Geek Cheat Sheet for Bob Iger & The Hollywood Reporter Sit-down

Illustration by Tracie Ching for The Hollywood Report on 20/09/2018

Bob Iger from Disney sat down with Matthew Belloni from The Hollywood Reporter and Franklin Armstrong Collective made a geek cheat sheet for those who may not have time to read the whole piece. In the interview Iger discusses Disney’s new streaming service, their plans for the competition and the different brands under the Disney umbrella.

  • Kevin Feige will oversee Marvel as a whole.
    • Direct Iger Quote: “It only makes sense for Marvel to be supervised by one entity. There shouldn’t be two Marvels.
  • Disney will be slowing down on Star Wars output. Iger takes responsibility for “a little too much too fast

  • Disney needs to be truly global in nature
  • Consumers are moving away from channel watching and towards a more brand loyal model
  • Disney streaming services will focus on quality over quantity (since they already have the quantity with their recent acquisitions)
  • The pivot in structure is to focus on having access to different distribution models
  • Disney is pulling away from licensing revenue from 3rd parties (streamers and broadcasters such as Netflix and TBS)
    • This will cause a ripple in the 2019 fiscal bottom line
    • Disney board already aware and supporting the plan, they understand long-term goals vs short-term payout

Hollywood Black Renaissance: Orion Classics Acquires Nijla Mu’min’s Feature Debut ‘Jinn’

Story by Ashley Turner

Orion Classics has acquired the North American and Latin American rights to distribute Nijla Mu’min’s feature debut Jinn. The film stars Zoe Renee (BET’s The Quad), Simone Missick (Netflix’s The Defenders), Kelvin Harrison, Jr. (Monsters and Men, Luce), Dorian Missick (Lucky Number Slevin), Hisham Tawfiq (NBC’s The Blacklist), Damien D. Smith (The Smile Man) and Kelly Jenrette (Hulu’s The Handmaid’s Tale).

Jinn won the Special Jury Award for writing at this year’s SXSW Film Festival, and also won awards at the American Black Film Festival for Best Screenplay and Best Actor (Zoe Renee), the Blackstar Film Festival for Best Feature Narrative and Audience Award, and Best Narrative Feature at the Roxbury Film Festival.

Orion Classics will release the film in theaters on November 15th and on VOD and Digital HD on November 16th.

Original Article appeared at Hollywood Black Renaissance. Visit them for more stories on Women of the African Diaspora in FIlm & Television


Hollywood, Calif., (Aug. 1, 2018) – Netflix today announced QUINCY, a powerful new documentary about the legendary Quincy Jones, directed by Jones’s daughter Rashida Jones (Angie Tribeca, Hot Girls Wanted) and Alan Hicks (Keep On Keepin’ On). QUINCY is produced by Paula DuPré Pesmen and executive produced by Jane Rosenthal and Berry Welsh from Tribeca Productions and Adam Fell from Quincy Jones Productions. The film will launch globally on Netflix on September 21 and have a limited theatrical release.

Getty Images (Photo by Tibrina Hobson/FilmMagic)

QUINCY is an intimate look into the life of icon Quincy Jones. The film seamlessly threads personal vérité moments with private archival footage to reveal a legendary life like no other. A unique force in music and popular culture for 70 years, Jones has transcended racial and cultural boundaries; his story is inextricably woven into the fabric of America. Beyond his own acclaim as a trumpeter, producer, conductor, composer and arranger, Jones’s inimitable gift to discover the biggest talents of the past half of the century is unprecedented. He has mentored and cultivated the careers of young talents, from Lesley Gore and Michael Jackson to Oprah Winfrey and Will Smith.

“It’s rare that somebody who has lived as much life as my dad is still interested in growing and knowing the next generation,” Rashida Jones says. “He is such a man of action and accomplishments, but we were so lucky to spend real time with him, to let him reflect on life and the larger picture. I feel honored to be able to share that with audiences all over the world.”

“There is really no one like Quincy, the sheer breadth of his work alone is unparalleled, but the story of him as a man has never been comprehensively told. It was a privilege to have his trust, allowing us to capture intimate moments giving insight into the fabric of the man,” said Alan Hicks.

“It’s a rare opportunity to be able to present the definitive story of someone who has for over seven decades, not just influenced, but altered the course of culture. Combining his God given creative gift with a near maniacal work ethic, Quincy Jones has done just that, marshalling every expression of the arts to their full potency resulting in everything from Thriller to The Color Purple,” said Lisa Nishimura, VP of Original Documentaries for Netflix. “Told through the rare and intimate lens of Directors Alan Hicks and Quincy’s daughter Rashida Jones, Quincy provides a fresh and unexpected journey into this legendary life, still in the making.”

Quincy Jones’s career as a composer, conductor, best-selling author, multi-media entrepreneur and producer spans decades. He stands today as one of the most successful and admired artists of the entertainment world and was named by Time Magazine as one of the most influential jazz musicians of the 20th century.

Jones is one of only 18 people who have won all four major annual American entertainment awards (Emmy, Grammy, Oscar, Tony). He is the most Grammy-nominated artist of all time, with a total of 79 nominations, and has won 27 times (the second all-time highest number in history.) As producer and conductor of the historic “We Are The World” recording (best-selling single of all time), and Michael Jackson’s multi-platinum solo albums, “Off The Wall,” “Bad,” and “Thriller” (the best-selling album of all time), Jones stands as one of the most successful and admired creative artists/executives in the history of the entertainment world.

In 1985, Jones co-produced Steven Spielberg’s adaptation of Alice Walker’s The Color Purple, which garnered eleven Oscar nominations and marked his debut as a film producer. Throughout his career, Jones has received seven Oscar nominations and received the film Academy’s Jean Hersholt Humanitarian Award. Jones has won an Emmy Award for his score of the opening episode of the landmark TV miniseries, Roots, and in 2016 he received a Tony Award® for Best Revival of a Musical for The Color Purple.


NO. Thanos Was Not Right, You Psychopath

‘How Low Can You Go’ was once a lyric about one’s ability to limbo. Next, it was a song about one’s ability to twerk while squatting (ask Ludacris). Now, let the declaration be made here, it’s about one’s ability to empathize with the depth of character of a well written and sympathetic movie villain. How do we know that society has corrupted itself beyond all reason? Antiheroes are the new superheroes. Antagonists are the new protagonists.

I started to worry when the #KilmongerWasRIght Team started making serious waves of consensus. If you’re not familiar with this brand of think-piece activism, it’s a general sentiment that in the Marvel film Black Panther, a vengeful homicidal man with countless scars for murder trophies is so endearing in his convictions that he and his nefarious plans upstage the character that we should be rooting for.

Erik Killmonger, whose very name is half war-waging and half murderous, that it couldn’t be any more literal in spelling out the inherent evil of its sake. In a movie about protecting resources from the wrong hands, and a lesson in how misplaced power can corrupt, he’s the secret hero? The distant relative with a malicious chip on his shoulder and a heart full of hatred is the real star because his origin story is just that tragic? The one who wants to liberate his people by weaponizing the disenfranchised instead of supporting them with asylum, finances, education or anything that they can actually use long-term and collectively? Give our people weapons because it worked so well when the government did it, amirite?!

But Black Panther was so six-months ago. Now we want to give a daughter-killing, alien invading, universal-scale genocide committing thief the crown of ethics because he’s portrayed as a semi-sympathetic protagonist on film. We serious? Yes, apparently so.

As far as Marvel’s Avengers: Infinity War is concerned, the fanboys agree with its super-villain Thanos and his perspective that the universe’s resources are too finite for the destructive parasites we humans are, when it comes to the safety of our planet and the threat of overpopulation. Armed with this argument alone, Thanos’ destructive exploits are, according to his followers online, tantamount to having the moral high ground.

But hey, why stop there? Let’s get Team Breaking Bad in on this with #HeinsenbergWasRight. After all, the teacher turned Kingpin only alienated himself from his family and murdered his way up to lead a criminal enterprise. He had cancer and was shamed and disgraced out of his career prospects, so we’ll just have to forgive the drug dealing, money laundering, people poisoning and other felonies.

Dexter Morgan was also right! His parents were killed in front of him as a child – have some sympathy for the guy, despite the killing spree he’s been on since. Never mind him being a vigilante terrorist that infiltrated a police force between serial murders, we get to see him work on his social behaviour and grieve his wife’s murder. The poor, misunderstood social outcast who brings donuts to his office mates – cut him some slack!

X-Men’s Magneto too! A WWII survivor with the supernatural power to turn his grief into wrath upon his enemies is, you guessed it, RIGHT! To say otherwise would make you politically insensitive, especially since the X-Men franchise is already a metaphor for discrimination.

Sarcastic rantings aside, the takeaway should be that all goals, intentions, and purposes that are grounded or founded in hatred or negative ideologies are WRONG, but this seems to be lost on everyone entering and exiting the movie theater, or even their own Netflix queues. This is a shame, and not a sad one, but a scary one for our not-so-distant future.

Glorifying villains is not only a slippery slope, it’s a slimy one. Now that it’s trending and arguably the key to the superhero film genre’s success, shouldn’t we be a little more careful about how movies can contaminate our moral compass? Do we even have one left?


AvX: Consequences Vol 1 #2 Page 12 (Note: This does eventually happen in Wolverine & The X-Men Vol 1 #21)

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Piece edited by Mobs Goodness