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Disney will release Mulan online Sept. 4 on Disney Plus, for $30 in US

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It’ll cost roughly the same amount in other select countries, including Canada, Australia, New Zealand and a number of countries in Western Europe.

Disney will release its live-action film Mulan online through its Disney Plus service on Sept. 4, but it won’t be included as part of a standard subscription. Mulan will cost $30 in the US in addition to Disney Plus’ regular subscription fee, and it will be priced at roughly the same amount in international markets where it’ll be available online too, including Canada, Australia, New Zealand and a number of countries in Western Europe.

Don’t get your hopes up yet that other mega-budget films — like Marvel’s Black Widow with a theatrical release date set for Nov. 6 — necessarily will follow the same quick path onto your living-room TV. The company characterized Mulan’s release as a onetime deal, though it could serve as an experiment that guides its future release decisions.

“Mulan is a one-off,” Disney CEO Bob Chapek said Tuesday during a call that discussed the company’s fiscal third-quarter results. “That said, we find it very interesting to be able to … learn from it and see what happens, not only in terms of the uptake of the number of subscribers that we get on the platform but the actual number of transactions on the Disney Plus platform that we get.”

Mulan, which was supposed to open in theaters in March but had to delay the release date multiple times because of the coronavirus, will be available be available as what’s known as premium video on demand, which usually means a high-priced rental. But it will be offered exclusively through the company’s Disney Plus streaming service, seemingly holding out from other popular stores for online rentals like Apple’s TV app, Amazon Video and others.

The company will also release Mulan theatrically on Sept. 4 in markets where cinemas are open and where Disney Plus isn’t operating yet.

“We see this as an opportunity to bring this incredible film to a broad audience currently unable to go to movie theaters, while also further enhancing the value and attractiveness of the Disney Plus subscription with great content,” Chapek said.

The decision marks an unprecedented approach to releasing a big-budget movie that had been destined to be a blockbuster back when theaters were open worldwide. The coronavirus pandemic has shuttered cinemas around the globe and forced studios across the board to delay big-budget films for months and years, with no certainty in sight for when theaters can reopen at large or when audiences will feel comfortable sitting in windowless, enclosed rooms for hours.

It’s also a major defection from the rigid rules that usually keep new movies only in theaters for 75 days or more, as well as a surprising change to how Disney Plus has been pitched to audiences since it launched in November. Disney Plus is Disney’s online hub for streaming almost everything the company produces, but it was marketed as an all-you-can-eat buffet like Netflix, where your subscription unlocks everything on the platform to watch. Mulan will bring an a la carte transaction to Disney Plus that its 60 million subscribers haven’t yet encountered.

Disney’s changes underscore how disruptive the pandemic has been to Hollywood studios’ meticulously planned release cycles. With theaters closed and coronavirus preventive measures keeping people stuck at home, studios have mostly decided to keep pushing back the theatrical release dates for mega-budget pictures. But with their tentpole movies in a holding pattern, studios could be setting themselves up to all release a glut of movies on top of each other, crimping ticket sales.

Already, smaller-budget films began to go straight to online rentals or streaming services, such as Disney’s decision to release its Hamilton film and its young-adult sci-fi movie Artemis Fowl on Disney Plus rather than in theaters. And Universal has released new movies like DreamWorks Animation’s Trolls World Tour and others as special online rentals.

But Universal’s Trolls World Tour online release enraged cinemas, with US chain AMC even vowing it would ban Universal movies from its screens, including its blockbuster Fast & Furious franchise. Cinemas have doggedly clung to rules that keep new movies only in theaters for months, even as audiences have grown more accustomed to watching video when they want, where they want. Then last month Universal struck a deal with AMC to patch things up, promising to give theaters three weekends of exclusivity for new movies going forward in exchange for lifting the ban on its movies, a signal that cinemas are willing to compromise.

Disney, however, has been one of the Hollywood studios most dedicated to theatrical release. It’s decision to put out Mulan online reinforces the prospect that these alternative release strategies devised in the extraordinary circumstances of the pandemic may have lasting effects even after cinemas start reopening at large.

Disney Plus’ standard subscriptions costs $7 a month, or $70 a year, in the US. In Canada, Disney Plus is priced at C$9 a month, or C$90 per year.

In countries that are part of the euro zone, it is 7 euros, or 70 euros a year. In the UK, it is £6 a month, or £60 a year. In Australia, it’s priced at AU$9 a month, or AU$90 per year, while New Zealand subscribers pay NZ$10 per month, or NZ$100 per year. In India, Disney Plus Hotstar is priced at 299 Indian rupees a month, or 999 rupees a year. In Japan, Disney Plus is 700 yen a month through an exclusive partnership with Japanese telecom company NTT Docomo.

Matthew Ronald grew up in Chicago. His mother is a preschool teacher, and his father is a cartoonist. After high school Matthew attended college where he majored in early-childhood education and child psychology. After college he worked with special needs children in schools. He then decided to go into publishing, before becoming a writer himself, something he always had an interest in. More than that, he published number of news articles as a freelance author on apstersmedia.com.

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Wicked Box Office Hits Global Milestone, Poised to Surpass Kung Fu Panda 4 and Godzilla x Kong

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The box office for Wicked hits a significant milestone worldwide as it gets ready to surpass Godzilla x Kong and Kung Fu Panda 4.

Wicked is still doing well despite recent box office releases that have caused significant disappointment. The most recent Wizard of Oz musical was too good for the Spider-Man villain and the Tolkien adaption to compete with Kraven the Hunter and The Lord of the Rings: The War of the Rohirrim in the same week. Wicked has already exceeded its $145 million budget following a record-breaking first weekend that raked in over $160 million globally.

It has achieved even more success this past weekend. Variety said that after making $359 million domestically, the musical adaption made over $524 million internationally. It is currently on track to surpass Godzilla x Kong: The New Empire and Kung Fu Panda 4, which brought in $547.6 million and $571.1 million, respectively. Having significantly outperformed Grease’s $188.62 million total, it is also officially the highest-grossing Broadway adaption in domestic box office history.

What the Box Office Success of Wicked Means

Musicals and animated blockbusters are regaining their position at the box office after ten years of action film supremacy. Inside Out 2 and Despicable Me 4 have taken first and third place for the entire year, while Moana 2 and Wicked are the top films this weekend. With a $1.3 billion box office total, Deadpool & Wolverine is still in second place, but it’s probably the only action film to stay in the top five globally. Dune: Part Two may lose its position when Mufasa: The Lion King is released the following week:

TitleDomesticWorldwide
Inside Out 2
$653 million$1.7 billion
Deadpool & Wolverine
$637 million$1.3 billion
Despicable Me 4
$360 million
$970 million
Moana 2
$338 million$717 million
Dune: Part Two
$282 million
$714 million

This pattern is probably due to the fact that, other from Deadpool & Wolverine, neither DC nor Marvel have released any successful films this year. With Joker: Folie à Deux, DC tried to duplicate its $1 billion triumph, but it only made $200 million globally. With the exception of Wicked, every film in the top 10 global releases for 2024 has been a sequel, creating a distinct market. Based on a Broadway musical and The Wizard of Oz, Wicked is not a completely original film, but its box office performance does demonstrate that non-sequels may be successful in theaters in today IP-driven landscape.

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Danny Ramirez on Joaquin Phoenix Leaving the Gay Romance Film Directed by Todd Haynes

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Todd Haynes was planning to cast Danny Ramirez and Joaquin Phoenix in a gay romance movie. However, Phoenix left the untitled production five days before Guadalajara, Mexico, filming got underway.

At the Academy Museum Gala on Saturday night in Los Angeles, Ramirez told Variety’s Marc Malkin, “It’s definitely disappointing.” “If anything,” he continued, “If anything, it just gave me more inspiration to keep driving, keep pushing, and knowing that I’m on the right path and approaching the work the right way. So that’s what I’m excited about.”

The movie, which depended on Phoenix’s casting, was in danger after it was revealed in August that he had quit the production, according to sources. Two guys in love in the 1930s who escape Los Angeles and travel to Mexico were the main subject of the NC-17-rated movie.

“It’s definitely a very complicated situation,” Ramirez stated. “The audition process was extensive, and so what I walked away with that was just the artistic validation of throwing down opposite of [Phoenix] in this chemistry read… There was a moment that I was like, ‘Oh, I’ve arrived as a performer.’”

“The most recent update is ‘hopefully.’” Ramirez said in response to a question about whether the movie is still in development with filmmaker Haynes.

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David Schwimmer Remembers Rejecting “Men in Black”: ‘That Would Have Made Me a Hollywood Star’

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Although David Schwimmer admits his “career would have taken a very different trajectory” if he had been the lead in the 1997 movie, he doesn’t regret declining Men in Black.

The actor said, “That’s not why I turned it down,” in response to a question on a recent episode of the podcast Origins With Cush Jumbo regarding whether he rejected down the successful franchise because it conflicted with his Friends filming schedule. Rather, he decided to become a feature film director.

Schwimmer said, “[It] was a brutal decision.” the actor chuckles. “I had just finished filming The Pallbearer, my first film with Gwyneth Paltrow, and there were high expectations of that, which didn’t come true (Laughs). It was kind of a bomb, but there were high expectations, and the studio, which was Miramax, wanted to lock me into a three-picture deal at a fixed price, and I said I would do that if I got to direct my first movie.”

After months of talks, the intelligence actor said that they had come to an agreement whereby he “would act in three more movies for them” in exchange for allowing him to “direct my entire theater company in the first film,” Since You’ve Been Gone from 1998. The film was told through the perspective of a doctor who was severely beaten up by a fellow graduate on graduation day, humiliating him and setting the stage for a ten-year class reunion.

“All these unknown actors but I was going to put them on the map, basically. I was going to let everyone discover the talent of this amazing company,” Schwimmer said, “We found this amazing script, and we were developing it. We started pre-production. All my best friends in the world in my theater company quit their jobs so they could be in this film over the summer, which was going to be a six-week shoot in Chicago.”

However, Schwimmer had to make a tough decision about his career because the production for his directing debut happened to coincide with the filming of Men in Black.

The Six Days Seven Nights actor recalls, “We’re in pre-production, hired the whole crew, everything’s going and that’s when I was offered Men in Black.” “It was a direct conflict with this. My summer window from Friends was four months. I had a four-month hiatus and Men in Black was going to shoot exactly when I was going to direct this film with my company. And of course, it was an amazing opportunity. However, my theater company and that relationship with all those people would probably have ended. I don’t think it would have recovered.”

Schwimmer stated that he is unsure if “he made the right choice,” but he firmly feels that in these kinds of circumstances “you have to follow your gut, you have to follow your heart.”

“Look, I’m really aware, whatever 20 years later maybe more, [Men in Black] would have made me a movie star,” he continued. “If you look at the success of that film and that franchise, my career would have taken a very different trajectory.”

In the end, Tommy Lee Jones and Will Smith played the key parts in the Men in Black franchise.

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