Marvel woke up today and said......let me remind y'all who the fuck we are!!
- Thread starter Darrkman
- Start date
Are you sure there us an audience for this? You're the first person I heard who wanted a sequel for this.What Spielberg needs to be doing is a sequel to “Close Encounters of The Third Kind”.
Answer the question of if the aliens were hostile or friendly?
Richard Dreyfus is still alive. There is enough film archive footage from him back in the 1970s to do a decent CGI of him, being he isn’t supposed to have age while he was gone.
The ending of that movie has been driving me nuts since I was a kid and saw it in theaters back in 1977.
Its a classic SCI-FI film that today is basically a cult classic with a small audience. It was a big blockbuster in the 70s on the level of Star Wars and Superman.
Similar to other SCI-FI classics which are in need of reboots/sequels from the 1970s like….
- Logan’s Run
- The Boys From Brazil
- Food of the Gods
If this was actually TRUE?
What would these dudes on here gonna do after spewing incel doctrine for months?
Marvel’s Movie Math: Comic Creators Claim It’s “Bait and Switch” On Payments
Writers and artists who create characters that power the Marvel Cinematic Universe say the company offers a labyrinthine compensation system that underpays them.
In July 2021, Scarlett Johansson stunned Hollywood with a lawsuit accusing Disney of breach of contract for sending Black Widow day-and-date to Disney+, a move her lawyers said diminished its box office (and the star’s backend compensation). As that legal battle stretched into the summer, two other Black Widow stakeholders were quietly seeking what they believed they were owed. The comic book creators behind Yelena Belova, the character played by Florence Pugh, spent months in a back-and-forth with Marvel to receive payment for her appearance in the film.
Writer Devin Grayson and artist J.G. Jones believed they would take home $25,000 each for her appearance in Black Widow thanks to paperwork they signed outlining how much they would receive for films, TV shows, video games and action figures featuring Yelena. But when Grayson and Jones, who created Yelena in 1999, eventually received payment in November, that $25,000 dwindled to about $5,000 without explanation.
Grayson has spent the past year seeking an answer in a journey that sheds light on how Marvel compensates the comic book writers and artists behind the characters fueling the most successful film franchise in history. Those who work with the company describe a labyrinthine system that leaves creators wondering how Marvel arrived at its figures.
When she co-created Yelena, Grayson knew Marvel would own the character. But like many creators before her, she signed a contract known as a Special Character Agreement, one that outlines a Marvel-initiated payment system should Yelena appear in other media. The agreement, signed in 2007, seemed to state that Grayson would receive $25,000 for a theatrical film appearance, $2,000 for an episode of TV over 30 minutes, and $1,000 for an episode of TV 30 minutes or less. For action figures, the agreement entitled her to $5,000 for one figure released in a single year, $10,000 for two, or $25,000 for three or more. For video games, there would be a maximum of a $30,000 pot to be shared among all the creators who had characters in the game.
However, buried within the document was language that granted Marvel broad discretion to dramatically lower payments, language Grayson and others who spoke to THR say is misleading given that the $25,000 is listed prominently in the paperwork.
“It’s like the Publishers Clearing House Sweepstakes. You could win $1 million, but you won’t,” notes Grayson, who as a woman in a male-dominated industry did not want to make waves when she signed the agreement. She was happy to take what Marvel seemed to be promising her, and is only speaking out because she believes the company should stick to what it told creators.
After Grayson received her $5,000 of the promised $25,000 in November, she — with the help of an attorney — learned some of the ways Marvel cut down that sum.
For starters, Marvel splits the sum between the writer and artist. So, according to Marvel’s math, the most Grayson could have made from Black Widow is $12,500 — half of a $25,000 pot split with Jones, Yelena’s co-creator. What’s more, if a film features more than one character covered by a Special Character Agreement, the company will share the pot of money among all creators with skin in the game. In other words, she was told, the $25,000 for Black Widow would be shared across all stakeholders, presumably those behind characters such as Red Guardian (played by David Harbour) and Melina Vostokoff (Rachel Weisz). A Marvel source notes that there is no ceiling to the total money paid to creators for a project, and it might be raised depending on what is deemed fair. Given this, it likely paid more than $25,000 in total to artists and writers with a claim on Black Widow.
Reached by THR, Jones did not share specifics of his payments, but confirmed that he received money similar to Grayson’s. He says: “Having spoken to a number of creators, Marvel’s financial offerings seem a bit of a bait and switch. They throw out a large number, then little by little they whittle down the actual payout.”
Another way Marvel shrinks payments is by classifying some film appearances as “cameos.” According to sources, if a character appears for less than 15 percent of screen time, that’s considered a cameo — and thus its creators are due less money. By that standard, Sebastian Stan’s Winter Soldier, a character key to Captain America: Civil War, would be considered a cameo; he appeared in 22 minutes (just under 15 percent) of its 2 hour, 28 minute run time. Ditto for Captain America, who appeared for less than 7 minutes, 30 seconds of Avengers: Infinity War.
One potential money saver for Marvel is the world of video games, which every year eclipses the box office in terms of entertainment market share. According to sources, Marvel will pay creators for character appearances on console games only — not mobile games, a segment gaming observers note is on a fast rise and one source likens to being offered VHS royalties in an era in which Blu-ray is about to be the dominant force.
Some who spoke to THR say it is more beneficial for a creator to avoid signing any paperwork with Marvel, noting Special Character Agreements give the company wiggle room to pay essentially whatever they want and include an NDA clause that muzzles creators from speaking out. One source, who reps the creators behind several A-list Marvel characters, notes one client who never signed paperwork is better off than those who did. “He has a lawyer that doesn’t listen to Marvel,” says the source. (Marvel declined to comment, as it does not speak out on individual creator agreements.)
Joe Casey is among the creators who did not sign an agreement. The writer co-created America Chavez, a key character in the $954 million-grossing Doctor Strange in the Multiverse of Madness and has received no payment for her use in the film. But he’d rather speak out in hopes it can help change the system. “Maybe $5,000 means something to some kid in his early 20s that doesn’t have a career,” says Casey. “For a lot of us who have been in the business for decades, it comes off as an insult.”
A few months after Johansson and Disney settled the lawsuit, Yelena Belova showed up on the Disney+ series Hawkeye, cementing the character’s place as a key player in the Marvel Cinematic Universe. Per the agreement Grayson signed, she should receive $2,000 for a TV episode appearance (or $1,000 if split with Jones). When Grayson reached Marvel in July, she was informed that according to their calculations, that wasn’t quite right. How would $300 an episode sound?
www.hollywoodreporter.com
Writers and artists who create characters that power the Marvel Cinematic Universe say the company offers a labyrinthine compensation system that underpays them.
In July 2021, Scarlett Johansson stunned Hollywood with a lawsuit accusing Disney of breach of contract for sending Black Widow day-and-date to Disney+, a move her lawyers said diminished its box office (and the star’s backend compensation). As that legal battle stretched into the summer, two other Black Widow stakeholders were quietly seeking what they believed they were owed. The comic book creators behind Yelena Belova, the character played by Florence Pugh, spent months in a back-and-forth with Marvel to receive payment for her appearance in the film.
Writer Devin Grayson and artist J.G. Jones believed they would take home $25,000 each for her appearance in Black Widow thanks to paperwork they signed outlining how much they would receive for films, TV shows, video games and action figures featuring Yelena. But when Grayson and Jones, who created Yelena in 1999, eventually received payment in November, that $25,000 dwindled to about $5,000 without explanation.
Grayson has spent the past year seeking an answer in a journey that sheds light on how Marvel compensates the comic book writers and artists behind the characters fueling the most successful film franchise in history. Those who work with the company describe a labyrinthine system that leaves creators wondering how Marvel arrived at its figures.
When she co-created Yelena, Grayson knew Marvel would own the character. But like many creators before her, she signed a contract known as a Special Character Agreement, one that outlines a Marvel-initiated payment system should Yelena appear in other media. The agreement, signed in 2007, seemed to state that Grayson would receive $25,000 for a theatrical film appearance, $2,000 for an episode of TV over 30 minutes, and $1,000 for an episode of TV 30 minutes or less. For action figures, the agreement entitled her to $5,000 for one figure released in a single year, $10,000 for two, or $25,000 for three or more. For video games, there would be a maximum of a $30,000 pot to be shared among all the creators who had characters in the game.
However, buried within the document was language that granted Marvel broad discretion to dramatically lower payments, language Grayson and others who spoke to THR say is misleading given that the $25,000 is listed prominently in the paperwork.
“It’s like the Publishers Clearing House Sweepstakes. You could win $1 million, but you won’t,” notes Grayson, who as a woman in a male-dominated industry did not want to make waves when she signed the agreement. She was happy to take what Marvel seemed to be promising her, and is only speaking out because she believes the company should stick to what it told creators.
After Grayson received her $5,000 of the promised $25,000 in November, she — with the help of an attorney — learned some of the ways Marvel cut down that sum.
For starters, Marvel splits the sum between the writer and artist. So, according to Marvel’s math, the most Grayson could have made from Black Widow is $12,500 — half of a $25,000 pot split with Jones, Yelena’s co-creator. What’s more, if a film features more than one character covered by a Special Character Agreement, the company will share the pot of money among all creators with skin in the game. In other words, she was told, the $25,000 for Black Widow would be shared across all stakeholders, presumably those behind characters such as Red Guardian (played by David Harbour) and Melina Vostokoff (Rachel Weisz). A Marvel source notes that there is no ceiling to the total money paid to creators for a project, and it might be raised depending on what is deemed fair. Given this, it likely paid more than $25,000 in total to artists and writers with a claim on Black Widow.
Reached by THR, Jones did not share specifics of his payments, but confirmed that he received money similar to Grayson’s. He says: “Having spoken to a number of creators, Marvel’s financial offerings seem a bit of a bait and switch. They throw out a large number, then little by little they whittle down the actual payout.”
Another way Marvel shrinks payments is by classifying some film appearances as “cameos.” According to sources, if a character appears for less than 15 percent of screen time, that’s considered a cameo — and thus its creators are due less money. By that standard, Sebastian Stan’s Winter Soldier, a character key to Captain America: Civil War, would be considered a cameo; he appeared in 22 minutes (just under 15 percent) of its 2 hour, 28 minute run time. Ditto for Captain America, who appeared for less than 7 minutes, 30 seconds of Avengers: Infinity War.
One potential money saver for Marvel is the world of video games, which every year eclipses the box office in terms of entertainment market share. According to sources, Marvel will pay creators for character appearances on console games only — not mobile games, a segment gaming observers note is on a fast rise and one source likens to being offered VHS royalties in an era in which Blu-ray is about to be the dominant force.
Some who spoke to THR say it is more beneficial for a creator to avoid signing any paperwork with Marvel, noting Special Character Agreements give the company wiggle room to pay essentially whatever they want and include an NDA clause that muzzles creators from speaking out. One source, who reps the creators behind several A-list Marvel characters, notes one client who never signed paperwork is better off than those who did. “He has a lawyer that doesn’t listen to Marvel,” says the source. (Marvel declined to comment, as it does not speak out on individual creator agreements.)
Joe Casey is among the creators who did not sign an agreement. The writer co-created America Chavez, a key character in the $954 million-grossing Doctor Strange in the Multiverse of Madness and has received no payment for her use in the film. But he’d rather speak out in hopes it can help change the system. “Maybe $5,000 means something to some kid in his early 20s that doesn’t have a career,” says Casey. “For a lot of us who have been in the business for decades, it comes off as an insult.”
A few months after Johansson and Disney settled the lawsuit, Yelena Belova showed up on the Disney+ series Hawkeye, cementing the character’s place as a key player in the Marvel Cinematic Universe. Per the agreement Grayson signed, she should receive $2,000 for a TV episode appearance (or $1,000 if split with Jones). When Grayson reached Marvel in July, she was informed that according to their calculations, that wasn’t quite right. How would $300 an episode sound?
Marvel’s Movie Math: Comic Creators Claim It’s “Bait and Switch” on Payments
Writers and artists who create characters that power the Marvel Cinematic Universe say the company offers a labyrinthine compensation system that underpays them.
www.hollywoodreporter.com
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scumbag economics...
Those haven't aged well but sometimes its best to leave well enough alone. Very few if the reboots are as good as you hope they would be either.
I remember telling cats a LONG time ago that since Disney bought 20th Century Fox, all their Marvel content would be on Disney+ and cats were arguing with me left and right saying there wouldn't be any rated R content on the streaming service.....
Welp!
It’s not that they didn’t age well, the stories were good, the level of SFX/VFX looked like shit.
With Food of the Gods, that story was ahead of it’s time with it foretelling the manipulation of the food supply with what we are seeing today with GMO’s and antibiotics put in food. We barely know what that shit is doing to our bodies.
Logan’s Run was about population control killing off people at a certain age. The issue of overpopulation is happening today. We saw what China tried to do to control population with their one child policy.
The Boys from Brazil dealt with human cloning. Back when the movie was made, cloning was just a theory. Since that movie was made, they figured out the Human DNA code and have successfully cloned animals. You can get a dead pet cloned today if you want.
Lots of old movies can be remade or sequels made to relate to what the world is going thru today.
A movie liked Soylent Green was made when there was no issues in shortage of global food supplies. So nobody took it serious…..look what is happening today. Perfect time to make a reboot for todays world.
I assumed Disney would put all that R-Rated shit on Hulu.
Disney might be planning on merging Disney+ with Hulu.
We will wait and see.
Disney+ has had TV-MA & R Rated profiles since they added the Marvel Netflix shows....
Those Netflix shows are nowhere near the level of explicit violence in those Deadpool and Logan movies.
You can probably put those Netflix shows on network TV with minor editing without taking away from the story.
The first Deadpool movie, that shit was overloaded in explicit violence, especially the scene on the highway. You would have to totally delete that scene to put it on network TV.
Once again... Disney+ basically has a Adult Profile option which gives access to "R-Rated" and "TV-MA" content...
D+ can and will show everything your talking about unedited...
If you choose TV-14 and below profiles none of the R-Rated and TV-MA content will show up... No edited versions...
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I didn't even know that.
I got Disney+ and set it up for Adult Content.
Trust me, it ain’t gonna keep a 8 year old from getting into seeing those movies/shows with how kids are tuned into and experienced with today’s media and electronics.
It ain’t foolproof for a kid to figure out how to bypass the system to get into the adult content on there.
That stuff should have been put on Hulu.
Disney owns American Horror Story and The Strain which is on Hulu. No way at this point they will put those on Disney+ unless they plan on making changes to the service from what it is now.
But like I said, they must have plans on merging both services into one. Hulu still has contracts with other studios which are set to expire this year. They probably plan on merging next year after they take off the other studios content.
Disney's exceptional but I don't see how any paid streaming service can get by without R-rated and mature content. Hell, even commercial streaming would struggle without it unless it's aimed solely at children.
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