Set to T. Rex’s “Dandy In The Underworld,” the glitter-filled scene filters a late 1920s experience through a distinctly modern visual language in order to make this meeting of minds feel as alive as it would have to its characters. It’s an exhilarating mix of style and substance.

It’s just a shame the rest of the show can’t keep up that level of verve. After the premiere launches the series with visual flair and a unique point of view, the next two episodes slowly devolve into more standard period piece fare. Despite its initial promise of quirky innovation, The Pursuit Of Love is mostly anchored by the familiar building blocks of a BBC co-production: sumptuous costuming, gorgeous cinematography, and strong performances. Based on Nancy Mitford’s 1945 novel of the same name, the show can only intermittently keep its spark of originality alive. The Pursuit Of Love often struggles to blend its kitschy comedic sensibilities with its more dramatic beats—although it’s a joy to watch when it does.

Set between 1927 and 1941, The Pursuit Of Love centers on the divergent experiences of its two female leads. Plain, pragmatic Fanny (Beecham) was given a good education but has a natural timidity and a desire not to rock the boat that sets her on the path towards a conventional life of mid-20th-century womanhood. Linda (James), meanwhile, is a beautiful, free-spirited rebel who “lives in a world of superlatives.” Her stern father (Dominic West, hilarious and terrifying) believes women shouldn’t be educated and raises his children in what amounts to a glamorous prison at their wealthy country estate. That leaves Linda both woefully naïve and desperate to escape, which sets her on a series of complicated romantic entanglements that come to define her tragicomic life. Love may be her religion, but she’s worshipping at a fickle altar.

The three-episode series is adapted and directed by Emily Mortimer, who also has a small role as Fanny’s mother “The Bolter,” the responsibility-averse serial monogamist that Fanny and Linda define their lives against. Mortimer zeroes in on the “either/or” limitations put on upper class women in this era: They can be dutiful wives and mothers with social respectability but not a whole lot of fun or freedom (“the stickers”). Or they can put their own needs before that of their spouses and children, carving out a sense of independence but losing their social respect in the process (“the bolters”). Fanny and Linda’s friendship is defined by the way they alternately fear and crave what the other has. As in her previous series, Doll & Em, Mortimer is interested in complex relationships between women. Linda and Fanny share both an aspirational intimacy and a toxic co-dependency, which Mortimer allows to ebb and flow in realistic and compelling ways.

The main problem with The Pursuit Of Love is that it very much feels like a novel condensed into a limited series form—not least of all because of Fanny’s near-incessant narration throughout the series. The focused first episode gives way to a jam-packed second installment that weaves its way across England before hopping to 1930s Hollywood, a refugee camp at the border of the Spanish War, and eventually Gay Paree. The supporting characters are thinly sketched, while the relationship between Fanny and Linda battles for screen time with Linda’s various romantic conquests. The Pursuit Of Love either needed more episodes to explore its decade-long story or Mortimer needed to be a little more judicious in what she cut from the source material.

It doesn’t help that Linda is like a cross between Downton Abbey’s Lady Rose and Mamma Mia! Here We Go Again’s Donna Sheridan, with a dash of War And Peace’s Natasha Rostova. This isn’t just a part James could play in her sleep, but one she basically already has. Though James effortlessly zings between flirtatious fun and deep melancholy, she’s missing a spark of freshness as this “Bright Young Thing,” especially when she has to spend the entire first episode playing a teenager. It’s yet another element of familiarity that weighs down The Pursuit Of Love. While the show’s focus on female friendship and feminist themes is appreciable, it’s not all that radical to see a British period piece center on relationships between beautiful, upper class white women—as much of James’ own career can attest.

Instead, the most relevant themes that emerge from The Pursuit Of Love are about what it’s like to live at a time when it feels like the world is about to end. With war in Europe imminent, Linda initially tries to find purpose in communism only to eventually bury herself in a frivolous life of shopping and luxury instead. “She was possessed by a calm and happy fatalism,” Fanny explains in voiceover as Linda meets the rise of fascism by purchasing yet another new outfit. It’s not entirely unlike the way we must all figure out how to cope in the current face of climate change, a global pandemic, and yet another rise in fascism. Like the glam rock montages and wry Wes Anderson-inspired cutaways, Linda’s glamorous nihilism adds a spiky edge that occasionally jazzes up The Pursuit Of Love’s classic period piece formula with something new.

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Oscars will allow remote location in Europe

Oscars producer Steven Soderbergh
Photo: Amy Sussman (Getty Images)

After a year that’s seen the Hollywood Awards Machine struggle desperately to portray its participants as Glittering Gods, even as our collective desire to be Sweatpants Trolls has swept through film and television elites, one group has seemed most bullheadedly dedicated to keeping up the lie: The Academy Of Motion Picture Arts And Sciences. Earlier this month, we reported on the Oscar-granting body’s efforts to keep up so-called “standards” by requiring attendees to this year’s show to show up in person, dress like fancy people, and talk about themselves in terms beyond their latest ideas for which snack chips to dip into what flavor goo to stave off existential ennui. Now, though, the Oscars producers—including director Steven Soderbergh—have relented on at least one of the realities of COVID-world, acknowledging that international attendees might not necessarily want to load themselves into metal tubes filled with aspirated spit in order to fly to Los Angeles to pick up a statue.

This is per Variety, which reports that, while plans for the big event—scheduled for April 25—are still being kept fairly quiet, there will be at least one event space in London where nominees can gather in order to participate in this year’s Oscar’s. And while other venues are reportedly being pursued in other European countries, the basic thrust is still the same: We’re doing this thing in person, dammit, for whatever definition of “in person” we can swing. So, for instance, all musical performances will reportedly be done live in L.A., all participants are expected to test themselves with Academy-provided kits and bubble-up ahead of showing up at the event, and—possibly—they might even try to rig a system where the nominees in question are rotated into the theater proper when it’s their turn to have their categories announced. All of which sounds a lot harder than just letting Jason Sudeikis wear his damn sweatshirt, but, hey, to each incarnation of entertainment industry snobbery their own, we guess.

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