O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:117:"Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By & Starring Katie Holmes";s:4:"link";s:180:"https://bestmovies.packagingnewsonline.com/movie-production-companies/vertical-entertainment-acquires-tribeca-bound-romantic-drama-alone-together-directed-by-starring-katie-holmes/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 04 Jun 2022 09:20:21 +0000";s:8:"category";s:107:"Movie Production CompaniesAcquiresDirecteddramaEntertainmentHolmesKatieromanticStarringTribecaBoundVertical";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68495";s:11:"description";s:850:"EXCLUSIVE: Vertical Entertainment has secured North American rights to the romantic drama Alone Togetherwritten, directed by and starring Katie Holmes, which will make its world premiere in the Spotlight Narrative section of the Tribeca Film Festival on June 14. Vertical plans to release the film exclusively in theaters in July 22, with a VOD bow ... <a title="Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By &#038; Starring Katie Holmes" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/vertical-entertainment-acquires-tribeca-bound-romantic-drama-alone-together-directed-by-starring-katie-holmes/" aria-label="More on Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By &#038; Starring Katie Holmes">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:3930:"<div>
<p><strong>EXCLUSIVE</strong>: Vertical Entertainment has secured North American rights to the romantic drama <em>Alone Together</em>written, directed by and starring Katie Holmes, which will make its world premiere in the Spotlight Narrative section of the Tribeca Film Festival on June 14. Vertical plans to release the film exclusively in theaters in July 22, with a VOD bow to follow on July 29.</p>
<p><em>Alone Together</em> follows June (Holmes), a food critic going upstate for a short romantic getaway to escape the pandemic in New York City, whose plans go wrong from the start. Arriving at the Airbnb in advance of her boyfriend, John (Derek Luke), she is shocked to discover it has been double-booked by the recently single Charlie (Jim Sturgess). When John decides to stay in the city to take care of his parents, June has to settle in for the long haul as she realizes that the initial two weeks of the pandemic might just drag on a little bit longer than expected. As spring begins to unfold around them, June and Charlie make the most of the sudden break in their routines and develop an unexpected intimacy as they bond over their goals, ambitions and, of course, relationships.</p>
<p>Becky Ann Baker (<em>New Amsterdam</em>), Zosia Mamet (<em>The Flight Attendant) </em>and Melissa Leo (<em>Measure of Revenge</em>) round out the cast of the film, which Holmes produced alongside Yale Productions’ Jordan Yale Levine and Jordan Beckerman, <span style="font-size: 16px;">SSS Entertainment’</span><span style="font-size: 16px;">s Shaun Sanghani, and Lafayette Pictures. Its exec producers are </span>Peter Jarowey, Rich Goldberg, Mitch Budin, Roman Kopelvich, Eric Broughton, Jennifer Broughton, Gregory Ruden, Anne Ruden, Jason Kringstein, Scott Levenson, Lee Broda, Colby Cote, Kade Thomas, Jackie Palkovicz, Michael Palkovicz and Michael J. Rothstein.</p>
<p>“From the moment Katie presented us with the script, we fell in love with it. We knew we had to produce this film,” said Levine and Beckerman in a joint statement. “Though it is timely in its portrayal of pandemic life, it is a timeless story of joy and hope.”</p>
<p>“Katie has created a poignant, relatable and humorous Lockdown love story touching on common experiences we all dealt with during the pandemic,” added Vertical Entertainment Partner, Jarowey. “It is pure entertainment that we feel moviegoers will connect with on many levels.”</p>
<p>Vertical Entertainment is a global independent distributor, founded in 2012, which also recently acquired the Tribeca-bound political satire <em>Land of Dreams</em>staring Sheila Vand, Matt Dillon and more. <span style="font-size: 16px;">Other upcoming releases from the company include Eli Horowitz’s SXSW 2022 thriller <em>The Cow</em>starring Winona Ryder and John Gallagher Jr.; John Patton Ford’s Sundance 2022 pic <em>Emily the Criminal</em>starring Aubrey Plaza and Theo Rossi; and Krystin Ver Linden’s Sundance drama <em>Alice</em>starring Keke Palmer, Common, Gaius Charles and Jonny Lee Miller. </span></p>
<p>Jarowey and Tony Piantedosi negotiated the deal for <em>Alone Together</em> on behalf of Vertical Entertainment, with Beckerman and Levine of Yale Productions and ICM Partners on behalf of the filmmakers.</p>
</p></div>
<p>We  would love to  say thanks to the  writer of this  short article for this  incredible  material<br />
<br />
<a href="https://deadline.com/2022/06/katie-holmes-drama-alone-together-acquired-by-vertical-entertainment-1235038011/" target="_blank" rel="noopener">Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By &#038; Starring Katie Holmes<br />
</a></p>
<p><center><iframe loading="lazy" src="https://dict.longdo.com/3rdparties/magpierss-0.72/scripts/magpie_debug.php?url=http://feeds.feedburner.com/FastMediaService" height="25" width="250" title=""></iframe></center></p>
";}s:7:"summary";s:850:"EXCLUSIVE: Vertical Entertainment has secured North American rights to the romantic drama Alone Togetherwritten, directed by and starring Katie Holmes, which will make its world premiere in the Spotlight Narrative section of the Tribeca Film Festival on June 14. Vertical plans to release the film exclusively in theaters in July 22, with a VOD bow ... <a title="Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By &#038; Starring Katie Holmes" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/vertical-entertainment-acquires-tribeca-bound-romantic-drama-alone-together-directed-by-starring-katie-holmes/" aria-label="More on Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By &#038; Starring Katie Holmes">Read more</a>";s:12:"atom_content";s:3930:"<div>
<p><strong>EXCLUSIVE</strong>: Vertical Entertainment has secured North American rights to the romantic drama <em>Alone Together</em>written, directed by and starring Katie Holmes, which will make its world premiere in the Spotlight Narrative section of the Tribeca Film Festival on June 14. Vertical plans to release the film exclusively in theaters in July 22, with a VOD bow to follow on July 29.</p>
<p><em>Alone Together</em> follows June (Holmes), a food critic going upstate for a short romantic getaway to escape the pandemic in New York City, whose plans go wrong from the start. Arriving at the Airbnb in advance of her boyfriend, John (Derek Luke), she is shocked to discover it has been double-booked by the recently single Charlie (Jim Sturgess). When John decides to stay in the city to take care of his parents, June has to settle in for the long haul as she realizes that the initial two weeks of the pandemic might just drag on a little bit longer than expected. As spring begins to unfold around them, June and Charlie make the most of the sudden break in their routines and develop an unexpected intimacy as they bond over their goals, ambitions and, of course, relationships.</p>
<p>Becky Ann Baker (<em>New Amsterdam</em>), Zosia Mamet (<em>The Flight Attendant) </em>and Melissa Leo (<em>Measure of Revenge</em>) round out the cast of the film, which Holmes produced alongside Yale Productions’ Jordan Yale Levine and Jordan Beckerman, <span style="font-size: 16px;">SSS Entertainment’</span><span style="font-size: 16px;">s Shaun Sanghani, and Lafayette Pictures. Its exec producers are </span>Peter Jarowey, Rich Goldberg, Mitch Budin, Roman Kopelvich, Eric Broughton, Jennifer Broughton, Gregory Ruden, Anne Ruden, Jason Kringstein, Scott Levenson, Lee Broda, Colby Cote, Kade Thomas, Jackie Palkovicz, Michael Palkovicz and Michael J. Rothstein.</p>
<p>“From the moment Katie presented us with the script, we fell in love with it. We knew we had to produce this film,” said Levine and Beckerman in a joint statement. “Though it is timely in its portrayal of pandemic life, it is a timeless story of joy and hope.”</p>
<p>“Katie has created a poignant, relatable and humorous Lockdown love story touching on common experiences we all dealt with during the pandemic,” added Vertical Entertainment Partner, Jarowey. “It is pure entertainment that we feel moviegoers will connect with on many levels.”</p>
<p>Vertical Entertainment is a global independent distributor, founded in 2012, which also recently acquired the Tribeca-bound political satire <em>Land of Dreams</em>staring Sheila Vand, Matt Dillon and more. <span style="font-size: 16px;">Other upcoming releases from the company include Eli Horowitz’s SXSW 2022 thriller <em>The Cow</em>starring Winona Ryder and John Gallagher Jr.; John Patton Ford’s Sundance 2022 pic <em>Emily the Criminal</em>starring Aubrey Plaza and Theo Rossi; and Krystin Ver Linden’s Sundance drama <em>Alice</em>starring Keke Palmer, Common, Gaius Charles and Jonny Lee Miller. </span></p>
<p>Jarowey and Tony Piantedosi negotiated the deal for <em>Alone Together</em> on behalf of Vertical Entertainment, with Beckerman and Levine of Yale Productions and ICM Partners on behalf of the filmmakers.</p>
</p></div>
<p>We  would love to  say thanks to the  writer of this  short article for this  incredible  material<br />
<br />
<a href="https://deadline.com/2022/06/katie-holmes-drama-alone-together-acquired-by-vertical-entertainment-1235038011/" target="_blank" rel="noopener">Vertical Entertainment Acquires Tribeca-Bound Romantic Drama ‘Alone Together’ Directed By &#038; Starring Katie Holmes<br />
</a></p>
<p><center><iframe loading="lazy" src="https://dict.longdo.com/3rdparties/magpierss-0.72/scripts/magpie_debug.php?url=http://feeds.feedburner.com/FastMediaService" height="25" width="250" title=""></iframe></center></p>
";s:14:"date_timestamp";i:1654334421;}i:1;a:11:{s:5:"title";s:106:"CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional & Country Outlook";s:4:"link";s:173:"https://bestmovies.packagingnewsonline.com/movie-production-companies/cnc-super-finishing-machine-market-key-vendors-opportunities-deep-analysis-by-regional-country-outlook/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 04 Jun 2022 07:20:18 +0000";s:8:"category";s:113:"Movie Production CompaniesAnalysisCNCCountryDeepKeyMachinemarketOpportunitiesOutlookregionalSuperFinishingVendors";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68442";s:11:"description";s:894:"The CNC Super-Finishing Machine Market Research Survey covers the quantitative and qualitative analysis of each type to identify the driving forces behind the fastest growing type segment in the CNC Super-Finishing Machine market. The CNC Super-Finishing Machine market’s competitive image includes supplier details along with market potential, company overview, presence, CNC Super-Finishing Machine market’s product ... <a title="CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional &#038; Country Outlook" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/cnc-super-finishing-machine-market-key-vendors-opportunities-deep-analysis-by-regional-country-outlook/" aria-label="More on CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional &#038; Country Outlook">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:10110:"<div style="color: #000000;width: 99%;height: 100%;border: 1px solid;background: white;padding: 1%;font-family: verdana, geneva;font-size: 12pt">
<p>The <span style="text-decoration: underline"><strong>CNC Super-Finishing Machine Market</strong></span>  Research Survey covers the quantitative and qualitative analysis of each type to identify the driving forces behind the fastest growing type segment in the CNC Super-Finishing Machine market. The CNC Super-Finishing Machine market’s competitive image includes supplier details along with market potential, company overview, presence, CNC Super-Finishing Machine market’s product sales and revenue, the company’s total revenue, market shares, price, SWOT analysis, production sites and product launch facilities.</p>
<p>This research study breaks down sales, revenue and market share for each CNC Super-Finishing Machine for each player. The document studies the dynamics of the parent market, macroeconomic measurement values ​​and control components from top to bottom. In addition, the study examines the subjective impact of various market aspects on the divisions and geologies of the CNC Super-Finishing Machine market.</p>
<p><strong>Key Drivers &#038; Barriers:</strong></p>
<p>High-impact factors and rendering engines have been studied in the CNC Super-Finishing Machine market report to help readers understand the overall development. In addition, the report contains restrictions and challenges that may stand in the way of players. This will help users pay attention and make informed business-related decisions. The specialists also looked at the next business outlook.</p>
<p>In its latest report, ReportsGlobe offers a comprehensive overview of the CNC Super-Finishing Machine market with an emphasis on keyword dynamics including driving forces, constraints, opportunities, trends and detailed information on CNC Super-Finishing Machine market structure. CNC Super-Finishing Machine’s market sales in the global market will increase as activities and advanced technology increase. With the outbreak of covid-19, companies have become very dependent on digital platforms to survive.</p>
<p><strong>The major players covered in CNC Super-Finishing Machine Markets:</strong> </p>
<li>BEIER MACHINE TOOL WORKS CO., LTD
</li>
<li>Toyo Advanced technologies
</li>
<li>LOESER GmbH
</li>
<li>DYNABRADE Europe
</li>
<li>PROTEM
</li>
<li>EMC
</li>
<li>Peaks
</li>
<li>Nagel Precision
</li>
<li>Wohler Brush Tech GmbH
<p><strong>CNC Super-Finishing Machine Market Breakdown by Type:</strong> </p>
</li>
<li>Vertical Super-Finishing Machine
</li>
<li>Horizontal Super-Finishing Machine
<p><strong>CNC Super-Finishing Machine Market breakdown by application:</strong> </p>
</li>
<li>Polishing
</li>
<li>Welding
</li>
<li>Fine Grinding
</li>
<li>Other
<p><strong>CNC Super-Finishing Machine Market Segment Analysis</strong></p>
<p>The market research explores new data in the CNC Super-Finishing Machine market report. It examines the market size in terms of the value of each segment, as well as how market dynamics are likely to change over time. The report then divides this information into types and proposed applications, with a breakdown by geography (North America, Asia, Europe, and the Rest of the World). In addition, the report examines the structure of the industry, offers growth, forecast period, revenue value and volume estimates in industrial applications, and provides clarity regarding industry competition.</p>
<p><strong>CNC Super-Finishing Machine Market Report Scope</strong></p>
<table border="4" width="665" cellspacing="2">
<caption> </caption>
<tbody>
<tr>
<td width="333">
<p><strong>ATTRIBUTES</strong></p>
</td>
<td width="333">
<p><strong>Description</strong></p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>ESTIMATED YEAR</strong></p>
</td>
<td width="333">
<p>2022</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>BASE YEAR</strong></p>
</td>
<td width="333">
<p>2021</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>FORECAST YEAR</strong></p>
</td>
<td width="333">
<p>2022 to 2028</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>HISTORICAL YEAR</strong></p>
</td>
<td width="333">
<p>2020</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>SEGMENTS COVERED</strong></p>
</td>
<td width="333">
<p>Types, Applications, End-Users, and more.</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>REPORT COVERAGE</strong></p>
</td>
<td width="333">
<p>Revenue Forecast, Company Ranking, Competitive Landscape, Growth Factors, and Trends</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>BY REGION</strong></p>
</td>
<td width="333">
<p>North America, Europe, Asia Pacific, Latin America, Middle East and Africa</p>
</td>
</tr>
</tbody>
</table>
<p><strong>Regional Analysis of the CNC Super-Finishing Machine Market:</strong></p>
<p>The CNC Super-Finishing Machine Market research report details the ongoing market trends, development outlines, and several research methodologies. It illustrates the key factors that directly manipulate the Market, for instance, production strategies, development platforms, and product portfolio. According to our researchers, even minor changes within the product profiles could result in huge disruptions to the above-mentioned factors.</p>
<ul>
<li><strong>North America</strong> includes the United States, Canada, and Mexico</li>
<li><strong>Europe</strong> includes Germany, France, UK, Italy, Spain</li>
<li><strong>South America</strong> includes Colombia, Argentina, Nigeria, and Chile</li>
<li><strong>The Asia Pacific</strong> includes Japan, China, Korea, India, Saudi Arabia, and Southeast Asia</li>
</ul>
<p><strong>Goals and objectives of the CNC Super-Finishing Machine Market Study</strong></p>
<ul>
<li>Understanding the opportunities and progress of CNC Super-Finishing Machine determines market highlights, as well as key regions and countries involved in market growth.</li>
<li>Study the different segments of the CNC Super-Finishing Machine market and the dynamics of CNC Super-Finishing Machine in the market.</li>
<li>Categorize CNC Super-Finishing Machine segments with increasing growth potential and evaluate the futuristic segment market.</li>
<li>To analyze the most important trends related to the different segments that help to decipher and convince the CNC Super-Finishing Machine market.</li>
<li>To verify region-specific growth and development in the CNC Super-Finishing Machine market.</li>
<li>Understand the key stakeholders in the CNC Super-Finishing Machine market and the value of the competitive image of the CNC Super-Finishing Machine market leaders.</li>
<li>To study key plans, initiatives and strategies for the development of the CNC Super-Finishing Machine market.</li>
</ul>
<p>The study thoroughly examines the profiles of major market players and their major financial aspects. This comprehensive business analysis report is useful for all new and existing participants when designing their business strategies. This report covers CNC Super-Finishing Machine’s market output, revenue, market shares and growth rates for each key company and covers breakdown data (production, consumption, revenue and market shares) by regions, type and applications. CNC Super-Finishing Machine historical breakdown data from 2016 to 2021 and forecast for 2022-2028.</p>
<p><strong>Global CNC Super-Finishing Machine Market Research Report 2022 – 2028</strong></p>
<p>Chapter 1 CNC Super-Finishing Machine Market Overview</p>
<p>Chapter 2 Global Economic Impact on Industry</p>
<p>Chapter 3 Global Market Competition by Manufacturers</p>
<p>Chapter 4 Global Production, Revenue (Value) by Region</p>
<p>Chapter 5 Global Supply (Production), Consumption, Export, Import by Regions</p>
<p>Chapter 6 Global Production, Revenue (Value), Price Trend by Type</p>
<p>Chapter 7 Global Market Analysis by Application</p>
<p>Chapter 8 Manufacturing Cost Analysis</p>
<p>Chapter 9 Industrial Chain, Sourcing Strategy and Downstream Buyers</p>
<p>Chapter 10 Marketing Strategy Analysis, Distributors/Traders</p>
<p>Chapter 11 Market Effect Factors Analysis</p>
<p>Chapter 12 Global CNC Super-Finishing Machine Market Forecast</p>
<p><strong>How Reports Globe is different than other Market Research Providers:</strong></p>
<p>The inception of Reports Globe has been backed by providing clients with a holistic view of market conditions and future possibilities/opportunities to reap maximum profits out of their businesses and assist in decision making. Our team of in-house analysts and consultants works tirelessly to understand your needs and suggest the best possible solutions to fulfill your research requirements.</p>
<p>Our team at Reports Globe follows a rigorous process of data validation, which allows us to publish reports from publishers with minimum or no deviations. Reports Globe collects, segregates, and publishes more than 500 reports annually that cater to products and services across numerous domains.</p>
<p><strong>Contact us:</strong></p>
<p>Mr. Mark Willams</p>
<p>Account Manager</p>
<p><strong>US:</strong> +1-970-672-0390</p>
<p><strong>Email:</strong> <a target="_blank" href="https://manufacturelink.com.au/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="f182909d9482b18394819e838582969d9e9394df929e9c" rel="noopener">[email protected]</p>
<p><strong>Website:</strong> Reportsglobe.com</p>
</li>
</div>
<p>We  would love to thank the  writer of this  short article for this awesome  web content<br />
<br />
<a href="https://manufacturelink.com.au/cnc-super-finishing-machine-market-key-vendors-opportunities-deep-analysis-by-regional-country-outlook-beier-machine-tool-works-co-ltd-toyo-advanced-technologies-loeser-gmbh-dynabrade-e/1171305/" target="_blank" rel="noopener">CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional &#038; Country Outlook<br />
</a></p>
<p><center><iframe loading="lazy" src="http://local.eteamsys.com/lib/magpie/scripts/magpie_debug.php?url=http://appropriatemedia.net/feed" height="25" width="250" title=""></iframe></center></p>
";}s:7:"summary";s:894:"The CNC Super-Finishing Machine Market Research Survey covers the quantitative and qualitative analysis of each type to identify the driving forces behind the fastest growing type segment in the CNC Super-Finishing Machine market. The CNC Super-Finishing Machine market’s competitive image includes supplier details along with market potential, company overview, presence, CNC Super-Finishing Machine market’s product ... <a title="CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional &#038; Country Outlook" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/cnc-super-finishing-machine-market-key-vendors-opportunities-deep-analysis-by-regional-country-outlook/" aria-label="More on CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional &#038; Country Outlook">Read more</a>";s:12:"atom_content";s:10110:"<div style="color: #000000;width: 99%;height: 100%;border: 1px solid;background: white;padding: 1%;font-family: verdana, geneva;font-size: 12pt">
<p>The <span style="text-decoration: underline"><strong>CNC Super-Finishing Machine Market</strong></span>  Research Survey covers the quantitative and qualitative analysis of each type to identify the driving forces behind the fastest growing type segment in the CNC Super-Finishing Machine market. The CNC Super-Finishing Machine market’s competitive image includes supplier details along with market potential, company overview, presence, CNC Super-Finishing Machine market’s product sales and revenue, the company’s total revenue, market shares, price, SWOT analysis, production sites and product launch facilities.</p>
<p>This research study breaks down sales, revenue and market share for each CNC Super-Finishing Machine for each player. The document studies the dynamics of the parent market, macroeconomic measurement values ​​and control components from top to bottom. In addition, the study examines the subjective impact of various market aspects on the divisions and geologies of the CNC Super-Finishing Machine market.</p>
<p><strong>Key Drivers &#038; Barriers:</strong></p>
<p>High-impact factors and rendering engines have been studied in the CNC Super-Finishing Machine market report to help readers understand the overall development. In addition, the report contains restrictions and challenges that may stand in the way of players. This will help users pay attention and make informed business-related decisions. The specialists also looked at the next business outlook.</p>
<p>In its latest report, ReportsGlobe offers a comprehensive overview of the CNC Super-Finishing Machine market with an emphasis on keyword dynamics including driving forces, constraints, opportunities, trends and detailed information on CNC Super-Finishing Machine market structure. CNC Super-Finishing Machine’s market sales in the global market will increase as activities and advanced technology increase. With the outbreak of covid-19, companies have become very dependent on digital platforms to survive.</p>
<p><strong>The major players covered in CNC Super-Finishing Machine Markets:</strong> </p>
<li>BEIER MACHINE TOOL WORKS CO., LTD
</li>
<li>Toyo Advanced technologies
</li>
<li>LOESER GmbH
</li>
<li>DYNABRADE Europe
</li>
<li>PROTEM
</li>
<li>EMC
</li>
<li>Peaks
</li>
<li>Nagel Precision
</li>
<li>Wohler Brush Tech GmbH
<p><strong>CNC Super-Finishing Machine Market Breakdown by Type:</strong> </p>
</li>
<li>Vertical Super-Finishing Machine
</li>
<li>Horizontal Super-Finishing Machine
<p><strong>CNC Super-Finishing Machine Market breakdown by application:</strong> </p>
</li>
<li>Polishing
</li>
<li>Welding
</li>
<li>Fine Grinding
</li>
<li>Other
<p><strong>CNC Super-Finishing Machine Market Segment Analysis</strong></p>
<p>The market research explores new data in the CNC Super-Finishing Machine market report. It examines the market size in terms of the value of each segment, as well as how market dynamics are likely to change over time. The report then divides this information into types and proposed applications, with a breakdown by geography (North America, Asia, Europe, and the Rest of the World). In addition, the report examines the structure of the industry, offers growth, forecast period, revenue value and volume estimates in industrial applications, and provides clarity regarding industry competition.</p>
<p><strong>CNC Super-Finishing Machine Market Report Scope</strong></p>
<table border="4" width="665" cellspacing="2">
<caption> </caption>
<tbody>
<tr>
<td width="333">
<p><strong>ATTRIBUTES</strong></p>
</td>
<td width="333">
<p><strong>Description</strong></p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>ESTIMATED YEAR</strong></p>
</td>
<td width="333">
<p>2022</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>BASE YEAR</strong></p>
</td>
<td width="333">
<p>2021</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>FORECAST YEAR</strong></p>
</td>
<td width="333">
<p>2022 to 2028</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>HISTORICAL YEAR</strong></p>
</td>
<td width="333">
<p>2020</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>SEGMENTS COVERED</strong></p>
</td>
<td width="333">
<p>Types, Applications, End-Users, and more.</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>REPORT COVERAGE</strong></p>
</td>
<td width="333">
<p>Revenue Forecast, Company Ranking, Competitive Landscape, Growth Factors, and Trends</p>
</td>
</tr>
<tr>
<td width="333">
<p><strong>BY REGION</strong></p>
</td>
<td width="333">
<p>North America, Europe, Asia Pacific, Latin America, Middle East and Africa</p>
</td>
</tr>
</tbody>
</table>
<p><strong>Regional Analysis of the CNC Super-Finishing Machine Market:</strong></p>
<p>The CNC Super-Finishing Machine Market research report details the ongoing market trends, development outlines, and several research methodologies. It illustrates the key factors that directly manipulate the Market, for instance, production strategies, development platforms, and product portfolio. According to our researchers, even minor changes within the product profiles could result in huge disruptions to the above-mentioned factors.</p>
<ul>
<li><strong>North America</strong> includes the United States, Canada, and Mexico</li>
<li><strong>Europe</strong> includes Germany, France, UK, Italy, Spain</li>
<li><strong>South America</strong> includes Colombia, Argentina, Nigeria, and Chile</li>
<li><strong>The Asia Pacific</strong> includes Japan, China, Korea, India, Saudi Arabia, and Southeast Asia</li>
</ul>
<p><strong>Goals and objectives of the CNC Super-Finishing Machine Market Study</strong></p>
<ul>
<li>Understanding the opportunities and progress of CNC Super-Finishing Machine determines market highlights, as well as key regions and countries involved in market growth.</li>
<li>Study the different segments of the CNC Super-Finishing Machine market and the dynamics of CNC Super-Finishing Machine in the market.</li>
<li>Categorize CNC Super-Finishing Machine segments with increasing growth potential and evaluate the futuristic segment market.</li>
<li>To analyze the most important trends related to the different segments that help to decipher and convince the CNC Super-Finishing Machine market.</li>
<li>To verify region-specific growth and development in the CNC Super-Finishing Machine market.</li>
<li>Understand the key stakeholders in the CNC Super-Finishing Machine market and the value of the competitive image of the CNC Super-Finishing Machine market leaders.</li>
<li>To study key plans, initiatives and strategies for the development of the CNC Super-Finishing Machine market.</li>
</ul>
<p>The study thoroughly examines the profiles of major market players and their major financial aspects. This comprehensive business analysis report is useful for all new and existing participants when designing their business strategies. This report covers CNC Super-Finishing Machine’s market output, revenue, market shares and growth rates for each key company and covers breakdown data (production, consumption, revenue and market shares) by regions, type and applications. CNC Super-Finishing Machine historical breakdown data from 2016 to 2021 and forecast for 2022-2028.</p>
<p><strong>Global CNC Super-Finishing Machine Market Research Report 2022 – 2028</strong></p>
<p>Chapter 1 CNC Super-Finishing Machine Market Overview</p>
<p>Chapter 2 Global Economic Impact on Industry</p>
<p>Chapter 3 Global Market Competition by Manufacturers</p>
<p>Chapter 4 Global Production, Revenue (Value) by Region</p>
<p>Chapter 5 Global Supply (Production), Consumption, Export, Import by Regions</p>
<p>Chapter 6 Global Production, Revenue (Value), Price Trend by Type</p>
<p>Chapter 7 Global Market Analysis by Application</p>
<p>Chapter 8 Manufacturing Cost Analysis</p>
<p>Chapter 9 Industrial Chain, Sourcing Strategy and Downstream Buyers</p>
<p>Chapter 10 Marketing Strategy Analysis, Distributors/Traders</p>
<p>Chapter 11 Market Effect Factors Analysis</p>
<p>Chapter 12 Global CNC Super-Finishing Machine Market Forecast</p>
<p><strong>How Reports Globe is different than other Market Research Providers:</strong></p>
<p>The inception of Reports Globe has been backed by providing clients with a holistic view of market conditions and future possibilities/opportunities to reap maximum profits out of their businesses and assist in decision making. Our team of in-house analysts and consultants works tirelessly to understand your needs and suggest the best possible solutions to fulfill your research requirements.</p>
<p>Our team at Reports Globe follows a rigorous process of data validation, which allows us to publish reports from publishers with minimum or no deviations. Reports Globe collects, segregates, and publishes more than 500 reports annually that cater to products and services across numerous domains.</p>
<p><strong>Contact us:</strong></p>
<p>Mr. Mark Willams</p>
<p>Account Manager</p>
<p><strong>US:</strong> +1-970-672-0390</p>
<p><strong>Email:</strong> <a target="_blank" href="https://manufacturelink.com.au/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="f182909d9482b18394819e838582969d9e9394df929e9c" rel="noopener">[email protected]</p>
<p><strong>Website:</strong> Reportsglobe.com</p>
</li>
</div>
<p>We  would love to thank the  writer of this  short article for this awesome  web content<br />
<br />
<a href="https://manufacturelink.com.au/cnc-super-finishing-machine-market-key-vendors-opportunities-deep-analysis-by-regional-country-outlook-beier-machine-tool-works-co-ltd-toyo-advanced-technologies-loeser-gmbh-dynabrade-e/1171305/" target="_blank" rel="noopener">CNC Super-Finishing Machine Market Key Vendors, Opportunities, Deep Analysis By Regional &#038; Country Outlook<br />
</a></p>
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";s:14:"date_timestamp";i:1654327218;}i:2;a:11:{s:5:"title";s:78:"Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films";s:4:"link";s:148:"https://bestmovies.packagingnewsonline.com/movie-production-companies/marvel-studios-boss-kevin-feige-nearly-jumped-to-warner-bros-to-lead-dc-films/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 04 Jun 2022 01:33:06 +0000";s:8:"category";s:78:"Movie Production CompaniesBossBrosFeigeFilmsJumpedKevinLeadMarvelStudiosWarner";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68308";s:11:"description";s:779:"New inside information reveals Marvel Studios President/Marvel CCO Kevin Feige nearly jumped ship to become Warner Bros.&#8217; DC man. As reported by Puck&#8216;s Matthew Belloni, Feige &#8220;talked pretty seriously&#8221; with Warner Bros. &#8220;a few years ago&#8221; about overseeing the company&#8217;s DC film content. This was around the time when Feige was regularly clashing with Marvel ... <a title="Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/marvel-studios-boss-kevin-feige-nearly-jumped-to-warner-bros-to-lead-dc-films/" aria-label="More on Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:4848:"<div id="article-body">
<p>New inside information reveals Marvel Studios President/Marvel CCO <a target="_blank" href="http://cbr.com/tag/kevin-feige" rel="noopener">Kevin Feige</a> nearly jumped ship to become Warner Bros.&#8217; DC man.</p>
<p> <!-- No winning ad found for zone: word count #1! --><!-- No winning ad found for zone: below first paragraph! --><!-- No winning ad found for zone: mid intro! --> </p>
<p>As reported by <a target="_blank" href="https://puck.news/warner-bros-goes-all-in-on-disney/" rel="noopener noreferrer">Puck</a>&#8216;s Matthew Belloni, Feige &#8220;talked pretty seriously&#8221; with Warner Bros. &#8220;a few years ago&#8221; about overseeing the company&#8217;s DC film content. This was around the time when Feige was regularly clashing with Marvel Entertainment Chairman and former CEO Ike Perlmutter over the focus and trajectory of the Marvel Cinematic Universe.</p>
<p><!-- Zone: character count repeatable. --></p>
<p><span class="related-single">Related: Marvel&#8217;s Kevin Feige Made a Last-Minute Change to a Major Doctor Strange 2 Fight Scene</span></p>
<p>This news comes in the midst of Warner Bros.&#8217; structural overhaul, which will divide the company into three production verticals: Warner Bros.-New Line, DC and Animation. According to Belloni, Warner Bros. Discovery C.E.O. David Zaslav wants the company &#8220;to become Disney&#8221; and is recruiting new heads of content to make it happen. Two of the company&#8217;s new hires, former MGM chairpeople Michael De Luca and Pam Abdy, are reportedly in charge of DC film content while Warner Bros. searches for a leader who can match Feige&#8217;s excellence. <em>Joker</em> director Todd Phillips was apparently offered an &#8220;advisor&#8221; role at DC Films, though he was told it wouldn&#8217;t be &#8220;in an executive capacity.&#8221;</p>
<p><!-- Zone: character count repeatable. --><br />
 <!-- No winning ad found for zone: word count #2! --> </p>
<p>Feige joined up with Marvel in 2000 as a producer and was named president of production for Marvel Studios in 2007. Around 2012, Feige&#8217;s disagreements with Perlmutter began to intensify as a result of Perlmutter&#8217;s refusal to invest in diverse, female-led and LGBTQ+ content in the MCU. Mark Ruffalo revealed in 2020 that Feige had spoken with him about potentially leaving the company. &#8220;When we did the first <em>Avengers</em>Kevin Feige told me, &#8216;Listen, I might not be here tomorrow,'&#8221; Ruffalo recalled. &#8220;And he&#8217;s like, &#8216;Ike does not believe that anyone will go to a female-starring superhero movie. So if I am still here tomorrow, you will know that I won that battle.'&#8221; Perlmutter stopped overseeing the development of Marvel Studios in 2015, though it wasn&#8217;t until 2019 that Marvel released its first female-led film, <em>Captain Marvel</em>.</p>
<p><!-- Zone: character count repeatable. --><br />
 <!-- No winning ad found for zone: word count #3! --> </p>
<p><span class="related-single">Related: Doctor Strange 2 Writer Provides an Update on Kevin Feige&#8217;s Star Wars Movie</span></p>
<p>Under Feige&#8217;s direction, Marvel Studios accomplished a never-before-seen feat with the carefully crafted, sprawling MCU, beginning in 2008 with <em>Iron Man</em>. With worldwide earnings in the multi-billions, the MCU is comfortably the biggest movie franchise of all time. In the wake of the highly successful <em>Dark Knight</em> trilogy (2005-2012), Warner Bros. began laying the groundwork for the DC Extended Universe with 2013&#8217;s <em>Man of Steel</em>. The franchise has since been met with mixed reviews overall and has yet to touch the MCU at the box office.</p>
<p><!-- Zone: character count repeatable. --><br />
 <!-- No winning ad found for zone: word count #4! --> </p>
<p>Despite the perceived rivalry between Marvel and DC, Feige previously dismissed any bad blood between the two. &#8220;There&#8217;s not really a rivalry. The rivalry is much more amongst the press, I think,&#8221; he said. &#8220;When the movies perform well and are well received, it&#8217;s good for us &#8212; which is why I&#8217;m always rooting for them.&#8221;</p>
<p>Source: <a target="_blank" href="https://puck.news/warner-bros-goes-all-in-on-disney/" rel="noopener noreferrer">Puck</a></p>
</div>
<p>We  want to  say thanks to the  writer of this article for this  amazing  web content<br />
<br />
<a href="https://www.cbr.com/kevin-feige-nearly-left-marvel-studios-warner-bros-lead-dc-films/" target="_blank" rel="noopener">Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films<br />
</a></p>
<p><center><iframe loading="lazy" src="http://rep.morriscode.ca/rss/scripts/magpie_debug.php?url=https://celebs.digital/feed" height="25" width="250" title=""></iframe></center></p>
";}s:7:"summary";s:779:"New inside information reveals Marvel Studios President/Marvel CCO Kevin Feige nearly jumped ship to become Warner Bros.&#8217; DC man. As reported by Puck&#8216;s Matthew Belloni, Feige &#8220;talked pretty seriously&#8221; with Warner Bros. &#8220;a few years ago&#8221; about overseeing the company&#8217;s DC film content. This was around the time when Feige was regularly clashing with Marvel ... <a title="Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/marvel-studios-boss-kevin-feige-nearly-jumped-to-warner-bros-to-lead-dc-films/" aria-label="More on Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films">Read more</a>";s:12:"atom_content";s:4848:"<div id="article-body">
<p>New inside information reveals Marvel Studios President/Marvel CCO <a target="_blank" href="http://cbr.com/tag/kevin-feige" rel="noopener">Kevin Feige</a> nearly jumped ship to become Warner Bros.&#8217; DC man.</p>
<p> <!-- No winning ad found for zone: word count #1! --><!-- No winning ad found for zone: below first paragraph! --><!-- No winning ad found for zone: mid intro! --> </p>
<p>As reported by <a target="_blank" href="https://puck.news/warner-bros-goes-all-in-on-disney/" rel="noopener noreferrer">Puck</a>&#8216;s Matthew Belloni, Feige &#8220;talked pretty seriously&#8221; with Warner Bros. &#8220;a few years ago&#8221; about overseeing the company&#8217;s DC film content. This was around the time when Feige was regularly clashing with Marvel Entertainment Chairman and former CEO Ike Perlmutter over the focus and trajectory of the Marvel Cinematic Universe.</p>
<p><!-- Zone: character count repeatable. --></p>
<p><span class="related-single">Related: Marvel&#8217;s Kevin Feige Made a Last-Minute Change to a Major Doctor Strange 2 Fight Scene</span></p>
<p>This news comes in the midst of Warner Bros.&#8217; structural overhaul, which will divide the company into three production verticals: Warner Bros.-New Line, DC and Animation. According to Belloni, Warner Bros. Discovery C.E.O. David Zaslav wants the company &#8220;to become Disney&#8221; and is recruiting new heads of content to make it happen. Two of the company&#8217;s new hires, former MGM chairpeople Michael De Luca and Pam Abdy, are reportedly in charge of DC film content while Warner Bros. searches for a leader who can match Feige&#8217;s excellence. <em>Joker</em> director Todd Phillips was apparently offered an &#8220;advisor&#8221; role at DC Films, though he was told it wouldn&#8217;t be &#8220;in an executive capacity.&#8221;</p>
<p><!-- Zone: character count repeatable. --><br />
 <!-- No winning ad found for zone: word count #2! --> </p>
<p>Feige joined up with Marvel in 2000 as a producer and was named president of production for Marvel Studios in 2007. Around 2012, Feige&#8217;s disagreements with Perlmutter began to intensify as a result of Perlmutter&#8217;s refusal to invest in diverse, female-led and LGBTQ+ content in the MCU. Mark Ruffalo revealed in 2020 that Feige had spoken with him about potentially leaving the company. &#8220;When we did the first <em>Avengers</em>Kevin Feige told me, &#8216;Listen, I might not be here tomorrow,'&#8221; Ruffalo recalled. &#8220;And he&#8217;s like, &#8216;Ike does not believe that anyone will go to a female-starring superhero movie. So if I am still here tomorrow, you will know that I won that battle.'&#8221; Perlmutter stopped overseeing the development of Marvel Studios in 2015, though it wasn&#8217;t until 2019 that Marvel released its first female-led film, <em>Captain Marvel</em>.</p>
<p><!-- Zone: character count repeatable. --><br />
 <!-- No winning ad found for zone: word count #3! --> </p>
<p><span class="related-single">Related: Doctor Strange 2 Writer Provides an Update on Kevin Feige&#8217;s Star Wars Movie</span></p>
<p>Under Feige&#8217;s direction, Marvel Studios accomplished a never-before-seen feat with the carefully crafted, sprawling MCU, beginning in 2008 with <em>Iron Man</em>. With worldwide earnings in the multi-billions, the MCU is comfortably the biggest movie franchise of all time. In the wake of the highly successful <em>Dark Knight</em> trilogy (2005-2012), Warner Bros. began laying the groundwork for the DC Extended Universe with 2013&#8217;s <em>Man of Steel</em>. The franchise has since been met with mixed reviews overall and has yet to touch the MCU at the box office.</p>
<p><!-- Zone: character count repeatable. --><br />
 <!-- No winning ad found for zone: word count #4! --> </p>
<p>Despite the perceived rivalry between Marvel and DC, Feige previously dismissed any bad blood between the two. &#8220;There&#8217;s not really a rivalry. The rivalry is much more amongst the press, I think,&#8221; he said. &#8220;When the movies perform well and are well received, it&#8217;s good for us &#8212; which is why I&#8217;m always rooting for them.&#8221;</p>
<p>Source: <a target="_blank" href="https://puck.news/warner-bros-goes-all-in-on-disney/" rel="noopener noreferrer">Puck</a></p>
</div>
<p>We  want to  say thanks to the  writer of this article for this  amazing  web content<br />
<br />
<a href="https://www.cbr.com/kevin-feige-nearly-left-marvel-studios-warner-bros-lead-dc-films/" target="_blank" rel="noopener">Marvel Studios Boss Kevin Feige Nearly Jumped to Warner Bros. to Lead DC Films<br />
</a></p>
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";s:14:"date_timestamp";i:1654306386;}i:3;a:11:{s:5:"title";s:104:"Makoto Shinkai’s ‘Suzume no Tojimari’ Sets Global Distribution with Crunchyroll, Sony & Wild Bunch";s:4:"link";s:163:"https://bestmovies.packagingnewsonline.com/movie-production-companies/makoto-shinkais-suzume-no-tojimari-sets-global-distribution-with-crunchyroll-sony-wild-bunch/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 21:30:52 +0000";s:8:"category";s:100:"Movie Production CompaniesBunchCrunchyrollDistributionglobalMakotoSetsShinkaisSonySuzumeTojimariWild";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68225";s:11:"description";s:877:"Crunchyroll today announced it has acquired the global distribution and marketing rights (excluding Asia) from TOHO, for Makoto Shinkai’s upcoming film, Suzume no Tojimari (working title). The deal was finalized at this week’s Cannes Film Festival and was negotiated by Crunchyroll’s Chief Content Officer Asa Suehira, Wild Bunch International’s CEO Vincent Maraval and TOHO’s Akihiro ... <a title="Makoto Shinkai&#8217;s &#8216;Suzume no Tojimari&#8217; Sets Global Distribution with Crunchyroll, Sony &#038; Wild Bunch" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/makoto-shinkais-suzume-no-tojimari-sets-global-distribution-with-crunchyroll-sony-wild-bunch/" aria-label="More on Makoto Shinkai&#8217;s &#8216;Suzume no Tojimari&#8217; Sets Global Distribution with Crunchyroll, Sony &#038; Wild Bunch">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:5975:"<div id="mvp-content-main">
<p><span class="il">Crunchyroll</span> today announced it has acquired the global distribution and marketing rights (excluding Asia) from TOHO, for Makoto Shinkai’s upcoming film, <em>Suzume no Tojimari</em> (working title).</p>
<p>The deal was finalized at this week’s Cannes Film Festival and was negotiated by <span class="il">Crunchyroll</span>’s Chief Content Officer Asa Suehira, Wild Bunch International’s CEO Vincent Maraval and TOHO’s Akihiro Takeda. Rights are handled worldwide by TOHO (excluding South Korea and India).</p>
<p><noscript><img loading="lazy" class="alignleft wp-image-303585" src="https://www.animationmagazine.net/wordpress/wp-content/uploads/image3-170x240.jpg" alt="Suzume no Tojimari" width="353" height="500" srcset="https://www.animationmagazine.net/wordpress/wp-content/uploads/image3-170x240.jpg 170w, https://www.animationmagazine.net/wordpress/wp-content/uploads/image3.jpg 530w" sizes="(max-width: 353px) 100vw, 353px" data-eio="l" title="Makoto Shinkai&#039;s &#039;Suzume no Tojimari&#039; Sets Global Distribution with Crunchyroll, Sony &amp; Wild Bunch 2"></noscript></p>
<p><em>Suzume no Tojimari</em> will debut in Japan on November 11 this year, and will be distributed in all major territories beginning in early 2023. In North America, <span class="il">Crunchyroll</span> is the sole distributor.  In Latin America, Australia/New Zealand, the Middle East and portions of Europe, the film will be distributed by <span class="il">Crunchyroll</span> and Sony Pictures Entertainment. In French- and German-speaking Europe, the film will be co-distributed by <span class="il">Crunchyroll</span>Sony Pictures and Wild Bunch International.</p>
<p>“It’s with humility and honor that CoMix Wave Films, Makoto Shinkai, and TOHO have decided to partner with <span class="il">Crunchyroll</span> on the next masterpiece,” said Rahul Purini, President of <span class="il">Crunchyroll</span>LLC.  “It’s also an incredible opportunity to work with our partners at Sony Pictures Entertainment and Wild Bunch International to co-distribute this film across a wide swatch of territories. We know both animation fans and general audiences will fall in love with this prestigious film, and we can’t wait to see the world’s reaction and reception to it in cinemas, festivals and for awards consideration.”</p>
<p>Vincent Maraval, President of Wild Bunch International, commented, “We are excited to work with Makoto Shinkai, CoMix Wave Films, TOHO and <span class="il">Crunchyroll</span>. We consider Makoto Shinkai as a major artist with whom we wanted to work for a long time. He is a talented director that we welcome in our family of cinema masters and we feel proud to be able to bring his vision to the cinema world all around the globe.”</p>
<p>Award-winning creator, writer and director Makoto Shinkai has been a visionary in the animation space for decades, with the most recent films <em>Your Name.</em> (2016) and <em>Weathering With You</em> (2019), both of which have catapulted him a leading animation auteur with international viewers.  <em>Weathering With You</em> was selected as Japan’s entry for the best international feature film category of the 2020 Academy Awards and nominated in four categories in the 47th annual Annie Awards including best animated independent feature.</p>
<blockquote>
<p dir="ltr"><strong>Synopsis: </strong><em>On the other side of the door, was time in its entirety—</em></p>
<p dir="ltr"><em>Suzume no Tojimari</em> is a coming-of-age story for the 17-year-old protagonist, Suzume, set in various disaster-stricken locations across Japan, where she must close the doors causing devastation.</p>
<p dir="ltr">Suzume’s journey begins in a quiet town in Kyushu (located in southwestern Japan) when she encounters a young man who tells her, “I’m looking for a door.” What Suzume finds is a single weathered door standing upright in the midst of ruins as though it was shielded from whatever catastrophe struck. Seemingly drawn by its power, Suzume reaches for the knob… Doors begin to open one after another all across Japan, unleashing destruction upon any who are near. Suzume must close these portals to prevent further disaster.</p>
<p dir="ltr"><em>—The stars, then sunset, and the morning sky.</em></p>
<p dir="ltr"><em>Within that realm, it was as though all time had melted together in the sky…</em></p>
<p dir="ltr">Never-before-seen scenery, encounters and farewells… A myriad of challenges await her on her journey. Despite all the obstacles in her way, Suzume’s adventure shines a ray of hope upon our own struggles against the toughest roads of anxiety and constraints that make up everyday life. This story of closing doors that connect our past to the present and future will leave a lasting impression upon all of our hearts.</p>
<p dir="ltr">Drawn in by these mysterious doors, Suzume’s journey is about to begin.</p>
</blockquote>
<p><iframe loading="lazy" title="『すずめの戸締まり』特報【2022年11月11日(金)公開決定】" width="1042" height="586" src="https://www.youtube.com/embed/6c4GAIig9gY?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
</p></div>
<p>We would like to  give thanks to the author of this  short article for this  amazing  web content<br />
<br />
<a href="https://www.animationmagazine.net/features/makoto-shinkais-suzume-no-tojimari-sets-global-distribution-with-crunchyroll-sony-wild-bunch/" target="_blank" rel="noopener">Makoto Shinkai&#8217;s &#8216;Suzume no Tojimari&#8217; Sets Global Distribution with Crunchyroll, Sony &#038; Wild Bunch<br />
</a></p>
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";}s:7:"summary";s:877:"Crunchyroll today announced it has acquired the global distribution and marketing rights (excluding Asia) from TOHO, for Makoto Shinkai’s upcoming film, Suzume no Tojimari (working title). The deal was finalized at this week’s Cannes Film Festival and was negotiated by Crunchyroll’s Chief Content Officer Asa Suehira, Wild Bunch International’s CEO Vincent Maraval and TOHO’s Akihiro ... <a title="Makoto Shinkai&#8217;s &#8216;Suzume no Tojimari&#8217; Sets Global Distribution with Crunchyroll, Sony &#038; Wild Bunch" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/makoto-shinkais-suzume-no-tojimari-sets-global-distribution-with-crunchyroll-sony-wild-bunch/" aria-label="More on Makoto Shinkai&#8217;s &#8216;Suzume no Tojimari&#8217; Sets Global Distribution with Crunchyroll, Sony &#038; Wild Bunch">Read more</a>";s:12:"atom_content";s:5975:"<div id="mvp-content-main">
<p><span class="il">Crunchyroll</span> today announced it has acquired the global distribution and marketing rights (excluding Asia) from TOHO, for Makoto Shinkai’s upcoming film, <em>Suzume no Tojimari</em> (working title).</p>
<p>The deal was finalized at this week’s Cannes Film Festival and was negotiated by <span class="il">Crunchyroll</span>’s Chief Content Officer Asa Suehira, Wild Bunch International’s CEO Vincent Maraval and TOHO’s Akihiro Takeda. Rights are handled worldwide by TOHO (excluding South Korea and India).</p>
<p><noscript><img loading="lazy" class="alignleft wp-image-303585" src="https://www.animationmagazine.net/wordpress/wp-content/uploads/image3-170x240.jpg" alt="Suzume no Tojimari" width="353" height="500" srcset="https://www.animationmagazine.net/wordpress/wp-content/uploads/image3-170x240.jpg 170w, https://www.animationmagazine.net/wordpress/wp-content/uploads/image3.jpg 530w" sizes="(max-width: 353px) 100vw, 353px" data-eio="l" title="Makoto Shinkai&#039;s &#039;Suzume no Tojimari&#039; Sets Global Distribution with Crunchyroll, Sony &amp; Wild Bunch 2"></noscript></p>
<p><em>Suzume no Tojimari</em> will debut in Japan on November 11 this year, and will be distributed in all major territories beginning in early 2023. In North America, <span class="il">Crunchyroll</span> is the sole distributor.  In Latin America, Australia/New Zealand, the Middle East and portions of Europe, the film will be distributed by <span class="il">Crunchyroll</span> and Sony Pictures Entertainment. In French- and German-speaking Europe, the film will be co-distributed by <span class="il">Crunchyroll</span>Sony Pictures and Wild Bunch International.</p>
<p>“It’s with humility and honor that CoMix Wave Films, Makoto Shinkai, and TOHO have decided to partner with <span class="il">Crunchyroll</span> on the next masterpiece,” said Rahul Purini, President of <span class="il">Crunchyroll</span>LLC.  “It’s also an incredible opportunity to work with our partners at Sony Pictures Entertainment and Wild Bunch International to co-distribute this film across a wide swatch of territories. We know both animation fans and general audiences will fall in love with this prestigious film, and we can’t wait to see the world’s reaction and reception to it in cinemas, festivals and for awards consideration.”</p>
<p>Vincent Maraval, President of Wild Bunch International, commented, “We are excited to work with Makoto Shinkai, CoMix Wave Films, TOHO and <span class="il">Crunchyroll</span>. We consider Makoto Shinkai as a major artist with whom we wanted to work for a long time. He is a talented director that we welcome in our family of cinema masters and we feel proud to be able to bring his vision to the cinema world all around the globe.”</p>
<p>Award-winning creator, writer and director Makoto Shinkai has been a visionary in the animation space for decades, with the most recent films <em>Your Name.</em> (2016) and <em>Weathering With You</em> (2019), both of which have catapulted him a leading animation auteur with international viewers.  <em>Weathering With You</em> was selected as Japan’s entry for the best international feature film category of the 2020 Academy Awards and nominated in four categories in the 47th annual Annie Awards including best animated independent feature.</p>
<blockquote>
<p dir="ltr"><strong>Synopsis: </strong><em>On the other side of the door, was time in its entirety—</em></p>
<p dir="ltr"><em>Suzume no Tojimari</em> is a coming-of-age story for the 17-year-old protagonist, Suzume, set in various disaster-stricken locations across Japan, where she must close the doors causing devastation.</p>
<p dir="ltr">Suzume’s journey begins in a quiet town in Kyushu (located in southwestern Japan) when she encounters a young man who tells her, “I’m looking for a door.” What Suzume finds is a single weathered door standing upright in the midst of ruins as though it was shielded from whatever catastrophe struck. Seemingly drawn by its power, Suzume reaches for the knob… Doors begin to open one after another all across Japan, unleashing destruction upon any who are near. Suzume must close these portals to prevent further disaster.</p>
<p dir="ltr"><em>—The stars, then sunset, and the morning sky.</em></p>
<p dir="ltr"><em>Within that realm, it was as though all time had melted together in the sky…</em></p>
<p dir="ltr">Never-before-seen scenery, encounters and farewells… A myriad of challenges await her on her journey. Despite all the obstacles in her way, Suzume’s adventure shines a ray of hope upon our own struggles against the toughest roads of anxiety and constraints that make up everyday life. This story of closing doors that connect our past to the present and future will leave a lasting impression upon all of our hearts.</p>
<p dir="ltr">Drawn in by these mysterious doors, Suzume’s journey is about to begin.</p>
</blockquote>
<p><iframe loading="lazy" title="『すずめの戸締まり』特報【2022年11月11日(金)公開決定】" width="1042" height="586" src="https://www.youtube.com/embed/6c4GAIig9gY?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
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<p>We would like to  give thanks to the author of this  short article for this  amazing  web content<br />
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<a href="https://www.animationmagazine.net/features/makoto-shinkais-suzume-no-tojimari-sets-global-distribution-with-crunchyroll-sony-wild-bunch/" target="_blank" rel="noopener">Makoto Shinkai&#8217;s &#8216;Suzume no Tojimari&#8217; Sets Global Distribution with Crunchyroll, Sony &#038; Wild Bunch<br />
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";s:14:"date_timestamp";i:1654291852;}i:4;a:11:{s:5:"title";s:99:"Review: ‘Hustle’ ditches the Adam Sandler formula for what might be Happy Madison’s best ever";s:4:"link";s:160:"https://bestmovies.packagingnewsonline.com/movie-production-companies/review-hustle-ditches-the-adam-sandler-formula-for-what-might-be-happy-madisons-best-ever/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 17:19:24 +0000";s:8:"category";s:76:"Movie Production CompaniesAdamDitchesFormulaHappyHustleMadisonsREVIEWSandler";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68180";s:11:"description";s:806:"Adam Sandler’s partnership with Netflix has proven to be hugely beneficial for both parties, with the actor and producer arguably establishing himself as the platform’s biggest draw since he took his Happy Madison outfit exclusively to streaming. The only downside is that none of the movies to emerge as a result have been particularly good, ... <a title="Review: &#8216;Hustle&#8217; ditches the Adam Sandler formula for what might be Happy Madison&#8217;s best ever" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/review-hustle-ditches-the-adam-sandler-formula-for-what-might-be-happy-madisons-best-ever/" aria-label="More on Review: &#8216;Hustle&#8217; ditches the Adam Sandler formula for what might be Happy Madison&#8217;s best ever">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:10007:"<div>
<div style="display:none"><meta content="Review: 'Hustle' ditches the Adam Sandler formula for what might be Happy Madison's best yet"/><meta content="https://wegotthiscovered.com/reviews/review-hustle-ditches-the-adam-sandler-formula-for-what-might-be-happy-madisons-best-ever/"/></div>
<p><meta content="2022-06-03"/> </p>
<p>Adam Sandler’s partnership with Netflix has proven to be hugely beneficial for both parties, with the actor and producer arguably establishing himself as the platform’s biggest draw since he took his Happy Madison outfit exclusively to streaming. The only downside is that none of the movies to emerge as a result have been particularly good, at least until <strong><em>Hustle </em></strong>premieres on June 8.</p>
<p>Having relied on largely the same formula since the mid-1990s, most viewers assume they know what to expect from a Sandler star vehicle. The cast, crew, and creative team will have collaborated with him at least a handful of times before, the setting will be an excuse to jet off to a glamorous location or two, the protagonist will be a petulant man-child, and the humor will be broad to the point of crassness.</p>
<p>However, <em>Hustle </em>is none of those things, which is why it comes as both a complete surprise, and a total breath of fresh air. Perhaps venturing outside of his wheelhouse to further explore his underrated dramatic side in <em>Uncut Gems </em>(which ironically wasn’t a Happy Madison joint) has lit a fire under Sandler, because Jeremiah Zagar’s basketball dramedy might very well be the best film the company has ever lent its name to.</p>
<figure class="wp-block-image size-full"><img loading="lazy" width="1600" height="900" src="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R.jpg" alt="hustle" class="wp-image-1225730" srcset="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R.jpg 1600w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-564x317.jpg 564w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-640x360.jpg 640w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-1536x864.jpg 1536w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-800x450.jpg 800w" sizes="(max-width: 1600px) 100vw, 1600px" title="Review: &#039;Hustle&#039; ditches the Adam Sandler formula for what might be Happy Madison&#039;s best ever 6"><figcaption>via Netflix</figcaption></figure>
<p>Don’t get us wrong, the narrative is entirely predictable and hits every single one of the beats we’ve become conditioned to expect from a redemptive sports story, but that doesn’t make it any less enjoyable to get to that point. Those expecting standard Sandler fare may be disappointed, but if this is the direction the 55 year-old is planning on taking his career in the future, then we’re fully on board.</p>
<p>Sandler’s former collegiate basketball standout Stanley Sugarman is the living embodiment of someone who dedicated their life towards trying to salvage whatever was left of their wasted potential, with a car accident robbing him of his lifelong dream. He’s spent his entire professional career as a scout for the Philadelphia 76ers, who’ve spent decades sending him around the world to seek out the latest can’t-miss prospects, which has had a hugely adverse affect on his personal and familial relationships.</p>
<p>When Robert Duvall’s mentor Rex Merrick is succeeded by Ben Foster’s son Vince as owner, Stanley finds himself more frustrated than ever. During a routine trip to Spain, he accidentally stumbles upon street-level sensation Bo Cruz (played by NBA star Juancho Hernangómez), and winds up staking his entire reputation and a great deal of his own money on the unproven youngster’s ability to make it in the big leagues.</p>
<p>With the setup out of the way early, <em>Hustle </em>instantly settles into a groove that’s as familiar as a warm embrace. There’s triumph and adversity in equal measure, strained interpersonal dynamics, fallouts, setbacks, arguments, and more than a few montages, but Zagar’s stylish direction and a fantastic central Sandler performance will keep you engaged from the first to last minute. On absolutely no level does the film break any new ground whatsoever from a storytelling or visual perspective, but that doesn’t mean it isn’t a hugely effective piece of understated cinema.</p>
<figure class="wp-block-image size-full"><img loading="lazy" width="1600" height="900" src="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R.jpg" alt="hustle" class="wp-image-1225731" srcset="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R.jpg 1600w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-564x317.jpg 564w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-640x360.jpg 640w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-1536x864.jpg 1536w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-800x450.jpg 800w" sizes="(max-width: 1600px) 100vw, 1600px" title="Review: &#039;Hustle&#039; ditches the Adam Sandler formula for what might be Happy Madison&#039;s best ever 7"><figcaption>via Netflix</figcaption></figure>
<p>Taylor Mateme and Will Fetters’ screenplay is admirably economical, too, wisely assuming that everyone will be well acquainted with the broad strokes of an archetypal journey from A to B via a road paved with obstacles, but it would nonetheless be a huge disservice to <em>Hustle </em>to simply label it as “Adam Sandler does <em>Jerry Maguire</em>“, even if that’s effectively what it is when boiled down to the core.</p>
<p>There’s still plenty of humor, though, and one or two classic Sandler freakouts to appease the diehards, but it’s always organic to the events unfolding on screen, as opposed to being shoehorned in for the sake of wringing as many laughs as possible from seeing the actor in his oversized shorts get schooled by a man a foot taller than he is.</p>
<p>Sandler, Hernangómez, Duvall, Foster, Anthony Edwards, Kenny Smith, Queen Latifah (unfortunately wasted as the one-note wife, but still charismatic and charming enough to make it work), and others might be embodying fictional figures, but there are literally dozens of NBA-adjacent figures who either cameo or play supporting roles as themselves, lending <em>Hustle </em>a tangible air of reality that heightens the tension and dramatic stakes, even if the endgame is entirely predictable.</p>
<figure class="wp-block-image size-full"><img loading="lazy" width="1600" height="900" src="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326.jpg" alt="hustle" class="wp-image-1225729" srcset="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326.jpg 1600w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-564x317.jpg 564w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-640x360.jpg 640w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-1536x864.jpg 1536w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-800x450.jpg 800w" sizes="(max-width: 1600px) 100vw, 1600px" title="Review: &#039;Hustle&#039; ditches the Adam Sandler formula for what might be Happy Madison&#039;s best ever 8"><figcaption>via Netflix</figcaption></figure>
<p>There are of course numerous gags revolving around titties and bodily fluids (this is still a Sandler flick, after all), but they’re used to inform scenes of either locker room talk or exchanges between longtime buddies, rather than aiming for the lowest common denominator as has been Happy Madison’s previous remit, while Sandler has never been more self-deprecating as Stanley. It’s as if he’s finally broken through the looking glass of self-awareness, with the role simultaneously embodying what we’ve come to expect from his starring turns while painting it in newer, more subtle shades than ever before.</p>
<p><em>Hustle </em>leans into and embraces the biggest and most blatant of tropes, yet always (and very deliberately) pulls away at the last second. Stanley and Bo end up as the firmest of friends, but they don’t walk into the sunset together. Everything builds towards the latter’s final shot at professional basketball stardom, but there’s no “big game” sequence or last-minute buzzer-beater. In oxymoronic terms, it’s believable fantasy; it takes place in a world just outside of our own, but everything is presented as true-to-life.</p>
<p>It isn’t anything you haven’t seen a handful of times before, then, but that’s exactly why <em>Hustle </em>works so well. It’s a 117-minute blanket of comfort that delivers precisely what you want to see from an underdog sports story, and never tries too hard to be anything else. At the center of it all is Sandler, who hopefully uses the end product as the platform to move away from his stale routine and outdated screen persona to give us more knockout, understated, emotionally-driven, but still undeniably impressive tour-de-forces like this.</p>
</p></div>
<p>We  wish to thank the author of this article for this  incredible  web content<br />
<br />
<a href="https://wegotthiscovered.com/reviews/review-hustle-ditches-the-adam-sandler-formula-for-what-might-be-happy-madisons-best-ever/" target="_blank" rel="noopener">Review: &#8216;Hustle&#8217; ditches the Adam Sandler formula for what might be Happy Madison&#8217;s best ever<br />
</a></p>
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";}s:7:"summary";s:806:"Adam Sandler’s partnership with Netflix has proven to be hugely beneficial for both parties, with the actor and producer arguably establishing himself as the platform’s biggest draw since he took his Happy Madison outfit exclusively to streaming. The only downside is that none of the movies to emerge as a result have been particularly good, ... <a title="Review: &#8216;Hustle&#8217; ditches the Adam Sandler formula for what might be Happy Madison&#8217;s best ever" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/review-hustle-ditches-the-adam-sandler-formula-for-what-might-be-happy-madisons-best-ever/" aria-label="More on Review: &#8216;Hustle&#8217; ditches the Adam Sandler formula for what might be Happy Madison&#8217;s best ever">Read more</a>";s:12:"atom_content";s:10007:"<div>
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<p><meta content="2022-06-03"/> </p>
<p>Adam Sandler’s partnership with Netflix has proven to be hugely beneficial for both parties, with the actor and producer arguably establishing himself as the platform’s biggest draw since he took his Happy Madison outfit exclusively to streaming. The only downside is that none of the movies to emerge as a result have been particularly good, at least until <strong><em>Hustle </em></strong>premieres on June 8.</p>
<p>Having relied on largely the same formula since the mid-1990s, most viewers assume they know what to expect from a Sandler star vehicle. The cast, crew, and creative team will have collaborated with him at least a handful of times before, the setting will be an excuse to jet off to a glamorous location or two, the protagonist will be a petulant man-child, and the humor will be broad to the point of crassness.</p>
<p>However, <em>Hustle </em>is none of those things, which is why it comes as both a complete surprise, and a total breath of fresh air. Perhaps venturing outside of his wheelhouse to further explore his underrated dramatic side in <em>Uncut Gems </em>(which ironically wasn’t a Happy Madison joint) has lit a fire under Sandler, because Jeremiah Zagar’s basketball dramedy might very well be the best film the company has ever lent its name to.</p>
<figure class="wp-block-image size-full"><img loading="lazy" width="1600" height="900" src="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R.jpg" alt="hustle" class="wp-image-1225730" srcset="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R.jpg 1600w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-564x317.jpg 564w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-640x360.jpg 640w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-1536x864.jpg 1536w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_063_06962_R-800x450.jpg 800w" sizes="(max-width: 1600px) 100vw, 1600px" title="Review: &#039;Hustle&#039; ditches the Adam Sandler formula for what might be Happy Madison&#039;s best ever 6"><figcaption>via Netflix</figcaption></figure>
<p>Don’t get us wrong, the narrative is entirely predictable and hits every single one of the beats we’ve become conditioned to expect from a redemptive sports story, but that doesn’t make it any less enjoyable to get to that point. Those expecting standard Sandler fare may be disappointed, but if this is the direction the 55 year-old is planning on taking his career in the future, then we’re fully on board.</p>
<p>Sandler’s former collegiate basketball standout Stanley Sugarman is the living embodiment of someone who dedicated their life towards trying to salvage whatever was left of their wasted potential, with a car accident robbing him of his lifelong dream. He’s spent his entire professional career as a scout for the Philadelphia 76ers, who’ve spent decades sending him around the world to seek out the latest can’t-miss prospects, which has had a hugely adverse affect on his personal and familial relationships.</p>
<p>When Robert Duvall’s mentor Rex Merrick is succeeded by Ben Foster’s son Vince as owner, Stanley finds himself more frustrated than ever. During a routine trip to Spain, he accidentally stumbles upon street-level sensation Bo Cruz (played by NBA star Juancho Hernangómez), and winds up staking his entire reputation and a great deal of his own money on the unproven youngster’s ability to make it in the big leagues.</p>
<p>With the setup out of the way early, <em>Hustle </em>instantly settles into a groove that’s as familiar as a warm embrace. There’s triumph and adversity in equal measure, strained interpersonal dynamics, fallouts, setbacks, arguments, and more than a few montages, but Zagar’s stylish direction and a fantastic central Sandler performance will keep you engaged from the first to last minute. On absolutely no level does the film break any new ground whatsoever from a storytelling or visual perspective, but that doesn’t mean it isn’t a hugely effective piece of understated cinema.</p>
<figure class="wp-block-image size-full"><img loading="lazy" width="1600" height="900" src="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R.jpg" alt="hustle" class="wp-image-1225731" srcset="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R.jpg 1600w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-564x317.jpg 564w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-640x360.jpg 640w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-1536x864.jpg 1536w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_066_09870_R-800x450.jpg 800w" sizes="(max-width: 1600px) 100vw, 1600px" title="Review: &#039;Hustle&#039; ditches the Adam Sandler formula for what might be Happy Madison&#039;s best ever 7"><figcaption>via Netflix</figcaption></figure>
<p>Taylor Mateme and Will Fetters’ screenplay is admirably economical, too, wisely assuming that everyone will be well acquainted with the broad strokes of an archetypal journey from A to B via a road paved with obstacles, but it would nonetheless be a huge disservice to <em>Hustle </em>to simply label it as “Adam Sandler does <em>Jerry Maguire</em>“, even if that’s effectively what it is when boiled down to the core.</p>
<p>There’s still plenty of humor, though, and one or two classic Sandler freakouts to appease the diehards, but it’s always organic to the events unfolding on screen, as opposed to being shoehorned in for the sake of wringing as many laughs as possible from seeing the actor in his oversized shorts get schooled by a man a foot taller than he is.</p>
<p>Sandler, Hernangómez, Duvall, Foster, Anthony Edwards, Kenny Smith, Queen Latifah (unfortunately wasted as the one-note wife, but still charismatic and charming enough to make it work), and others might be embodying fictional figures, but there are literally dozens of NBA-adjacent figures who either cameo or play supporting roles as themselves, lending <em>Hustle </em>a tangible air of reality that heightens the tension and dramatic stakes, even if the endgame is entirely predictable.</p>
<figure class="wp-block-image size-full"><img loading="lazy" width="1600" height="900" src="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326.jpg" alt="hustle" class="wp-image-1225729" srcset="https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326.jpg 1600w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-564x317.jpg 564w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-640x360.jpg 640w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-1536x864.jpg 1536w, https://wegotthiscovered.com/wp-content/uploads/2022/06/HUSTLE_UNIT_045_00326-800x450.jpg 800w" sizes="(max-width: 1600px) 100vw, 1600px" title="Review: &#039;Hustle&#039; ditches the Adam Sandler formula for what might be Happy Madison&#039;s best ever 8"><figcaption>via Netflix</figcaption></figure>
<p>There are of course numerous gags revolving around titties and bodily fluids (this is still a Sandler flick, after all), but they’re used to inform scenes of either locker room talk or exchanges between longtime buddies, rather than aiming for the lowest common denominator as has been Happy Madison’s previous remit, while Sandler has never been more self-deprecating as Stanley. It’s as if he’s finally broken through the looking glass of self-awareness, with the role simultaneously embodying what we’ve come to expect from his starring turns while painting it in newer, more subtle shades than ever before.</p>
<p><em>Hustle </em>leans into and embraces the biggest and most blatant of tropes, yet always (and very deliberately) pulls away at the last second. Stanley and Bo end up as the firmest of friends, but they don’t walk into the sunset together. Everything builds towards the latter’s final shot at professional basketball stardom, but there’s no “big game” sequence or last-minute buzzer-beater. In oxymoronic terms, it’s believable fantasy; it takes place in a world just outside of our own, but everything is presented as true-to-life.</p>
<p>It isn’t anything you haven’t seen a handful of times before, then, but that’s exactly why <em>Hustle </em>works so well. It’s a 117-minute blanket of comfort that delivers precisely what you want to see from an underdog sports story, and never tries too hard to be anything else. At the center of it all is Sandler, who hopefully uses the end product as the platform to move away from his stale routine and outdated screen persona to give us more knockout, understated, emotionally-driven, but still undeniably impressive tour-de-forces like this.</p>
</p></div>
<p>We  wish to thank the author of this article for this  incredible  web content<br />
<br />
<a href="https://wegotthiscovered.com/reviews/review-hustle-ditches-the-adam-sandler-formula-for-what-might-be-happy-madisons-best-ever/" target="_blank" rel="noopener">Review: &#8216;Hustle&#8217; ditches the Adam Sandler formula for what might be Happy Madison&#8217;s best ever<br />
</a></p>
<p><center><iframe loading="lazy" src="https://dict.longdo.com/3rdparties/magpierss-0.72/scripts/magpie_debug.php?url=http://feeds.feedburner.com/sitecelebsdigital-GoogleNews" height="25" width="250" title=""></iframe></center></p>
";s:14:"date_timestamp";i:1654276764;}i:5;a:11:{s:5:"title";s:65:"Amazon Studios to Dictate Storytelling in its Inclusion Standards";s:4:"link";s:136:"https://bestmovies.packagingnewsonline.com/movie-production-companies/amazon-studios-to-dictate-storytelling-in-its-inclusion-standards/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 14:34:39 +0000";s:8:"category";s:76:"Movie Production CompaniesAmazonDictateInclusionstandardsStorytellingStudios";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68110";s:11:"description";s:686:"Now that Big Tech has decided to join Hollywood in creating content, they appear to have embraced their opportunity to help build a new utopia. They have done with this enthusiasm, broadcasting their efforts to overhaul every aspect of cinema from writing to production to casting to thematic content. Where once propagandastic efforts had to ... <a title="Amazon Studios to Dictate Storytelling in its Inclusion Standards" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/amazon-studios-to-dictate-storytelling-in-its-inclusion-standards/" aria-label="More on Amazon Studios to Dictate Storytelling in its Inclusion Standards">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:16824:"<div>
<p>Now that Big Tech has decided to join Hollywood in creating content, they appear to have embraced their opportunity to help build a new utopia. They have done with this enthusiasm, broadcasting their efforts to overhaul every aspect of cinema from writing to production to casting to thematic content. Where once propagandastic efforts had to be hidden from the view of the public, now it is worn as a bad of honor.</p>
<p>Big tech is even more powerful than Hollywood, and maybe more powerful than any government in the world. If Jeff Bezos at Amazon wants movies at Amazon to reflect a specific ideology he can do that and, as the richest man in the world, the profit motive is not his main concern. He seeks instead, like Mark Zuckerberg, like Bill Gates, and like Jack Dorsey to be emperors of a kind, helping to cultivate our modern utopia.</p>
<p>Amazon has released its <a target="_blank" href="https://dei.amazonstudios.com/inclusive-storytelling/" rel="noopener">new inclusion standards and policies</a>. The press has been mostly quiet about it, because who would dare speak up? What can they say about it? Nothing. It’s their choice. Profit is not a concern so they can tell people what kinds of products they want to make. It’s all in the name of good, right?</p>
<p>It’s one thing to encourage inclusive hirings behind the camera, but once they start getting into storytelling and the formation of characters, content, and theme to promote a specific ideology then we are no longer looking at art. We are looking at full-blown, unapologetic propaganda.</p>
<p>The problem is that once you announce your intentions, people will see nothing but that in your eventual product. Most audiences today, old and young, can see a “woke” message. coming from a mile away. The more a film lectures them the less likely they are to want to watch it.</p>
<p><iframe loading="lazy" title="The Propaganda Film - How Cinema Can Change The World" width="1042" height="586" src="https://www.youtube.com/embed/dhhRegzk1HE?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p>Obviously, propaganda is nothing new. It has been threaded through most of the mainstream Hollywood films for decades. But what has changed now, I think, is that the left is no longer the side that pushes back against it.  This is looking more and more like a kind of list of demands being met or else the company will be called out and shamed on social media. The new doctrine of the new left is a kind of Marxist ideology where inequality cannot and will not be tolerated. Satire, humor, subversive content all seems to be disposable in the Brave New World that we are cultivating.</p>
<p>The problem, of course, is that it might have worked during COVID, during Trump perhaps. But it isn’t going to be something the public has any appetite for in any major way. Film Twitter might be down with it, at least temporarily, but we come to art because we have a need for it. We aren’t coming to art to go to school on how to think, or how we should live our lives. Thus, I expect this will have a negative effect on the films Amazon releases during this era of strident ideology.</p>
<p>We’ll be able to tag this era very easily by the films made right now. They will all have the same kind of messaging. The same kind of casting. And, despite their desire for “Authenticity”, it will be anything but. It can’t be authentic if it’s contrived to serve a specific ideology or meet a list of demands. No kind of art could survive this. Not visual art, not playwriting, not fiction, and not cinema.</p>
<p><iframe loading="lazy" title="1942: Casablanca - America&#039;s Greatest Propaganda Film" width="1042" height="586" src="https://www.youtube.com/embed/pWgqqBMuJYU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p> </p>
<p> </p>
<p><iframe loading="lazy" title="Propaganda In Movies" width="1042" height="586" src="https://www.youtube.com/embed/PxuoAAyEXd4?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p> </p>
<p>When it comes to Big Tech like Amazon or Netflix or Apple getting in on the movie business game, or the Oscar game, the market no longer decides. It doesn’t matter how many people pay to see these films. The public has no say. They don’t care if no one watches them because making them helps their brand. It’s like McDonald’s offering up vegan options or salads. It helps their brand to make healthy foods because they are making their money another way. In this era, brand and image is everything.</p>
<p>It is my hope, however, that art can find a way.  If not in my lifetime, hopefully in the next.</p>
<p>Here are a few quotes from Amazon’s Inclusion playbook and Inclusion Policy – imagine being the people hired to monitor the films to make sure they meet all of these criteria. Better yet, imagine movies like The Exorcist, Blue Velvet, Chinatown, Do the Right Thing, Bull Durham, Casablanca, The Player being made under these rules:</p>
<blockquote>
<p><strong>Developing Stories and Characters:<br /></strong>We encourage pitches, scripts, and stories from storytellers of all backgrounds, including those from underrepresented communities. Consistent with our Content Guidelines, Amazon Originals should reflect the wide diversity of our customers and recognize the dignity of all people by avoiding demeaning stereotypes and harmful tropes. For this reason, characterizations based on race, ethnicity, nationality, sexual orientation, religion, disability (including mental health), body size or image, age, gender, gender identity, and gender expression should be made with care, and in each case will be subject to an enhanced review.</p>
<p><strong>Stereotyping</strong></p>
<p>We discourage stories that solely depict harmful or negative stereotypes, slurs, and dehumanizing language related to identity as well as narratives that link identity factors to jobs, religious beliefs, social class, or behavior.</p>
<p><strong>Historical Depictions</strong></p>
<p>Content that features out-of-date historical stereotypes, language and iconography must avoid gratuitous use of such portrayals.</p>
<div>
<p><strong>Cultural Authenticity</strong></p>
<div class="rectangle-25-CUstuS">
<p>When series regulars or lead characters portray people from underrepresented communities (women; underrepresented racial/ethnic groups; sexual orientation; gender identity; people with disabilities), we expect creative teams to make a concerted effort to hire above-the-line staff (directors, writers, producers and/or creators) who represent the identity groups depicted on screen. We will aim for 30% of the above-the-line staff to meet this goal in 2021. This aspirational goal will increase to 50% by 2024.</p>
</div>
</div>
<p>On the occasion when this is not possible, producers must indicate how they will identify and hire outside consultants/vendors, approved by Amazon, to provide culturally relevant expertise.</p>
<div>
<p><strong>Delivery of Plans</strong></p>
<div class="prior-to-princi-nclusion-policy-CUstuS amazonember-regular-normal-black-21px">
<p>Prior to principal photography, Amazon Studios and partners will work together to deliver their plans for how they plan to achieve the Inclusion Policy.</p>
</div>
<p><strong>Report on Expectation Achievement</strong></p>
<p>Amazon Studios will provide a report template for each company to indicate whether the expectations were met. This report must be submitted within one month of completion of principal photography and will include:</p>
<p>i. Gender, race, ethnicity, sexual orientation, and disability data on production-specific, above-the-line talent (Directors, Writers, Producers, Creators, credited actors) as well as below-the-line positions (department heads and seconds.)<br />ii. A full description of the film and episodic content that’s been created (i.e., storyline), and percentage or number of characters identified as lesbian, gay, bisexual, and/or transgender, including non-binary, and those with a disability.<br />iii. The number and list of diverse suppliers hired for the production (including women-owned and minority-owned businesses).</p>
</div>
</blockquote>
<div>
<blockquote>
<h3 id="script-based-descriptions-stereotypes">Script-Based Descriptions &amp; Stereotypes</h3>
<p>The way that characters are described in a script can evoke stereotypes for casting directors, breakdown services, and even those reading for the part. Consider the following when describing characters in your script:</p>
<p>● Is there a reason to specify a character’s gender, race/ethnicity, LGBTQ+ identity, or disability in the script? Does source material specify a character’s identity in any way? Are you deviating from that depiction? Why or why not?</p>
<p>● Are there places where you should specify information about the characters’ background or identity (gender identity, race/ethnicity, sexual orientation, gender expression, or disability) to help with casting? Consider sharing this information only if it is needed for the story.</p>
<p>● We recommend that writers be specific and authentic in their descriptions, to help casting directors and those reading for the part avoid harmful stereotypes.</p>
<h3 id="gendered-or-sexualized-depictions">Gendered or Sexualized Depictions</h3>
<p>Sexualization can have negative effects on viewers. Sexualization of characters of all genders occurs on screen, but <a target="_blank" href="http://assets.uscannenberg.org/docs/aii-inequality-report-2019-09-03.pdf" rel="noopener">research indicates </a>that women and LGBTQ characters are more likely than straight men to be sexualized. This begins when the script is written, with how your characters are described.</p>
<p>● Are your descriptions of characters grounded in their appearance, versus their personality? Are there descriptions of girls or women that lean toward their relationships or appearance, rather than who they are as characters? Are you writing about characters who are men in the same way? Are LGBTQ characters solely defined by their sexual identities? Are people with disabilities infantilized and/or desexualized?</p>
<p>● Are LGBTQ+ characters in overly feminized or masculine occupations? For example, are gay characters shown in appearance-related professions (fashion, entertainment, etc.)? Are they excluded from occupations in education, healthcare, or civil service (including police or fire department)?</p>
<p>● Although you may not realize it at the time you’re writing the story, adults are often cast to play teen roles. Consider carefully how these characters might be sexualized on screen. How might the descriptions you write about the characters be impacted if adults are cast in these roles?</p>
<h3 id="personality-traits">Personality Traits</h3>
<p>The description of a character’s personality or distinctive traits may lead to appearance-related stereotypes. Sometimes character descriptions are written in a way that draws upon stereotypes or tropes. This is particularly likely when writing women characters, or individuals from underrepresented racial and ethnic groups.</p>
<p>● Are you describing women’s personalities in ways that lead to assumptions about their sexuality? For example, are descriptions such as the “girl next door” used for characters?</p>
<p>● Be sure that your character descriptions do not evoke stereotypes related to women of color. Avoid use of the terms “exotic,” “feisty,” “sassy,” and other words stereotypically used to refer to underrepresented women. It is better to be specific — e.g. the lead is from Puerto Rico, loves to sing, and has a big group of friends.</p>
<p>● For LGBTQ+ women, ensure that personality traits do not play to stereotypes, either about femininity/masculinity or over-sexualization.</p>
<p>● Descriptions of people with disabilities may focus on aspects related to disability rather than a range of characteristics. Make sure your characters with disabilities are well-rounded and defined by more than their disability.</p>
<h3 id="consider-asking-the-following-questions-when-writing-about-romantic-partners">Consider asking the following questions when writing about romantic partners:</h3>
<p>● <em>Are women from all backgrounds and experiences defined solely by their relationship or relationship desires?</em></p>
<p><em>● Are men shown as dominating relationships or shown in romantic partnerships that revolve around their jobs and/or the demands of their work?</em></p>
<p><em>● Are there opportunities to include LGBTQ+ romantic partners in the story? Even if you are not able to depict the romantic partner, could your characters refer to their relational partners in the script?</em></p>
<p><em>● Are there opportunities to show underrepresented groups (including non-binary people, people of different religions, and people with disabilities) in romantic relationships that counter typical narratives?</em></p>
<h3 id="stereotypes-humor">Stereotypes &amp; Humor</h3>
<p>We understand that the best comedy can derive from the unexpected and be an agent of truth-telling. We urge content creators focusing on comedy, humor, or satire to engage with their material in deep ways. Ask the fundamental question: <em>Are you the right person to tell this story and/or these jokes?</em></p>
<p>Begin by thinking about whether, as the storyteller, your humor comes from outside or inside the group at the center of the comedy. Out-group members using humor to mock or joke about characters from underrepresented groups can be highly problematic. Humor may reflect insensitivity, play to broad stereotypes, and reinforce historical tropes for members of underrepresented groups. Creators might try to challenge or spotlight stereotypes that have been oppressive—in other words, the comedy stems from good intentions. But content lacks authenticity when it doesn’t come from or take into account the perspectives of the in-group members at the core of the stereotype or context.</p>
<p>Humor may be used to illuminate the way a group has been treated, and can spotlight important ways that racism, sexism, and other biases and prejudices affect the lives of group members. One impulse content creators may have is to purposefully flip stereotypes or to deploy them in an exaggerated way to create humor. If you take this path, think critically about what role this stereotype has in your story. <em>Make sure that by poking fun at stereotypes you are not inadvertently reinforcing the bias you seek to challenge.</em></p>
<p>Here are a few things to consider when you include humor in your storytelling:</p>
<p>● If characters from underrepresented backgrounds or historically marginalized groups only appear in your story to deliver humorous lines or as a source of amusement, this is problematic. Ask: <em>Do these characters have any other depth or insight or do they merely serve to deliver comedy?</em></p>
<p>● If it’s the latter, how can you add depth to the characterization? Or, who else needs to weigh in to ensure the character is not one-dimensional?</p>
<p>● Review the script and story with members of the communities you are depicting to ensure authenticity and limit hurtful humor. Ask more than one individual to review the script/story. What audience members find amusing will differ from person to person. Your goal is to be certain that the jokes do not offend the communities featured in your story.</p>
</blockquote>
</div>
<p>There is certainly nothing wrong with seeking to make films more diverse and inclusive in their hiring. But when we’re talking about the story, about the theme, about satire, about what can and can’t be included in a film or a story – then you are making movies to adapt to Twitter hysteria. You are not making art. This is something audiences will be able to recognize from a mile away.</p>
</p></div>
<p>We  want to thank the author of this  write-up for this  outstanding  material<br />
<br />
<a href="https://www.awardsdaily.com/2021/06/28/amazon-studios-to-dictate-storytelling-in-its-inclusion-standards/" target="_blank" rel="noopener">Amazon Studios to Dictate Storytelling in its Inclusion Standards</a></p>
<p><center><iframe loading="lazy" src="https://old.acoustica.com/cgi/rss/scripts-test/magpie_slashbox.php?rss_url=http://feeds.feedburner.com/DispensaryBusinessNews" height="25" width="250" title=""></iframe></center></p>
";}s:7:"summary";s:686:"Now that Big Tech has decided to join Hollywood in creating content, they appear to have embraced their opportunity to help build a new utopia. They have done with this enthusiasm, broadcasting their efforts to overhaul every aspect of cinema from writing to production to casting to thematic content. Where once propagandastic efforts had to ... <a title="Amazon Studios to Dictate Storytelling in its Inclusion Standards" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/amazon-studios-to-dictate-storytelling-in-its-inclusion-standards/" aria-label="More on Amazon Studios to Dictate Storytelling in its Inclusion Standards">Read more</a>";s:12:"atom_content";s:16824:"<div>
<p>Now that Big Tech has decided to join Hollywood in creating content, they appear to have embraced their opportunity to help build a new utopia. They have done with this enthusiasm, broadcasting their efforts to overhaul every aspect of cinema from writing to production to casting to thematic content. Where once propagandastic efforts had to be hidden from the view of the public, now it is worn as a bad of honor.</p>
<p>Big tech is even more powerful than Hollywood, and maybe more powerful than any government in the world. If Jeff Bezos at Amazon wants movies at Amazon to reflect a specific ideology he can do that and, as the richest man in the world, the profit motive is not his main concern. He seeks instead, like Mark Zuckerberg, like Bill Gates, and like Jack Dorsey to be emperors of a kind, helping to cultivate our modern utopia.</p>
<p>Amazon has released its <a target="_blank" href="https://dei.amazonstudios.com/inclusive-storytelling/" rel="noopener">new inclusion standards and policies</a>. The press has been mostly quiet about it, because who would dare speak up? What can they say about it? Nothing. It’s their choice. Profit is not a concern so they can tell people what kinds of products they want to make. It’s all in the name of good, right?</p>
<p>It’s one thing to encourage inclusive hirings behind the camera, but once they start getting into storytelling and the formation of characters, content, and theme to promote a specific ideology then we are no longer looking at art. We are looking at full-blown, unapologetic propaganda.</p>
<p>The problem is that once you announce your intentions, people will see nothing but that in your eventual product. Most audiences today, old and young, can see a “woke” message. coming from a mile away. The more a film lectures them the less likely they are to want to watch it.</p>
<p><iframe loading="lazy" title="The Propaganda Film - How Cinema Can Change The World" width="1042" height="586" src="https://www.youtube.com/embed/dhhRegzk1HE?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p>Obviously, propaganda is nothing new. It has been threaded through most of the mainstream Hollywood films for decades. But what has changed now, I think, is that the left is no longer the side that pushes back against it.  This is looking more and more like a kind of list of demands being met or else the company will be called out and shamed on social media. The new doctrine of the new left is a kind of Marxist ideology where inequality cannot and will not be tolerated. Satire, humor, subversive content all seems to be disposable in the Brave New World that we are cultivating.</p>
<p>The problem, of course, is that it might have worked during COVID, during Trump perhaps. But it isn’t going to be something the public has any appetite for in any major way. Film Twitter might be down with it, at least temporarily, but we come to art because we have a need for it. We aren’t coming to art to go to school on how to think, or how we should live our lives. Thus, I expect this will have a negative effect on the films Amazon releases during this era of strident ideology.</p>
<p>We’ll be able to tag this era very easily by the films made right now. They will all have the same kind of messaging. The same kind of casting. And, despite their desire for “Authenticity”, it will be anything but. It can’t be authentic if it’s contrived to serve a specific ideology or meet a list of demands. No kind of art could survive this. Not visual art, not playwriting, not fiction, and not cinema.</p>
<p><iframe loading="lazy" title="1942: Casablanca - America&#039;s Greatest Propaganda Film" width="1042" height="586" src="https://www.youtube.com/embed/pWgqqBMuJYU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p> </p>
<p> </p>
<p><iframe loading="lazy" title="Propaganda In Movies" width="1042" height="586" src="https://www.youtube.com/embed/PxuoAAyEXd4?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p> </p>
<p>When it comes to Big Tech like Amazon or Netflix or Apple getting in on the movie business game, or the Oscar game, the market no longer decides. It doesn’t matter how many people pay to see these films. The public has no say. They don’t care if no one watches them because making them helps their brand. It’s like McDonald’s offering up vegan options or salads. It helps their brand to make healthy foods because they are making their money another way. In this era, brand and image is everything.</p>
<p>It is my hope, however, that art can find a way.  If not in my lifetime, hopefully in the next.</p>
<p>Here are a few quotes from Amazon’s Inclusion playbook and Inclusion Policy – imagine being the people hired to monitor the films to make sure they meet all of these criteria. Better yet, imagine movies like The Exorcist, Blue Velvet, Chinatown, Do the Right Thing, Bull Durham, Casablanca, The Player being made under these rules:</p>
<blockquote>
<p><strong>Developing Stories and Characters:<br /></strong>We encourage pitches, scripts, and stories from storytellers of all backgrounds, including those from underrepresented communities. Consistent with our Content Guidelines, Amazon Originals should reflect the wide diversity of our customers and recognize the dignity of all people by avoiding demeaning stereotypes and harmful tropes. For this reason, characterizations based on race, ethnicity, nationality, sexual orientation, religion, disability (including mental health), body size or image, age, gender, gender identity, and gender expression should be made with care, and in each case will be subject to an enhanced review.</p>
<p><strong>Stereotyping</strong></p>
<p>We discourage stories that solely depict harmful or negative stereotypes, slurs, and dehumanizing language related to identity as well as narratives that link identity factors to jobs, religious beliefs, social class, or behavior.</p>
<p><strong>Historical Depictions</strong></p>
<p>Content that features out-of-date historical stereotypes, language and iconography must avoid gratuitous use of such portrayals.</p>
<div>
<p><strong>Cultural Authenticity</strong></p>
<div class="rectangle-25-CUstuS">
<p>When series regulars or lead characters portray people from underrepresented communities (women; underrepresented racial/ethnic groups; sexual orientation; gender identity; people with disabilities), we expect creative teams to make a concerted effort to hire above-the-line staff (directors, writers, producers and/or creators) who represent the identity groups depicted on screen. We will aim for 30% of the above-the-line staff to meet this goal in 2021. This aspirational goal will increase to 50% by 2024.</p>
</div>
</div>
<p>On the occasion when this is not possible, producers must indicate how they will identify and hire outside consultants/vendors, approved by Amazon, to provide culturally relevant expertise.</p>
<div>
<p><strong>Delivery of Plans</strong></p>
<div class="prior-to-princi-nclusion-policy-CUstuS amazonember-regular-normal-black-21px">
<p>Prior to principal photography, Amazon Studios and partners will work together to deliver their plans for how they plan to achieve the Inclusion Policy.</p>
</div>
<p><strong>Report on Expectation Achievement</strong></p>
<p>Amazon Studios will provide a report template for each company to indicate whether the expectations were met. This report must be submitted within one month of completion of principal photography and will include:</p>
<p>i. Gender, race, ethnicity, sexual orientation, and disability data on production-specific, above-the-line talent (Directors, Writers, Producers, Creators, credited actors) as well as below-the-line positions (department heads and seconds.)<br />ii. A full description of the film and episodic content that’s been created (i.e., storyline), and percentage or number of characters identified as lesbian, gay, bisexual, and/or transgender, including non-binary, and those with a disability.<br />iii. The number and list of diverse suppliers hired for the production (including women-owned and minority-owned businesses).</p>
</div>
</blockquote>
<div>
<blockquote>
<h3 id="script-based-descriptions-stereotypes">Script-Based Descriptions &amp; Stereotypes</h3>
<p>The way that characters are described in a script can evoke stereotypes for casting directors, breakdown services, and even those reading for the part. Consider the following when describing characters in your script:</p>
<p>● Is there a reason to specify a character’s gender, race/ethnicity, LGBTQ+ identity, or disability in the script? Does source material specify a character’s identity in any way? Are you deviating from that depiction? Why or why not?</p>
<p>● Are there places where you should specify information about the characters’ background or identity (gender identity, race/ethnicity, sexual orientation, gender expression, or disability) to help with casting? Consider sharing this information only if it is needed for the story.</p>
<p>● We recommend that writers be specific and authentic in their descriptions, to help casting directors and those reading for the part avoid harmful stereotypes.</p>
<h3 id="gendered-or-sexualized-depictions">Gendered or Sexualized Depictions</h3>
<p>Sexualization can have negative effects on viewers. Sexualization of characters of all genders occurs on screen, but <a target="_blank" href="http://assets.uscannenberg.org/docs/aii-inequality-report-2019-09-03.pdf" rel="noopener">research indicates </a>that women and LGBTQ characters are more likely than straight men to be sexualized. This begins when the script is written, with how your characters are described.</p>
<p>● Are your descriptions of characters grounded in their appearance, versus their personality? Are there descriptions of girls or women that lean toward their relationships or appearance, rather than who they are as characters? Are you writing about characters who are men in the same way? Are LGBTQ characters solely defined by their sexual identities? Are people with disabilities infantilized and/or desexualized?</p>
<p>● Are LGBTQ+ characters in overly feminized or masculine occupations? For example, are gay characters shown in appearance-related professions (fashion, entertainment, etc.)? Are they excluded from occupations in education, healthcare, or civil service (including police or fire department)?</p>
<p>● Although you may not realize it at the time you’re writing the story, adults are often cast to play teen roles. Consider carefully how these characters might be sexualized on screen. How might the descriptions you write about the characters be impacted if adults are cast in these roles?</p>
<h3 id="personality-traits">Personality Traits</h3>
<p>The description of a character’s personality or distinctive traits may lead to appearance-related stereotypes. Sometimes character descriptions are written in a way that draws upon stereotypes or tropes. This is particularly likely when writing women characters, or individuals from underrepresented racial and ethnic groups.</p>
<p>● Are you describing women’s personalities in ways that lead to assumptions about their sexuality? For example, are descriptions such as the “girl next door” used for characters?</p>
<p>● Be sure that your character descriptions do not evoke stereotypes related to women of color. Avoid use of the terms “exotic,” “feisty,” “sassy,” and other words stereotypically used to refer to underrepresented women. It is better to be specific — e.g. the lead is from Puerto Rico, loves to sing, and has a big group of friends.</p>
<p>● For LGBTQ+ women, ensure that personality traits do not play to stereotypes, either about femininity/masculinity or over-sexualization.</p>
<p>● Descriptions of people with disabilities may focus on aspects related to disability rather than a range of characteristics. Make sure your characters with disabilities are well-rounded and defined by more than their disability.</p>
<h3 id="consider-asking-the-following-questions-when-writing-about-romantic-partners">Consider asking the following questions when writing about romantic partners:</h3>
<p>● <em>Are women from all backgrounds and experiences defined solely by their relationship or relationship desires?</em></p>
<p><em>● Are men shown as dominating relationships or shown in romantic partnerships that revolve around their jobs and/or the demands of their work?</em></p>
<p><em>● Are there opportunities to include LGBTQ+ romantic partners in the story? Even if you are not able to depict the romantic partner, could your characters refer to their relational partners in the script?</em></p>
<p><em>● Are there opportunities to show underrepresented groups (including non-binary people, people of different religions, and people with disabilities) in romantic relationships that counter typical narratives?</em></p>
<h3 id="stereotypes-humor">Stereotypes &amp; Humor</h3>
<p>We understand that the best comedy can derive from the unexpected and be an agent of truth-telling. We urge content creators focusing on comedy, humor, or satire to engage with their material in deep ways. Ask the fundamental question: <em>Are you the right person to tell this story and/or these jokes?</em></p>
<p>Begin by thinking about whether, as the storyteller, your humor comes from outside or inside the group at the center of the comedy. Out-group members using humor to mock or joke about characters from underrepresented groups can be highly problematic. Humor may reflect insensitivity, play to broad stereotypes, and reinforce historical tropes for members of underrepresented groups. Creators might try to challenge or spotlight stereotypes that have been oppressive—in other words, the comedy stems from good intentions. But content lacks authenticity when it doesn’t come from or take into account the perspectives of the in-group members at the core of the stereotype or context.</p>
<p>Humor may be used to illuminate the way a group has been treated, and can spotlight important ways that racism, sexism, and other biases and prejudices affect the lives of group members. One impulse content creators may have is to purposefully flip stereotypes or to deploy them in an exaggerated way to create humor. If you take this path, think critically about what role this stereotype has in your story. <em>Make sure that by poking fun at stereotypes you are not inadvertently reinforcing the bias you seek to challenge.</em></p>
<p>Here are a few things to consider when you include humor in your storytelling:</p>
<p>● If characters from underrepresented backgrounds or historically marginalized groups only appear in your story to deliver humorous lines or as a source of amusement, this is problematic. Ask: <em>Do these characters have any other depth or insight or do they merely serve to deliver comedy?</em></p>
<p>● If it’s the latter, how can you add depth to the characterization? Or, who else needs to weigh in to ensure the character is not one-dimensional?</p>
<p>● Review the script and story with members of the communities you are depicting to ensure authenticity and limit hurtful humor. Ask more than one individual to review the script/story. What audience members find amusing will differ from person to person. Your goal is to be certain that the jokes do not offend the communities featured in your story.</p>
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<p>There is certainly nothing wrong with seeking to make films more diverse and inclusive in their hiring. But when we’re talking about the story, about the theme, about satire, about what can and can’t be included in a film or a story – then you are making movies to adapt to Twitter hysteria. You are not making art. This is something audiences will be able to recognize from a mile away.</p>
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<p>We  want to thank the author of this  write-up for this  outstanding  material<br />
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<a href="https://www.awardsdaily.com/2021/06/28/amazon-studios-to-dictate-storytelling-in-its-inclusion-standards/" target="_blank" rel="noopener">Amazon Studios to Dictate Storytelling in its Inclusion Standards</a></p>
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";s:14:"date_timestamp";i:1654266879;}i:6;a:11:{s:5:"title";s:70:"Centene Co. (NYSE:CNC) Given Average Rating of “Buy” by Brokerages";s:4:"link";s:131:"https://bestmovies.packagingnewsonline.com/movie-production-companies/centene-co-nysecnc-given-average-rating-of-buy-by-brokerages/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 13:18:43 +0000";s:8:"category";s:63:"Movie Production CompaniesaverageBrokeragesCenteneNYSECNCRating";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=68018";s:11:"description";s:693:"Centene Co. (NYSE:CNC – Get Rating) has been assigned a consensus recommendation of “Buy” from the twenty-two analysts that are covering the stock, Marketbeat.com reports. Five equities research analysts have rated the stock with a hold rating, fifteen have assigned a buy rating and one has issued a strong buy rating on the company. The ... <a title="Centene Co. (NYSE:CNC) Given Average Rating of “Buy” by Brokerages" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/centene-co-nysecnc-given-average-rating-of-buy-by-brokerages/" aria-label="More on Centene Co. (NYSE:CNC) Given Average Rating of “Buy” by Brokerages">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:8685:"<div itemprop="articleBody">
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<p>Centene Co. (<a target="_blank" href="https://www.marketbeat.com/stocks/NYSE/CNC/" rel="noopener">NYSE:CNC</a> – <a target="_blank" style="font-weight:normal;text-decoration:italic;color:green" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">Get Rating</a>) has been assigned a consensus recommendation of “Buy” from the twenty-two analysts that are  covering the stock, <a target="_blank" href="https://www.marketbeat.com/" rel="noopener">Marketbeat.com</a> reports. Five equities research analysts have rated the stock with a hold rating, fifteen have assigned  a buy rating and one  has issued  a strong buy rating on  the company. The average 12 month price objective among brokers that have updated their coverage on the stock in the last year is $91.72. </p>
<p>A number of research analysts recently issued reports on CNC shares. Sanford C. Bernstein initiated coverage on shares of Centene in a research note on Thursday, May 26th. They issued an “outperform” rating and a $108.00 target price on the stock. Mizuho raised their price target on shares of Centene from $78.00 to $84.00 and gave the stock a “neutral” rating in a research report on Wednesday, February 9th. Bank of America lowered shares of Centene from a “buy” rating to a “neutral” rating and decreased their price target for the stock from $95.00 to $90.00 in a research report on Thursday, May 26th. Wells Fargo &#038; Company decreased their price target on shares of Centene from $96.00 to $95.00 and set an “overweight” rating on the stock in a research report on Wednesday, May 25th. Finally, <a target="_blank" style="font-weight:bold" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">StockNews.com</a> initiated coverage on shares of Centene in a research report on Thursday, March 31st. They issued a “strong-buy” rating on the stock.</p>
<p>In other news, Director Theodore R. Samuels II purchased 6,270 shares of the business’s stock in a transaction that occurred on Thursday, April 28th. The stock was purchased at an average cost of $80.94 per share, with a total value of $507,493.80. Following the acquisition, the director now directly owns 11,000 shares of the company’s stock, valued at approximately $890,340. The transaction was disclosed in a filing with the Securities &#038; Exchange Commission, which is accessible through <a target="_blank" href="https://www.sec.gov/Archives/edgar/data/1071739/000107173922000218/xslF345X03/wf-form4_165161946463162.xml" rel="noopener">this hyperlink</a>. Also, EVP <a target="_blank" rel="noopener" href="https://www.insidertrades.com/centene-co-stock/mark-j-brooks/">Mark J. Brooks</a> sold 3,690 shares of the business’s stock in a transaction dated Thursday, March 24th. The stock was sold at an average price of $82.71, for a total transaction of $305,199.90. The disclosure for this sale can be found <a target="_blank" href="https://www.sec.gov/Archives/edgar/data/1071739/000107173922000116/xslF345X03/wf-form4_164850667442769.xml" rel="noopener">here</a>. Company insiders own  1.50% of the company’s stock. </p>
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<p>                 Several hedge funds and other institutional investors have recently made changes to their positions in CNC. EverSource Wealth Advisors LLC bought a new position in shares of  Centene in the fourth quarter worth about $26,000.  Massmutual Trust Co. FSB ADV raised its stake in shares of  Centene by 269.3% in the fourth quarter. Massmutual Trust Co. FSB ADV now owns 325 shares of the company’s stock worth $27,000 after acquiring an additional 237 shares during the last quarter.  GHP Investment Advisors Inc. bought a new position in shares of  Centene in the first quarter worth about $27,000.  Chilton Capital Management LLC bought a new position in shares of  Centene in the fourth quarter worth about $28,000.  Finally, Hanson &#038; Doremus Investment Management bought a new position in shares of  Centene in the fourth quarter worth about $29,000. 92.32% of the stock is owned by institutional investors. </p>
<p><a target="_blank" href="https://www.marketbeat.com/stocks/NYSE/CNC/price-target/" rel="noopener">NYSE:CNC</a> opened at $82.56 on Friday. Centene has a 1 year low of $59.67 and a 1 year high of $89.92. The firm’s fifty day simple moving average is $84.16 and its 200 day simple moving average is $81.67. The company has a current ratio of 1.05, a quick ratio of 1.05 and a debt-to-equity ratio of 0.68. The firm has a market capitalization of $48.29 billion, a PE ratio of 32.76, a PEG ratio of 1.05 and a beta of 0.52. </p>
<p>Centene (<a target="_blank" href="https://www.marketbeat.com/stocks/NYSE/CNC/" rel="noopener">NYSE:CNC</a> – <a target="_blank" style="font-weight:normal;text-decoration:italic;color:green" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">Get Rating</a>) last posted its earnings results on Tuesday, April 26th. The company reported $1.83 earnings per share (EPS) for the quarter, beating analysts’ consensus estimates of $1.68 by $0.15. Centene had a net margin of 1.12% and a return on equity of 11.82%. The business had revenue of $37.19 billion for the quarter, compared to analyst estimates of $34.48 billion. During the same period last year, the business posted $1.63 EPS. Centene’s revenue was up 24.0% compared to the same quarter last year.  As a group, analysts anticipate that  Centene will post 5.49 EPS for the current fiscal year. </p>
<p><strong>Centene Company Profile</strong> (<a target="_blank" style="font-weight:normal;text-decoration:italic;color:green" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">Get Rating</a>)</p>
<p>Centene Corporation operates as a multi-national healthcare enterprise that provides programs and services to under-insured and uninsured individuals in the United States. Its Managed Care segment offers health plan coverage to individuals through government subsidized programs, including Medicaid, the State children&#8217;s health insurance program, long-term services and support, foster care, and medicare-medicaid plans, which cover dually eligible individuals, as well as aged, blind, or disabled programs.</p>
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";}s:7:"summary";s:693:"Centene Co. (NYSE:CNC – Get Rating) has been assigned a consensus recommendation of “Buy” from the twenty-two analysts that are covering the stock, Marketbeat.com reports. Five equities research analysts have rated the stock with a hold rating, fifteen have assigned a buy rating and one has issued a strong buy rating on the company. The ... <a title="Centene Co. (NYSE:CNC) Given Average Rating of “Buy” by Brokerages" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/centene-co-nysecnc-given-average-rating-of-buy-by-brokerages/" aria-label="More on Centene Co. (NYSE:CNC) Given Average Rating of “Buy” by Brokerages">Read more</a>";s:12:"atom_content";s:8685:"<div itemprop="articleBody">
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<p>Centene Co. (<a target="_blank" href="https://www.marketbeat.com/stocks/NYSE/CNC/" rel="noopener">NYSE:CNC</a> – <a target="_blank" style="font-weight:normal;text-decoration:italic;color:green" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">Get Rating</a>) has been assigned a consensus recommendation of “Buy” from the twenty-two analysts that are  covering the stock, <a target="_blank" href="https://www.marketbeat.com/" rel="noopener">Marketbeat.com</a> reports. Five equities research analysts have rated the stock with a hold rating, fifteen have assigned  a buy rating and one  has issued  a strong buy rating on  the company. The average 12 month price objective among brokers that have updated their coverage on the stock in the last year is $91.72. </p>
<p>A number of research analysts recently issued reports on CNC shares. Sanford C. Bernstein initiated coverage on shares of Centene in a research note on Thursday, May 26th. They issued an “outperform” rating and a $108.00 target price on the stock. Mizuho raised their price target on shares of Centene from $78.00 to $84.00 and gave the stock a “neutral” rating in a research report on Wednesday, February 9th. Bank of America lowered shares of Centene from a “buy” rating to a “neutral” rating and decreased their price target for the stock from $95.00 to $90.00 in a research report on Thursday, May 26th. Wells Fargo &#038; Company decreased their price target on shares of Centene from $96.00 to $95.00 and set an “overweight” rating on the stock in a research report on Wednesday, May 25th. Finally, <a target="_blank" style="font-weight:bold" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">StockNews.com</a> initiated coverage on shares of Centene in a research report on Thursday, March 31st. They issued a “strong-buy” rating on the stock.</p>
<p>In other news, Director Theodore R. Samuels II purchased 6,270 shares of the business’s stock in a transaction that occurred on Thursday, April 28th. The stock was purchased at an average cost of $80.94 per share, with a total value of $507,493.80. Following the acquisition, the director now directly owns 11,000 shares of the company’s stock, valued at approximately $890,340. The transaction was disclosed in a filing with the Securities &#038; Exchange Commission, which is accessible through <a target="_blank" href="https://www.sec.gov/Archives/edgar/data/1071739/000107173922000218/xslF345X03/wf-form4_165161946463162.xml" rel="noopener">this hyperlink</a>. Also, EVP <a target="_blank" rel="noopener" href="https://www.insidertrades.com/centene-co-stock/mark-j-brooks/">Mark J. Brooks</a> sold 3,690 shares of the business’s stock in a transaction dated Thursday, March 24th. The stock was sold at an average price of $82.71, for a total transaction of $305,199.90. The disclosure for this sale can be found <a target="_blank" href="https://www.sec.gov/Archives/edgar/data/1071739/000107173922000116/xslF345X03/wf-form4_164850667442769.xml" rel="noopener">here</a>. Company insiders own  1.50% of the company’s stock. </p>
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<p>                 Several hedge funds and other institutional investors have recently made changes to their positions in CNC. EverSource Wealth Advisors LLC bought a new position in shares of  Centene in the fourth quarter worth about $26,000.  Massmutual Trust Co. FSB ADV raised its stake in shares of  Centene by 269.3% in the fourth quarter. Massmutual Trust Co. FSB ADV now owns 325 shares of the company’s stock worth $27,000 after acquiring an additional 237 shares during the last quarter.  GHP Investment Advisors Inc. bought a new position in shares of  Centene in the first quarter worth about $27,000.  Chilton Capital Management LLC bought a new position in shares of  Centene in the fourth quarter worth about $28,000.  Finally, Hanson &#038; Doremus Investment Management bought a new position in shares of  Centene in the fourth quarter worth about $29,000. 92.32% of the stock is owned by institutional investors. </p>
<p><a target="_blank" href="https://www.marketbeat.com/stocks/NYSE/CNC/price-target/" rel="noopener">NYSE:CNC</a> opened at $82.56 on Friday. Centene has a 1 year low of $59.67 and a 1 year high of $89.92. The firm’s fifty day simple moving average is $84.16 and its 200 day simple moving average is $81.67. The company has a current ratio of 1.05, a quick ratio of 1.05 and a debt-to-equity ratio of 0.68. The firm has a market capitalization of $48.29 billion, a PE ratio of 32.76, a PEG ratio of 1.05 and a beta of 0.52. </p>
<p>Centene (<a target="_blank" href="https://www.marketbeat.com/stocks/NYSE/CNC/" rel="noopener">NYSE:CNC</a> – <a target="_blank" style="font-weight:normal;text-decoration:italic;color:green" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">Get Rating</a>) last posted its earnings results on Tuesday, April 26th. The company reported $1.83 earnings per share (EPS) for the quarter, beating analysts’ consensus estimates of $1.68 by $0.15. Centene had a net margin of 1.12% and a return on equity of 11.82%. The business had revenue of $37.19 billion for the quarter, compared to analyst estimates of $34.48 billion. During the same period last year, the business posted $1.63 EPS. Centene’s revenue was up 24.0% compared to the same quarter last year.  As a group, analysts anticipate that  Centene will post 5.49 EPS for the current fiscal year. </p>
<p><strong>Centene Company Profile</strong> (<a target="_blank" style="font-weight:normal;text-decoration:italic;color:green" href="https://report.stocknews.com/sign-up/ticker/?ticker=CNC&amp;lead_source=marketbeat_snra&amp;utm_source=marketbeat_snra&amp;utm_medium=article&amp;utm_campaign=ticker&amp;utm_term=CNC&amp;utm_content=text_link" rel="noopener">Get Rating</a>)</p>
<p>Centene Corporation operates as a multi-national healthcare enterprise that provides programs and services to under-insured and uninsured individuals in the United States. Its Managed Care segment offers health plan coverage to individuals through government subsidized programs, including Medicaid, the State children&#8217;s health insurance program, long-term services and support, foster care, and medicare-medicaid plans, which cover dually eligible individuals, as well as aged, blind, or disabled programs.</p>
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<p>We  would love to thank the author of this  write-up for this  incredible  web content<br />
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";s:14:"date_timestamp";i:1654262323;}i:7;a:11:{s:5:"title";s:115:"Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” | Filmmaker Magazine";s:4:"link";s:173:"https://bestmovies.packagingnewsonline.com/movie-production-companies/beyond-telefilm-canada-curating-the-future-of-canadian-film-at-viffs-future-present-filmmaker-magazine/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 08:29:43 +0000";s:8:"category";s:101:"Movie Production CompaniesCanadaCanadianCuratingFilmfilmmakerfutureFuturePresentMagazineTelefilmVIFFs";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=67952";s:11:"description";s:813:"Never Eat Alone What does a Canadian film look like? This could be construed as a bad joke with limitless punch lines, the film equivalent of “a man walks into a bar…” But this query isn’t meant to drag my own national cinema, which has produced great filmmakers like Alanis Obomsawin, David Cronenberg and Michael ... <a title="Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” &#124; Filmmaker Magazine" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/beyond-telefilm-canada-curating-the-future-of-canadian-film-at-viffs-future-present-filmmaker-magazine/" aria-label="More on Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” &#124; Filmmaker Magazine">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:8858:"<div>
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<span><em>Never Eat Alone</em></span> </div>
<p>What does a Canadian film look like? This could be construed as a bad joke with limitless punch lines, the film equivalent of “a man walks into a bar…” But this query isn’t meant to drag my own national cinema, which has produced great filmmakers like Alanis Obomsawin, David Cronenberg and Michael Snow. Instead of a set-up to a gag, this line of questioning opens a conversation about the future of Canadian cinema, especially when it comes to funding.</p>
<p>This topic was front of mind at the Vancouver International Film Festival this year, which debuted a new program, curated by Adam Cook, that focussed on emerging Canadian talents: <em>The Intestine</em> (Lev Lewis), <em>Lights Above Water</em> (Nicolas Lachapelle and Ariel St-Louis Lamoureux), <em>The Lockpicker</em> (Randall Okita), <em>Damn Putin</em> (Karl Lemieux), <em>Never Eat Alone</em> (Sofia Bohdanowicz), <em>Split</em> (Lawrence Cote-Collins), <em>Tales of Two Who Dreamt</em> (Andrea Bussmann and Nicolás Pereda) and <em>Werewolf</em> (Ashley McKenzie). Of these films, half were world premieres, which is suggestive of the program’s emphasis on new voices (especially this late in the festival cycle). While others like <em>Werewolf</em> and <em>Tales</em> had already had bows (at TIFF and Berlinale, respectively), their inclusion positioned the program in a middle ground: the earned cred of these “bigger films” bolstered the names that have yet to become familiar playing alongside them.</p>

<p>Called “Future//Present,” the program’s name recalls what’s come before in Canadian film, while also directly challenging constructed notions of cinema from the Great White North™. The films are low budget (in some cases all-but no budget); most are narratives, but they aren’t typical three act structures; some blur the lines between fiction and documentary (a style that, considering the influence of the National Film Board, is all but sacrosanct in Canadian film history). “Future//Present,” then, offered up an antidote to some of the slicker, larger productions that have been dominating conversations around exactly what it is we’re doing with film north of the 49th parallel — and more importantly, who’s paying for it.</p>
<p>“Films are shaped by their resources,” said McKenzie over a coffee in Vancouver. <em>Werewolf</em> was made in a DIY style that was both intentional and a necessity. A tale of two teens in methadone treatment set in her native Cape Breton, Nova Scotia, McKenzie’s feature is intimate (that’s the intentionality) but was made in a province on an island with “basically no film industry” (therein the necessity for a smaller scope). <em>Werewolf</em> is remarkable in its claustrophobic framing but also rejects major Canadian tropes — the road movie and shots of scenic landscape — that, frankly, are more expensive to shoot. While she cites her influences as people like Denis Côté and Kazik Radwanski, McKenzie also wonders: “I’m thinking of making a ‘slice of life’ film. Why? Someone like Xavier Dolan wouldn’t think twice about filming over four different seasons.” The question then becomes: When you know funding is going to be hard to get, do you shrink your mindset from the outset?</p>
<p>Growth doesn’t always mean bigger budgets, but for those filmmakers it does. In Canada, this can be limiting. McKenzie, for instance, had her film supported by Telefilm’s new <a target="_blank" href="https://www.telefilm.ca/files/fonds_prog/Micro-Budget-Guidelines.pdf" rel="noopener">micro-budget stream</a>which, as of February 2016, requires supported projects “to be distributed on one or more digital platforms and their maximum budget must not be higher than $250,000.” But you can only use it once, leaving McKenzie — a true rising talent that deserves support — wondering what her next move will be. It’s also telling that Telefilm describes this program’s key mandate as allowing “filmmakers to develop an expertise in digital marketing and promotion of audiovisual projects.” It’s more about <em>creating</em> cultural content than <em>cultivating</em> cultural output.</p>
<p>Bohdanowicz, who won VIFF’s Best Emerging Director (note: I sat on this jury), speaks to this point when describing her feature debut, <em>Never Eat Alone</em>an intimate docu-fiction centred on a granddaughter, grandmother and a quest for lost love: “It’s not a commercial film.” The tension between the business of film and the medium as art is hardly new, but in Canada this question feels acute given the historical background of institutionalized filmmaking. Much of our industry depends on tax credits to draw American productions north, which means awarding funding (on municipal, provincial and federal levels) becomes a matter of job creation; bigger projects, more jobs. (It should be noted the NFB never followed this model in its support of doc-makers, and this is perhaps why it help to foster enough talent to deem documentary “<a target="_blank" href="http://news.nationalpost.com/arts/the-case-for-making-the-documentary-canadas-official-art-form" rel="noopener">Canada’s national art form</a>”; fiction filmmakers, or those looking to really challenge the form, lacked the same support.) For someone like Bohdanowicz, who describes her work as “self-sufficient” and often shoots alone or with her producer Calvin Thomas, this leaves her firmly outside of the industrial model. And while institutions like Telefilm aren’t for everyone, it’s still very much ingrained in the Canadian filmmaking mindset. “In film school we were taught write, option, approach Telefilm,” said Bohdanowicz. “I said I wanted to work independently, but wasn’t given that support.”</p>
<p>Thomas, who also produced <em>The Intestine</em> (and is the co-director of <em>Amy George</em> and <em>The Oxbow Cure</em>), does see more options: “If I look at Sofia and Lev,” he said, “going to Telefilm is not even a question. But we’re very lucky in Canada that we’re supported by the arts councils.” Thomas has utilized this system and has seen its potential first-hand: “This is a model that allows for artist flexibility, a decent amount of resources, and there’s no requirement for financial return or a cultural one.”</p>
<p>This is an important distinction, as conversations around funding have been renewed as of late in Canada, and have centred on Matt Johnson, director of <em>The Dirties</em> and <em>Operation Avalanche</em>and creator of <em>Nirvana The Band The Show</em> (a web series that was picked up by VICE and screened in TIFF’s Primetime section). Johnson has cultivated a persona of semi-<em>enfant terrible</em> in interviews and panels, calling out Telefilm for not supporting new voices. (For more on this read <a target="_blank" href="https://maisonneuve.org/article/2016/10/13/moon-shot/" rel="noopener">Adam Nayman’s “Moon Shot” in the Fall issue of </a><a target="_blank" href="https://maisonneuve.org/article/2016/10/13/moon-shot/" rel="noopener"><em>Maisonneuve</em></a>.) The problem is while Johnson’s cultivating an image of challenging the status quo, his films don’t necessarily do so: even if he eschews the Canadian institutions, he can still find a place for his work in theatres (that financial return) and festivals (a cultural return).</p>
<p>Which is why what VIFF is doing is so important in Canada. “It features films that are smaller, less polished or are formally different in a way that no other festival is doing,” said Thomas. The direct result is more space for different kinds of films, but should “Future//Present” continue, it will also begin to challenge exactly what audiences expect from what’s been lovingly (and disparagingly) dubbed as “CanCon.” Funding bodies might then have to take note. This will take time, but it does feel like the start of a new chapter in Canadian film history. As Bohdanowicz said — with a smile and palpable sense of determination — when asked about the future: “Check back with me in ten years.”</p>

</div>
<p>We  wish to  say thanks to the  writer of this  post for this  amazing  web content<br />
<br />
<a href="https://filmmakermagazine.com/100406-beyond-telefilm-canada-curating-the-future-of-canadian-film-at-viffs-futureperfect/" target="_blank" rel="noopener">Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” | Filmmaker Magazine<br />
</a></p>
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";}s:7:"summary";s:813:"Never Eat Alone What does a Canadian film look like? This could be construed as a bad joke with limitless punch lines, the film equivalent of “a man walks into a bar…” But this query isn’t meant to drag my own national cinema, which has produced great filmmakers like Alanis Obomsawin, David Cronenberg and Michael ... <a title="Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” &#124; Filmmaker Magazine" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/beyond-telefilm-canada-curating-the-future-of-canadian-film-at-viffs-future-present-filmmaker-magazine/" aria-label="More on Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” &#124; Filmmaker Magazine">Read more</a>";s:12:"atom_content";s:8858:"<div>
<div class="img">
<span><em>Never Eat Alone</em></span> </div>
<p>What does a Canadian film look like? This could be construed as a bad joke with limitless punch lines, the film equivalent of “a man walks into a bar…” But this query isn’t meant to drag my own national cinema, which has produced great filmmakers like Alanis Obomsawin, David Cronenberg and Michael Snow. Instead of a set-up to a gag, this line of questioning opens a conversation about the future of Canadian cinema, especially when it comes to funding.</p>
<p>This topic was front of mind at the Vancouver International Film Festival this year, which debuted a new program, curated by Adam Cook, that focussed on emerging Canadian talents: <em>The Intestine</em> (Lev Lewis), <em>Lights Above Water</em> (Nicolas Lachapelle and Ariel St-Louis Lamoureux), <em>The Lockpicker</em> (Randall Okita), <em>Damn Putin</em> (Karl Lemieux), <em>Never Eat Alone</em> (Sofia Bohdanowicz), <em>Split</em> (Lawrence Cote-Collins), <em>Tales of Two Who Dreamt</em> (Andrea Bussmann and Nicolás Pereda) and <em>Werewolf</em> (Ashley McKenzie). Of these films, half were world premieres, which is suggestive of the program’s emphasis on new voices (especially this late in the festival cycle). While others like <em>Werewolf</em> and <em>Tales</em> had already had bows (at TIFF and Berlinale, respectively), their inclusion positioned the program in a middle ground: the earned cred of these “bigger films” bolstered the names that have yet to become familiar playing alongside them.</p>

<p>Called “Future//Present,” the program’s name recalls what’s come before in Canadian film, while also directly challenging constructed notions of cinema from the Great White North™. The films are low budget (in some cases all-but no budget); most are narratives, but they aren’t typical three act structures; some blur the lines between fiction and documentary (a style that, considering the influence of the National Film Board, is all but sacrosanct in Canadian film history). “Future//Present,” then, offered up an antidote to some of the slicker, larger productions that have been dominating conversations around exactly what it is we’re doing with film north of the 49th parallel — and more importantly, who’s paying for it.</p>
<p>“Films are shaped by their resources,” said McKenzie over a coffee in Vancouver. <em>Werewolf</em> was made in a DIY style that was both intentional and a necessity. A tale of two teens in methadone treatment set in her native Cape Breton, Nova Scotia, McKenzie’s feature is intimate (that’s the intentionality) but was made in a province on an island with “basically no film industry” (therein the necessity for a smaller scope). <em>Werewolf</em> is remarkable in its claustrophobic framing but also rejects major Canadian tropes — the road movie and shots of scenic landscape — that, frankly, are more expensive to shoot. While she cites her influences as people like Denis Côté and Kazik Radwanski, McKenzie also wonders: “I’m thinking of making a ‘slice of life’ film. Why? Someone like Xavier Dolan wouldn’t think twice about filming over four different seasons.” The question then becomes: When you know funding is going to be hard to get, do you shrink your mindset from the outset?</p>
<p>Growth doesn’t always mean bigger budgets, but for those filmmakers it does. In Canada, this can be limiting. McKenzie, for instance, had her film supported by Telefilm’s new <a target="_blank" href="https://www.telefilm.ca/files/fonds_prog/Micro-Budget-Guidelines.pdf" rel="noopener">micro-budget stream</a>which, as of February 2016, requires supported projects “to be distributed on one or more digital platforms and their maximum budget must not be higher than $250,000.” But you can only use it once, leaving McKenzie — a true rising talent that deserves support — wondering what her next move will be. It’s also telling that Telefilm describes this program’s key mandate as allowing “filmmakers to develop an expertise in digital marketing and promotion of audiovisual projects.” It’s more about <em>creating</em> cultural content than <em>cultivating</em> cultural output.</p>
<p>Bohdanowicz, who won VIFF’s Best Emerging Director (note: I sat on this jury), speaks to this point when describing her feature debut, <em>Never Eat Alone</em>an intimate docu-fiction centred on a granddaughter, grandmother and a quest for lost love: “It’s not a commercial film.” The tension between the business of film and the medium as art is hardly new, but in Canada this question feels acute given the historical background of institutionalized filmmaking. Much of our industry depends on tax credits to draw American productions north, which means awarding funding (on municipal, provincial and federal levels) becomes a matter of job creation; bigger projects, more jobs. (It should be noted the NFB never followed this model in its support of doc-makers, and this is perhaps why it help to foster enough talent to deem documentary “<a target="_blank" href="http://news.nationalpost.com/arts/the-case-for-making-the-documentary-canadas-official-art-form" rel="noopener">Canada’s national art form</a>”; fiction filmmakers, or those looking to really challenge the form, lacked the same support.) For someone like Bohdanowicz, who describes her work as “self-sufficient” and often shoots alone or with her producer Calvin Thomas, this leaves her firmly outside of the industrial model. And while institutions like Telefilm aren’t for everyone, it’s still very much ingrained in the Canadian filmmaking mindset. “In film school we were taught write, option, approach Telefilm,” said Bohdanowicz. “I said I wanted to work independently, but wasn’t given that support.”</p>
<p>Thomas, who also produced <em>The Intestine</em> (and is the co-director of <em>Amy George</em> and <em>The Oxbow Cure</em>), does see more options: “If I look at Sofia and Lev,” he said, “going to Telefilm is not even a question. But we’re very lucky in Canada that we’re supported by the arts councils.” Thomas has utilized this system and has seen its potential first-hand: “This is a model that allows for artist flexibility, a decent amount of resources, and there’s no requirement for financial return or a cultural one.”</p>
<p>This is an important distinction, as conversations around funding have been renewed as of late in Canada, and have centred on Matt Johnson, director of <em>The Dirties</em> and <em>Operation Avalanche</em>and creator of <em>Nirvana The Band The Show</em> (a web series that was picked up by VICE and screened in TIFF’s Primetime section). Johnson has cultivated a persona of semi-<em>enfant terrible</em> in interviews and panels, calling out Telefilm for not supporting new voices. (For more on this read <a target="_blank" href="https://maisonneuve.org/article/2016/10/13/moon-shot/" rel="noopener">Adam Nayman’s “Moon Shot” in the Fall issue of </a><a target="_blank" href="https://maisonneuve.org/article/2016/10/13/moon-shot/" rel="noopener"><em>Maisonneuve</em></a>.) The problem is while Johnson’s cultivating an image of challenging the status quo, his films don’t necessarily do so: even if he eschews the Canadian institutions, he can still find a place for his work in theatres (that financial return) and festivals (a cultural return).</p>
<p>Which is why what VIFF is doing is so important in Canada. “It features films that are smaller, less polished or are formally different in a way that no other festival is doing,” said Thomas. The direct result is more space for different kinds of films, but should “Future//Present” continue, it will also begin to challenge exactly what audiences expect from what’s been lovingly (and disparagingly) dubbed as “CanCon.” Funding bodies might then have to take note. This will take time, but it does feel like the start of a new chapter in Canadian film history. As Bohdanowicz said — with a smile and palpable sense of determination — when asked about the future: “Check back with me in ten years.”</p>

</div>
<p>We  wish to  say thanks to the  writer of this  post for this  amazing  web content<br />
<br />
<a href="https://filmmakermagazine.com/100406-beyond-telefilm-canada-curating-the-future-of-canadian-film-at-viffs-futureperfect/" target="_blank" rel="noopener">Beyond Telefilm Canada: Curating the Future of Canadian Film at VIFF’s “Future//Present” | Filmmaker Magazine<br />
</a></p>
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";s:14:"date_timestamp";i:1654244983;}i:8;a:11:{s:5:"title";s:96:"IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’";s:4:"link";s:161:"https://bestmovies.packagingnewsonline.com/movie-production-companies/ifc-films-and-filmnation-win-bidding-war-for-venice-prize-winning-abortion-drama-happening/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 03:30:18 +0000";s:8:"category";s:97:"Movie Production CompaniesAbortionbiddingdramaFilmNationFilmshappeningIFCPrizeWinningVeniceWarWin";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=67889";s:11:"description";s:752:"IFC Films and FilmNation have emerged victorious in a bidding war for U.S. distribution rights to “Happening,” a French drama that won the top prize at this year’s Venice Film Festival. IFC Films plans to release the movie in theaters in early 2022, but the company has not set an exact date yet. “Happening” is ... <a title="IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/ifc-films-and-filmnation-win-bidding-war-for-venice-prize-winning-abortion-drama-happening/" aria-label="More on IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:4851:"<div>
<p>IFC Films and FilmNation have emerged victorious in a bidding war for U.S. distribution rights to “Happening,” a French drama that won the top prize at this year’s Venice Film Festival.</p>
<p>IFC Films plans to release the movie in theaters in early 2022, but the company has not set an exact date yet.</p>
<p>“Happening” is the sophomore feature of French director Audrey Diwan (“Losing It”). Adapted from Annie Ernaux’s semi-autobiographical novel, the film takes place in 1960s France and centers on a promising young student who gets pregnant at a time when abortions aren’t legal in the country. The movie’s official logline reads: “Anne is a bright young student with a promising future ahead of her. But when she falls pregnant, she sees the opportunity to finish her studies and escape the constraints of her social background disappearing. With her final exams fast approaching and her belly growing, Anne resolves to act, even if she has to confront shame and pain, even if she must risk prison to do so.”</p>
<p>In <em>Variety’s</em> review, film critic Guy Lodge praised “Happening” and called it timely, powerful and “quietly devastating.”</p>
<p>“Audrey Diwan’s quietly devastating sophomore feature is the latest in an ongoing run of tough, emotionally intelligent art films dealing frankly with the subject of abortion access,” he wrote.</p>
<p>After its warm reception at Venice, “Happening” is poised to be a major contender for France’s official Oscar entry for best international film. Diwan co-wrote the screenplay with Marcia Romano. “Happening” was produced by Rectangle Productions’ Édouard Weil and co-produced by Srab Films.</p>
<p>IFC Films has been hot on the festival circuit, recently nabbing three big titles — Mia Hansen-Løve’s “Bergman Island,” Jacques Audiard’s “Paris, 13th District” and Paul Verhoeven’s buzzy “Benedetta” — at Cannes Film Festival. The company recently released “The Painted Bird,” which was shortlisted for best international feature at the 92nd Oscars.</p>
<p>“Audrey has crafted an award-winning film that puts a face on the choices women have to make, achieving something incredibly rare and rewarding in its powerful depiction of humanity,” IFC Films president Arianna Bocco said in a statement. “We look forward to working with Audrey, Glen and the entire filmmaking team to bring this film to the widest audience possible in the US.”</p>
<p>Glen Basner, CEO of FilmNation Entertainment added, “Audrey’s stunning and powerful film could not be more timely and we are thrilled to collaborate with Arianna and her team at IFC Films to bring this emotional cinematic experience to US audiences.”</p>
<p>Diwan called the partnership between IFC Films and FilmNation “an extremely exciting one.”</p>
<p>“Through the lens of IFC Films and FilmNation, I realized what ‘Happening’ could represent to audiences in the U.S. I feel incredibly supported by this alliance, whose common goal is to take this story to new heights and champion my artistic vision,” Diwan said. “Arianna Bocco and Glen Basner have both long advocated for compelling and important films, which assures me this partnership that we are about to embark on together will be an extremely exciting one.”</p>
<p>The deal for the film was negotiated by Bocco with CAA Media Finance and Wild Bunch on behalf of the filmmakers. Wild Bunch International is handling international sales.</p>
<p>Deadline Hollywood first reported news of the sale.</p>
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<a href="https://variety.com/2021/film/news/happening-movie-ifc-films-filmnation-1235081266/" target="_blank" rel="noopener">IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’<br />
</a></p>
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";}s:7:"summary";s:752:"IFC Films and FilmNation have emerged victorious in a bidding war for U.S. distribution rights to “Happening,” a French drama that won the top prize at this year’s Venice Film Festival. IFC Films plans to release the movie in theaters in early 2022, but the company has not set an exact date yet. “Happening” is ... <a title="IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/ifc-films-and-filmnation-win-bidding-war-for-venice-prize-winning-abortion-drama-happening/" aria-label="More on IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’">Read more</a>";s:12:"atom_content";s:4851:"<div>
<p>IFC Films and FilmNation have emerged victorious in a bidding war for U.S. distribution rights to “Happening,” a French drama that won the top prize at this year’s Venice Film Festival.</p>
<p>IFC Films plans to release the movie in theaters in early 2022, but the company has not set an exact date yet.</p>
<p>“Happening” is the sophomore feature of French director Audrey Diwan (“Losing It”). Adapted from Annie Ernaux’s semi-autobiographical novel, the film takes place in 1960s France and centers on a promising young student who gets pregnant at a time when abortions aren’t legal in the country. The movie’s official logline reads: “Anne is a bright young student with a promising future ahead of her. But when she falls pregnant, she sees the opportunity to finish her studies and escape the constraints of her social background disappearing. With her final exams fast approaching and her belly growing, Anne resolves to act, even if she has to confront shame and pain, even if she must risk prison to do so.”</p>
<p>In <em>Variety’s</em> review, film critic Guy Lodge praised “Happening” and called it timely, powerful and “quietly devastating.”</p>
<p>“Audrey Diwan’s quietly devastating sophomore feature is the latest in an ongoing run of tough, emotionally intelligent art films dealing frankly with the subject of abortion access,” he wrote.</p>
<p>After its warm reception at Venice, “Happening” is poised to be a major contender for France’s official Oscar entry for best international film. Diwan co-wrote the screenplay with Marcia Romano. “Happening” was produced by Rectangle Productions’ Édouard Weil and co-produced by Srab Films.</p>
<p>IFC Films has been hot on the festival circuit, recently nabbing three big titles — Mia Hansen-Løve’s “Bergman Island,” Jacques Audiard’s “Paris, 13th District” and Paul Verhoeven’s buzzy “Benedetta” — at Cannes Film Festival. The company recently released “The Painted Bird,” which was shortlisted for best international feature at the 92nd Oscars.</p>
<p>“Audrey has crafted an award-winning film that puts a face on the choices women have to make, achieving something incredibly rare and rewarding in its powerful depiction of humanity,” IFC Films president Arianna Bocco said in a statement. “We look forward to working with Audrey, Glen and the entire filmmaking team to bring this film to the widest audience possible in the US.”</p>
<p>Glen Basner, CEO of FilmNation Entertainment added, “Audrey’s stunning and powerful film could not be more timely and we are thrilled to collaborate with Arianna and her team at IFC Films to bring this emotional cinematic experience to US audiences.”</p>
<p>Diwan called the partnership between IFC Films and FilmNation “an extremely exciting one.”</p>
<p>“Through the lens of IFC Films and FilmNation, I realized what ‘Happening’ could represent to audiences in the U.S. I feel incredibly supported by this alliance, whose common goal is to take this story to new heights and champion my artistic vision,” Diwan said. “Arianna Bocco and Glen Basner have both long advocated for compelling and important films, which assures me this partnership that we are about to embark on together will be an extremely exciting one.”</p>
<p>The deal for the film was negotiated by Bocco with CAA Media Finance and Wild Bunch on behalf of the filmmakers. Wild Bunch International is handling international sales.</p>
<p>Deadline Hollywood first reported news of the sale.</p>
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<p>We  wish to  give thanks to the  writer of this  write-up for this  incredible  material<br />
<br />
<a href="https://variety.com/2021/film/news/happening-movie-ifc-films-filmnation-1235081266/" target="_blank" rel="noopener">IFC Films and FilmNation Win Bidding War for Venice Prize-Winning Abortion Drama ‘Happening’<br />
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";s:14:"date_timestamp";i:1654227018;}i:9;a:11:{s:5:"title";s:78:"Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film";s:4:"link";s:144:"https://bestmovies.packagingnewsonline.com/movie-production-companies/top-gun-maverick-6-big-ways-tom-cruises-sequel-improves-the-original-film/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 03 Jun 2022 01:19:00 +0000";s:8:"category";s:73:"Movie Production CompaniesCruisesFilmGunimprovesMAVERICKOriginalSequelTom";s:4:"guid";s:51:"https://bestmovies.packagingnewsonline.com/?p=67840";s:11:"description";s:688:"Warning: SPOILERS for Top Gun: Maverick are in the air. For those that haven’t seen the movie yet, feel free to land on another twist-free runway at CinemaBlend. Top Gun: Maverick had a hell of a task ahead of itself, even before it was confirmed to be happening. The mythic legend of director Tony Scott’s ... <a title="Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/top-gun-maverick-6-big-ways-tom-cruises-sequel-improves-the-original-film/" aria-label="More on Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film">Read more</a>";s:7:"content";a:1:{s:7:"encoded";s:29353:"<div id="article-body">
<p><strong>Warning: SPOILERS for </strong><em><strong>Top Gun: Maverick</strong></em><strong>  are in the air. For those that haven’t seen the movie yet, feel free to land on another twist-free runway at CinemaBlend. </strong></p>
<p><em>Top Gun: Maverick</em> had a hell of a task ahead of itself, even before it was confirmed to be happening. The mythic legend of director Tony Scott’s 1986 original made it so that any sort of sequel would be walking on thin ice if it wasn’t made with the right intentions. Through the people who worked on Tom Cruise’s long-awaited return to the Maverick character, the perfect sequel was realized in time to make the <u>2022 movie releases</u>. </p>
<p>What’s even more impressive is that <em>Top Gun’s </em>legacyquel actually improved the image of the original movie. To discuss why this is the case, we’ll need to both walk down memory land and discuss the here and now. If you’re still looking to remain spoiler-free, head to <u>our official review of </u><u><em>Top Gun: Maverick</em></u>  or some other piece of coverage that doesn’t dig into the twists involved. Otherwise, it’s time to fly right into the heart of what makes director Joseph Kosinski’s long awaited follow-up the perfect companion piece. </p>
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<h2 id="top-gun-maverick-gives-new-meaning-to-the-original-film-3">Top Gun: Maverick Gives New Meaning To The Original Film</h2>
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<p>On its own, <em>Top Gun</em> has built a legacy as a brotastic ‘80s movie with fighter pilots that aims to deliver a fun time with some moral lessons on the side. For decades since its release, you could find people quoting it readily, with Kenny Loggins’ theme song “Danger Zone” playing at the right times. If you look deeper into that original movie, you’ll find that there are themes that aren’t as spelled out as some would hope, which only got hazier because of the reputation <em>Top Gun</em> continued to earn over the years. </p>
<p><em>Top Gun: Maverick</em> not only returns Captain Pete “Maverick” Mitchell (Tom Cruise) to the big screen, it give him a lot of baggage to deal with. Goose’s death is only part of the equation, as a lot of other elements of Tony Scott’s previous installment find new depth in the modern day. As a result, <u>Paramount+ subscribers</u> going back to watch <em>Top Gun</em> will find that its events have added weight.</p>
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<h2 id="captain-pete-mitchell-x2019-s-past-is-his-greatest-enemy-3">Captain Pete Mitchell’s Past Is His Greatest Enemy</h2>
<p>The wounds of the past have not healed by time we see <em>Top Gun 2</em> reintroducing Maverick. Still at the rank of Captain and flying a supersonic fighter prototype that needs to hit Mach 10, Pete continues to talk to his former wingman in the sky whenever he needs help. Cocky as he may be, Captain Pete Mitchell’s greatest enemy is his past. </p>
<p>Even his scuffles with Vice Admiral Beau “Cyclone” Simpson (Jon Hamm) put his history on trial. Maverick’s defiance of authority still rings true in <em>Top Gun: Maverick</em>but Captain Mitchell is more vulnerable than ever; even going as far as reminding Cyclone that he should be training his recruits to do one more thing: “to come home.” Everyone who knows <em>Top Gun</em> knows why that&#8217;s incredibly important to the still brash Maverick, as it&#8217;s a lesson he learned firsthand. </p>
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<h2 id="dealing-with-goose-x2019-s-death-also-gives-maverick-another-form-of-closure-3">Dealing With Goose’s Death Also Gives Maverick Another Form Of Closure</h2>
<p>Watching the death of LTJG Nick &#8220;Goose&#8221; Bradshaw (Anthony Edwards) is still one of the biggest action movie heartbreaks of the ‘80s. To recall that memory in <em>Top Gun: Maverick</em> could have been used merely an emotional shorthand to show just how broken Pete Mitchell is. In facing this ghost of the past head on, Maverick is actually given closure in another respect. Something that <em>Top Gun</em> mentions, but doesn’t make too much of a deal about, is how Pete Mitchell is an orphan of aviation himself. </p>
<p>Viper (Tom Skerritt) tells him about <a target="_blank" href="https://topgun.fandom.com/wiki/Duke_Mitchell" data-url="https://topgun.fandom.com/wiki/Duke_Mitchell" rel="noopener"><u>serving with his father, Duke Mitchell,</u></a>  during Vietnam, in hopes of inspiring him to keep going. <em>Top Gun: Maverick</em> allows Pete to hand that torch down to Lt. Bradley “Rooster” Bradshaw (Miles Teller), informing him of his father’s bravery in combat. Captain Mitchell may be trying to make up for <u>his own perceived mistakes with Goose</u>but he’s also trying to mentor the next generation to heal his own pain.</p>
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<h2 id="top-gun-x2019-s-most-iconic-moments-return-in-maverick-for-the-right-reasons-3">Top Gun’s Most Iconic Moments Return In Maverick For The Right Reasons</h2>
<p><em>Top Gun: Maverick</em> does love to talk about the good old days, and lifts moments straight from Tony Scott’s iconic film for its own usages. Miles Teller’s rendition of “Great Balls of Fire” recalls Anthony Edwards and Tom Cruise singing that very tune way back when, and the iconic volleyball sequence has now given way to the even more shirtless “dogfight football.” Again, these moments aren’t just fan service gimmies, as they actually serve a purpose. </p>
<p>The community of <em>Top Gun’s</em> titular fighting school is born on the back of those earlier traditions. In order to let Maverick truly heal, he has to embrace the lessons of those moments, good and bad. It’s what inspires him to teach his new team of young aviators teamwork, courtesy of a jovial beach bound sporting event. </p>
<p>Though it’s also worth noting that after decades of existing as a throwaway reference in the previous film, <em>Top Gun: Maverick</em> introduces us to Penny Benjamin (Jennifer Connolly). Showing us just why that relationship was so iconic in the first place, it&#8217;s another example of digging into franchise lore and fleshing out the stuff we didn&#8217;t previously know.</p>
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<h2 id="the-big-iceman-cameo-delivers-top-gun-maverick-x2019-s-ultimate-message-3">The Big Iceman Cameo Delivers Top Gun Maverick’s Ultimate Message</h2>
<p>If any moment had the potential to devolve into mere fan service, it had to be the appearance of now-Admiral Tom &#8220;Iceman&#8221; Kazansky (Val Kilmer). With <u>Tom Cruise personally pushing for his </u><u><em>Top Gun: Maverick</em></u><u>  casting</u>Kilmer’s return had quite a bit of pressure riding on its inclusion. With a short scene, and through the inclusion of the actor’s actual battle with throat cancer in his character’s backstory, the heart of <em>Top Gun 2’s</em> message lands its best punch. </p>
<p>Visiting his dear friend, and the man who has helped prevent him from being drummed out of the Navy, Maverick has a heart-to-heart with Iceman at home. Sensing that his enemy-turned-friend is still carrying around Goose’s death around in his soul, Admiral Kazansky types out a familiar message: </p>
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<p>It’s time to let go.</p>
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<p>From the moment right after Goose’s death, as Maverick still held his friend’s lifeless body in the middle of the ocean, he’s been told that he has to let it go. The greatest stumbling block for Pete Mitchell’s entire life and career has been his refusal to process the death of Nick Bradshaw. Tom Kazansky saw it, and before his own passing, he had to try one more time to land that lesson. The message of <em>Top Gun: Maverick</em> is the same as the one presented in its predecessor; and Captain Mitchell finally reads it loud and clear.</p>
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<h2 id="top-gun-maverick-is-the-perfect-completion-of-this-tom-cruise-franchise-3">Top Gun: Maverick Is The Perfect Completion Of This Tom Cruise Franchise</h2>
<p>Thankfully, Captain Pete Mitchell learns his lesson at <u>the end of </u><u><em>Top Gun: Maverick</em></u>. At least, that’s what it seems like, as he’s now flying high with Penny Benjamin and has repaired his relationship with Rooster. Perfectly closing out the <em>Top Gun</em> duology, the second movie’s enhancement of the first only makes it more important to quit while it&#8217;s still ahead.</p>
<p>Addressing the wounds of the past while also highlighting Maverick’s flaws during his <em>Top Gun</em> days, this legacyquel is the epitome of the very practice. Returning to Captain Pete Mitchell’s life was more than just an exercise in nostalgia; it was a chance to close off his story after it started with such an iconic first film. Bookending each other perfectly, with the right echos of the past, we really don’t need any follow-ups to <em>Top Gun: Maverick</em>. </p>
<p>Then again, who’s to say there isn’t another good idea that could result in some future brainstorming. At the very least, you can count on Paramount to at least try to come up with a <em>Top Gun 3</em> concept after this past weekend saw the film score <u>Tom Cruise’s best opening weekend yet</u>. For now, you can catch the potential conclusion to this saga in <em>Top Gun: Maverick</em>which is currently in theaters. </p>
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<p>We  want to thank the author of this article for this  remarkable content<br />
<br />
<a href="https://www.cinemablend.com/movies/top-gun-maverick-6-big-ways-tom-cruises-sequel-improves-the-original-film" target="_blank" rel="noopener">Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film<br />
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";}s:7:"summary";s:688:"Warning: SPOILERS for Top Gun: Maverick are in the air. For those that haven’t seen the movie yet, feel free to land on another twist-free runway at CinemaBlend. Top Gun: Maverick had a hell of a task ahead of itself, even before it was confirmed to be happening. The mythic legend of director Tony Scott’s ... <a title="Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film" class="read-more" href="https://bestmovies.packagingnewsonline.com/movie-production-companies/top-gun-maverick-6-big-ways-tom-cruises-sequel-improves-the-original-film/" aria-label="More on Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film">Read more</a>";s:12:"atom_content";s:29353:"<div id="article-body">
<p><strong>Warning: SPOILERS for </strong><em><strong>Top Gun: Maverick</strong></em><strong>  are in the air. For those that haven’t seen the movie yet, feel free to land on another twist-free runway at CinemaBlend. </strong></p>
<p><em>Top Gun: Maverick</em> had a hell of a task ahead of itself, even before it was confirmed to be happening. The mythic legend of director Tony Scott’s 1986 original made it so that any sort of sequel would be walking on thin ice if it wasn’t made with the right intentions. Through the people who worked on Tom Cruise’s long-awaited return to the Maverick character, the perfect sequel was realized in time to make the <u>2022 movie releases</u>. </p>
<p>What’s even more impressive is that <em>Top Gun’s </em>legacyquel actually improved the image of the original movie. To discuss why this is the case, we’ll need to both walk down memory land and discuss the here and now. If you’re still looking to remain spoiler-free, head to <u>our official review of </u><u><em>Top Gun: Maverick</em></u>  or some other piece of coverage that doesn’t dig into the twists involved. Otherwise, it’s time to fly right into the heart of what makes director Joseph Kosinski’s long awaited follow-up the perfect companion piece. </p>
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<h2 id="top-gun-maverick-gives-new-meaning-to-the-original-film-3">Top Gun: Maverick Gives New Meaning To The Original Film</h2>
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<p>On its own, <em>Top Gun</em> has built a legacy as a brotastic ‘80s movie with fighter pilots that aims to deliver a fun time with some moral lessons on the side. For decades since its release, you could find people quoting it readily, with Kenny Loggins’ theme song “Danger Zone” playing at the right times. If you look deeper into that original movie, you’ll find that there are themes that aren’t as spelled out as some would hope, which only got hazier because of the reputation <em>Top Gun</em> continued to earn over the years. </p>
<p><em>Top Gun: Maverick</em> not only returns Captain Pete “Maverick” Mitchell (Tom Cruise) to the big screen, it give him a lot of baggage to deal with. Goose’s death is only part of the equation, as a lot of other elements of Tony Scott’s previous installment find new depth in the modern day. As a result, <u>Paramount+ subscribers</u> going back to watch <em>Top Gun</em> will find that its events have added weight.</p>
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<h2 id="captain-pete-mitchell-x2019-s-past-is-his-greatest-enemy-3">Captain Pete Mitchell’s Past Is His Greatest Enemy</h2>
<p>The wounds of the past have not healed by time we see <em>Top Gun 2</em> reintroducing Maverick. Still at the rank of Captain and flying a supersonic fighter prototype that needs to hit Mach 10, Pete continues to talk to his former wingman in the sky whenever he needs help. Cocky as he may be, Captain Pete Mitchell’s greatest enemy is his past. </p>
<p>Even his scuffles with Vice Admiral Beau “Cyclone” Simpson (Jon Hamm) put his history on trial. Maverick’s defiance of authority still rings true in <em>Top Gun: Maverick</em>but Captain Mitchell is more vulnerable than ever; even going as far as reminding Cyclone that he should be training his recruits to do one more thing: “to come home.” Everyone who knows <em>Top Gun</em> knows why that&#8217;s incredibly important to the still brash Maverick, as it&#8217;s a lesson he learned firsthand. </p>
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<h2 id="dealing-with-goose-x2019-s-death-also-gives-maverick-another-form-of-closure-3">Dealing With Goose’s Death Also Gives Maverick Another Form Of Closure</h2>
<p>Watching the death of LTJG Nick &#8220;Goose&#8221; Bradshaw (Anthony Edwards) is still one of the biggest action movie heartbreaks of the ‘80s. To recall that memory in <em>Top Gun: Maverick</em> could have been used merely an emotional shorthand to show just how broken Pete Mitchell is. In facing this ghost of the past head on, Maverick is actually given closure in another respect. Something that <em>Top Gun</em> mentions, but doesn’t make too much of a deal about, is how Pete Mitchell is an orphan of aviation himself. </p>
<p>Viper (Tom Skerritt) tells him about <a target="_blank" href="https://topgun.fandom.com/wiki/Duke_Mitchell" data-url="https://topgun.fandom.com/wiki/Duke_Mitchell" rel="noopener"><u>serving with his father, Duke Mitchell,</u></a>  during Vietnam, in hopes of inspiring him to keep going. <em>Top Gun: Maverick</em> allows Pete to hand that torch down to Lt. Bradley “Rooster” Bradshaw (Miles Teller), informing him of his father’s bravery in combat. Captain Mitchell may be trying to make up for <u>his own perceived mistakes with Goose</u>but he’s also trying to mentor the next generation to heal his own pain.</p>
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</div><figcaption itemprop="caption description" class=" inline-layout"><span class="credit" itemprop="copyrightHolder">(Image credit: Paramount Pictures)</span></figcaption></figure>
<h2 id="top-gun-x2019-s-most-iconic-moments-return-in-maverick-for-the-right-reasons-3">Top Gun’s Most Iconic Moments Return In Maverick For The Right Reasons</h2>
<p><em>Top Gun: Maverick</em> does love to talk about the good old days, and lifts moments straight from Tony Scott’s iconic film for its own usages. Miles Teller’s rendition of “Great Balls of Fire” recalls Anthony Edwards and Tom Cruise singing that very tune way back when, and the iconic volleyball sequence has now given way to the even more shirtless “dogfight football.” Again, these moments aren’t just fan service gimmies, as they actually serve a purpose. </p>
<p>The community of <em>Top Gun’s</em> titular fighting school is born on the back of those earlier traditions. In order to let Maverick truly heal, he has to embrace the lessons of those moments, good and bad. It’s what inspires him to teach his new team of young aviators teamwork, courtesy of a jovial beach bound sporting event. </p>
<p>Though it’s also worth noting that after decades of existing as a throwaway reference in the previous film, <em>Top Gun: Maverick</em> introduces us to Penny Benjamin (Jennifer Connolly). Showing us just why that relationship was so iconic in the first place, it&#8217;s another example of digging into franchise lore and fleshing out the stuff we didn&#8217;t previously know.</p>
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<h2 id="the-big-iceman-cameo-delivers-top-gun-maverick-x2019-s-ultimate-message-3">The Big Iceman Cameo Delivers Top Gun Maverick’s Ultimate Message</h2>
<p>If any moment had the potential to devolve into mere fan service, it had to be the appearance of now-Admiral Tom &#8220;Iceman&#8221; Kazansky (Val Kilmer). With <u>Tom Cruise personally pushing for his </u><u><em>Top Gun: Maverick</em></u><u>  casting</u>Kilmer’s return had quite a bit of pressure riding on its inclusion. With a short scene, and through the inclusion of the actor’s actual battle with throat cancer in his character’s backstory, the heart of <em>Top Gun 2’s</em> message lands its best punch. </p>
<p>Visiting his dear friend, and the man who has helped prevent him from being drummed out of the Navy, Maverick has a heart-to-heart with Iceman at home. Sensing that his enemy-turned-friend is still carrying around Goose’s death around in his soul, Admiral Kazansky types out a familiar message: </p>
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<p>It’s time to let go.</p>
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<p>From the moment right after Goose’s death, as Maverick still held his friend’s lifeless body in the middle of the ocean, he’s been told that he has to let it go. The greatest stumbling block for Pete Mitchell’s entire life and career has been his refusal to process the death of Nick Bradshaw. Tom Kazansky saw it, and before his own passing, he had to try one more time to land that lesson. The message of <em>Top Gun: Maverick</em> is the same as the one presented in its predecessor; and Captain Mitchell finally reads it loud and clear.</p>
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<h2 id="top-gun-maverick-is-the-perfect-completion-of-this-tom-cruise-franchise-3">Top Gun: Maverick Is The Perfect Completion Of This Tom Cruise Franchise</h2>
<p>Thankfully, Captain Pete Mitchell learns his lesson at <u>the end of </u><u><em>Top Gun: Maverick</em></u>. At least, that’s what it seems like, as he’s now flying high with Penny Benjamin and has repaired his relationship with Rooster. Perfectly closing out the <em>Top Gun</em> duology, the second movie’s enhancement of the first only makes it more important to quit while it&#8217;s still ahead.</p>
<p>Addressing the wounds of the past while also highlighting Maverick’s flaws during his <em>Top Gun</em> days, this legacyquel is the epitome of the very practice. Returning to Captain Pete Mitchell’s life was more than just an exercise in nostalgia; it was a chance to close off his story after it started with such an iconic first film. Bookending each other perfectly, with the right echos of the past, we really don’t need any follow-ups to <em>Top Gun: Maverick</em>. </p>
<p>Then again, who’s to say there isn’t another good idea that could result in some future brainstorming. At the very least, you can count on Paramount to at least try to come up with a <em>Top Gun 3</em> concept after this past weekend saw the film score <u>Tom Cruise’s best opening weekend yet</u>. For now, you can catch the potential conclusion to this saga in <em>Top Gun: Maverick</em>which is currently in theaters. </p>
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<p>We  want to thank the author of this article for this  remarkable content<br />
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<a href="https://www.cinemablend.com/movies/top-gun-maverick-6-big-ways-tom-cruises-sequel-improves-the-original-film" target="_blank" rel="noopener">Top Gun: Maverick: 6 Big Ways Tom Cruise’s Sequel Improves The Original Film<br />
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