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Hollywood rethinks movie release schedule as ‘Tenet’ stumbles at box office

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The disastrous debut of Warner Bros’ spy thriller “Tenet” at movie theaters has Hollywood studios fingering the panic button. 

“Tenet” — a $200 million Christopher Nolan production which has amassed less than $30 million in ticket sales since it hit US theaters on Sept. 3 — has given Tinseltown a wakeup call, with studios grappling with whether to release their remaining blockbusters this year or hold them until the coronavirus crisis wanes. 

“Studios are making decisions based on what’s happening with ‘Tenet,’” said MKM partners analyst Eric Handler. “What I think you’re going to see is more movies get pushed back until we see major markets reopen again.”

Last week, Warner Bros. postponed “Wonder Woman 1984,” starring Gal Gadot, to Christmas Day from Oct. 2, and Universal pushed “Candyman” to an undetermined date next year from Oct. 16. There’s also buzz that Disney will delay the Nov. 6 release of its Marvel movie “Black Widow,” starring Scarlett Johansson, as well as Pixar adventure “Soul” on Nov. 20. Disney did not comment on the speculation. 

“If ‘Black Widow’ moves, we really don’t have a big film for quite a while,” Handler said. “There’s the James Bond ‘No Time to Die’ film at Thanksgiving, then ‘Dune’ [on Dec. 18] and ‘Wonder Woman.’ We could have a couple big-event films but in terms of depth that’s it.”

The analyst said the push back of films is setting up a circular problem, in which movie theaters “want customers to show up but they won’t show up if there’s no new movies.”

The reluctance to return to theaters is due in large part to the unpredictable nature of the coronavirus pandemic, which caused cinemas to go dark in the US for five months.

But “Tenet,” which pre-pandemic was projected to garner around $850 million in global ticket sales, was at least expected to jolt the industry back to life. Instead, it arrived at the box office with a whimper, grossing $178 million internationally, and $29.5 million in North America, bringing its current global box office tally to $207 million, Box Office Mojo said. 

Critics blamed the tepid results on the fact that only 60 percent, or 3,500 of North America’s 6,000 theaters are open. Also adding to the sales woes is the fact that major markets like New York and Los Angeles remain closed. 

Still, the “Tenet” debacle has sent shockwaves through Hollywood. At a Bank of America investors conference last week, Sony Pictures Entertainment CEO Tony Vinciquerra jolted insiders with what looked like a thinly veiled reference to the flop. 

“What we won’t want to do is make the mistake of putting a very, very expensive $200 million movie on the market unless we’re sure theaters are open and operating at a significant capacity,” he said.

Comscore media analyst Paul Dergarabedian said Hollywood will have to be patient for the return of theatergoers, predicting that 2021 will be an important year for the recovery. 

“The fact that movie theaters are just doing business, that is a good sign,” the analyst said. “Right now, I just think it’s a win that people want to go back. It’s a daunting thing to go back indoors and into those venues after six months.”

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Supergirl: Season Six? Cancelled or Renewed on The CW?

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Supergirl on The CW: cancelled or season 6? (release date) – canceled + renewed TV shows – TV Series Finale























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FBI Seeking More Potential Victims In Jerry Harris Child Porn Investigation!

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Feds are searching for more minors who may have been preyed on by Jerry Harris.

On Tuesday, the FBI launched a “Seeking Victim Information” webpage related to the investigation of the disgraced Cheer star, who was arrested last week on charges of producing child pornography, with agents in Chicago asking for any individuals under the age of 18 who may have been victimized by the 21-year-old to come forward.

As we reported, Harris is accused of allegedly enticing two underage teen boys to send him sexually explicit images of themselves, as well as asking them to meet up in person for sex — all when they were just 13 years old. Now, feds are seeking the public’s help in identifying any additional minors who may have been approached by Harris on Snapchat or Instagram and asked to produce or view explicit photos or engage in sexual activity.

Related: More Cheer Stars React To Jerry Harris’ Shocking Arrest

Harris admitted to soliciting child porn from at least 10 people he knew were minors, according to a criminal complaint filed last week. Court papers claim the cheerleader also admitted to having sex with a 15-year-old at a cheerleading event last year.

Only time will tell if more alleged victims will come forward. Read the FBI’s full statement and learn how you can contact them HERE.

[Image via Netflix/YouTube]

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‘Gull’ Director Kim Mi-jo on Sexual Assault and Changing Attitudes in South Korea

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“Gull,” Kim Mi-jo’s poignant South Korean drama, follows a woman whose life becomes increasingly difficult when she seeks justice against the man who raped her.

The 61-year-old O-bok works as a seafood vendor in a Seoul street market that has been slated for redevelopment. One evening, after drinks with her colleagues, she is raped by Gi-taek, a fellow vendor and the powerful chairman of the redevelopment committee. After initially pretending that nothing happened, O-bok finally confides to her daughter and reports the assault to the police, resulting in an investigation that disrupts both her work and family life.

“Gull,” which won the Grand Prize for the Korean Competition at the recent Jeonju Film Festival, unspools in San Sebastian’s New Directors sidebar.

Speaking to Variety, Kim says she came up with the idea of the film after witnessing a young man and an older woman.

“One day, I was walking along the riverside at midday when I saw a young man closely following a middle-aged woman, who resembled my mother. I somehow felt anxious and kept an eye on them for a while. This experience inspired me immediately.”

While she initially conceived the plot from the point of view of the woman’s daughter, she eventually made O-bok the main character, played by Jeong Aehwa.

Jeong brought the right mix of vulnerability and toughness needed for the headstrong O-bok, Kim explained.

“I didn’t regard O-bok simply just as a victim, but rather I think she is more of a person who is aggressive and belligerent, like a fighter. There’s a saying in Korea that a ‘small pepper is much spicier.’ Ms. Jeong is really petite, but I love the high spirit and energy coming out of her.”

“Gull” critically examines aspects of South Korean society that are still common, Kim adds. O-bok is a victim who is forced to hide while making a sacrifice for the greater cause of the market and the good of the community. “Recently in Korea, it is commonly seen, not just in sexual assault cases, that assailants change into victims, or do not have to pay the price they deserve and live just like before. There are countless cases like this.”

Nevertheless, like in other parts of the world, sexual assault against women is being increasingly addressed, Kim points out. “In recent years, it has been more actively discussed following the MeToo movement. I’m gladly on board with pushfully bringing this issue to the table compared to the past. Also, more people are starting to be aware that sexual assault cannot be justified, whatsoever. Nevertheless, deep down, prejudice against victims of sexual violence still lingers around.”

She adds, “Seeing the woman as a contributor in sexual assault, or a bias that older women can’t be a target of sex crimes – these are typical examples.” In her research for the film, Kim came across manuals for parents of sexual assault victims or to help women in their 20s and 30s cope with sexual assault, but she adds that sex crimes against the middle-aged were not properly discussed.

That chauvinistic attitudes persist is made clear in the film by a main character who blames rape on the victim, saying that it could not happen unless the woman wanted it.

“I’ve actually heard that in real life,” Kim says. “I was awfully shocked at the time, so I used that line in my scenario. It is hard to say that these kinds of thoughts were not general until just a few years ago. However, as previously mentioned, Korean society is beginning to react sensitively to sexual abuse issues. Also, the social atmosphere in which these cases can’t be simply hushed up is gradually being established.”

While Kim says she didn’t set out to examine class differences in Korean society, she notes that “sadly this is what I have seen ever since I was little, so I think it just happened to be reflected in the movie. Classes exist everywhere, so I don’t regard it as a peculiar characteristic of Korean society. Of course, there are exceptions, but it is very easy to find powerless people’s voices being ignored when you look around a bit. So, it was rather natural to have those aspects in the film.”

That O-bok wants to fly away from her horrible situation but has to remain grounded in reality, like a seagull that flies high and far but ultimately cannot leave land, was one of the reasons behind the film’s title, Kim explains. “I didn’t want to simply narrate a sex crime victim’s story through this film. I wanted O-bok, a middle-aged woman, a mother and a breadwinner, to stand firmly with both feet and eventually survive and live here on land when her dignity had been infringed.”

Another reason was her love of Anton Chekhov’s “The Seagull”: “I wanted to title my first feature film with this work someday.”

For her next project, Kim is planning a mother and daughter revenge story. “I’m expecting to make a Korean-style film, a mixture of action, thriller and comedy.”

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