The new movie from Pixar, Hoppers, may be performing worse than last year's Snow White, the media refuses to say so. The theatrical debuts of Disney’s live-action Snow White (2025) and Pixar’s animated Hoppers illustrate how dramatically the tone of media coverage can...
Disney CEO Bob Iger recently made headlines during the company’s Q3 2025 earnings call when he announced that Lilo & Stitch has become the second-most lucrative merchandise brand under the Disney umbrella, trailing only Mickey and Friends. While this may seem like...
The other day, I was watching a wonderful interview with Bob Gurr. For those of you who don’t know him, he’s one of the Disney Legends whose chief role in the making of the parks was transport and ride vehicles—he invented the PeopleMover, the OmniMover/DoomBuggies, and a host of other Disney Imagineering innovations.
Bob Iger referred to the Fantastic Four as a “new IP” as the franchise releases its second reboot.
In the wake of Disney’s Q3 FY2025 earnings call on August 6, 2025, CEO Bob Iger sparked debate among fans, analysts, and industry observers with his comments on intellectual property (IP) strategy. While discussing the balance between creating new content and leveraging established franchises, Iger suggested that Marvel Studios continues to “mine its library of characters for original property.”
The mainstream media seems to want to blame everything but divisive identity politics for the decline of Marvel.
The Marvel Cinematic Universe (MCU), once a box office juggernaut churning out billion-dollar hits like Avengers: Endgame, has hit a rough patch. Recent releases, including The Fantastic Four: First Steps, have underperformed, sparking debates about what’s gone wrong.
As Fantastic Four First Steps heads for flop territory with its 66% (or more) drop at the box office in its second weekend, Marvel's track record of producing more financial failures than successes is becoming common knowledge. Whatever the cause, Kevin Feige's...
In recent years, the theme park industry has been on a roller coaster ride of its own. From Disney’s controversial changes and closures to the long-awaited debut of Epic Universe at Universal Orlando, fans have experienced a whirlwind of emotions. But amid corporate shifts and rising guest frustration, one announcement in 2023 promised a new kind of magic: a $2 billion “Disneyland-like” theme park in the heart of America — Vinita, Oklahoma.
In the ever-dwindling landscape of Marvel’s Disney+ offerings, Ironheart has stumbled onto the Nielsen charts—seemingly not through genuine audience interest, but via a calculated ploy from Disney that some argue games the streaming ratings system.
According to recent Nielsen data, the series clocked in 526 million viewing minutes during its debut week of June 23rd-29th, 2025, landing at #6 on the original streaming charts.
Disclaimer: The attorney for "Smash JT", Ron Coleman, represents That Park Place and its ownership with their various personas, brands and businesses as legal counsel. Neither "Smash JT" nor Mr. Coleman have directed nor participated in the creation, editing or...
Pedro Pascal, the Chilean-American actor known for his roles in The Mandalorian, The Last of Us, and the recently released The Fantastic Four: First Steps, has often been described as charismatic and affectionate in public settings. However, fans are starting to push back on Pedro Pascal and his tactile interactions with female co-stars—such as holding hands, hugging, or touching arms and faces. These events have sparked widespread debate.
Late night television is an endangered species and we have more evidence that the hosts are the culprits to blame. It turns out that Jimmy Kimmel is just as bad at being a game show host as he is at being a end-of-day comedian according to the ratings. Sadly, it also...
Actor Simu Liu appears to have inserted himself into the growing backlash against Pedro Pascal, notably his overly affectionate behavior with co-star Vanessa Kirby during the Fantastic Four: First Steps press tour.
We all have seen the rise of the large format releases led by IMAX and other companies take over the lion’s share of boxoffice for megahit movies and super-effects blockbusters in the past few years. There are always more big screens a-building and more films desiring release in these crowd-pleasing big-ticket-price venues which, of course, trump the appeal of large screen home videos on which many moviegoers had watched, and especially re-watched such films.