Three Packed Days of Panels and Booth Activations Showcasing More Than Three Dozen Fan-Favorite Franchises, Series and Specials
Disney General Entertainment is bringing more than 30 fan-favorite programs under one roof at this year’s D23 Expo: The Ultimate Disney Fan Event presented by Visa. Through interactive activations on the convention floor as well as shows, panels and talent appearances, fans will immerse themselves in the wonders of storytelling from some of the most iconic and culture-defining shows across every genre on television and streaming, created by content brands ABC Entertainment, ABC News, Disney Branded Television, Freeform, FX, Hulu Originals, National Geographic Content and Onyx Collective.
The three-day extravaganza kicks off September 9 in Anaheim, California, and includes immersive activations in the Disney General Entertainment “Journey Into Storytelling” pavilion, along with a dynamic schedule of exciting announcements, sneak peeks, engaging panels and special appearances by the stars from some of today’s most cherished shows today.
Through the “Journey Into Storytelling” experience on the show floor pavilion, there is a story for everyone. Fans are invited to immerse themselves in the various worlds of their favorite programming, or perhaps even discover their new favorites, with interactive experiences from “Abbott Elementary,” “American Born Chinese,” “American Horror Story,” “Cruel Summer,” “Epic Adventures with Bertie Gregory,” “Fire of Love,” “Good Morning America,” “Grey’s Anatomy,” “The Kardashians,” “Legacy: The True Story of the LA Lakers,” “Limitless with Chris Hemsworth,” “National Treasure: Edge of History,” “Only Murders in the Building” and “ZOMBIES 3.” There will be photo and video activations along with gamification throughout the pavilion.
Fans of daytime television favorites “Live with Kelly and Ryan” and “Tamron Hall” can take center stage for a photo and video moment where they will feel like they’re part of the show at these fun photo booth opportunities — located in Hall B of the D23 Expo floor. In addition, fans can see Tamron Hall in-person moderating various panels across D23 Expo.
The Ultimate Disney Fan Event will also feature panels, shows and talent appearances across its five stages: Hall D23, Premiere Stage, Backlot Stage, Walt Disney Archive Stage and Hyperion Stage. Exciting panels include a sneak peek into ABC Entertainment’s upcoming special “Beauty and the Beast: A 30th Celebration” and a special fan experience celebrating “The Simpsons” reign as the longest-running animated series of all time. Additional programming will take place on the Disney Bundle Stage. More details to come.
Show Floor Pavilion — “Journey Into Storytelling” Immersive Experiences:
ABC News:
“Good Morning America” (ABC and Hulu) TSS Shot
Begin the journey seeing your name in lights on the famed ABC News’ “Good Morning America” marquee — a must-have photo op.
Disney Branded Television:
“American Born Chinese” (Disney+) – Mythical Staff Maneuvers
Learn how to master the staff alongside the mythical Chinese heroes featured in Disney Branded Television’s “American Born Chinese.”
“National Treasure: Edge of History” (Disney+) – Clue Room Zoom
Gear up for an archeological adventure by searching for clues in the secret tunnel of the pyramid with Disney Branded Television’s “National Treasure: Edge of History.”
ABC Entertainment:
“Abbott Elementary” (ABC and Hulu) – Sub for a Day
Step into a day in the life of a substitute teacher at “Abbott Elementary” and see how you would respond in some iconic scenes!
“Grey’s Anatomy” (ABC and Hulu)
Do as the world-class staff of Grey Sloan Memorial do when they need a boost: strike a superhero pose or dance it out!
Freeform:
“Cruel Summer” (Freeform and Hulu) – Y2K Room
Enter this experience to take a turn on “Dance Dance Revolution” to your favorite throwback hits, pose in the Y2K-era bedroom and get a glimpse at the lake life in a cool airstream photo op from the upcoming season of “Cruel Summer.”
FX:
“American Horror Story” – Horror Scare Moment (FX and Hulu)
Be the star of your own nightmare while celebrating 11 award-winning seasons of FX’s “American Horror Story.”
Hulu Originals:
“Only Murders in the Building” – Arconia Silhouettes
Become a resident of the famed Arconia with your very own Mabel Mora-style portrait with Hulu Originals’ “Only Murders in the Building.”
“The Kardashians” – 7th Sister
Think you have what it takes to be a Kardashian? Give it your best strut.
“Legacy: The True Story of the LA Lakers” – Skyhook Slo Mo
Fulfill your Laker’s legacy with your very own attempt at the skyhook inspired by Lakers legends.
National Geographic Content:
“Epic Adventures with Bertie Gregory” (Disney+); “Fire of Love” (Disney+); “Limitless with Chris Hemsworth” (Disney+)
Push your own limits by becoming an explorer at some of the most stunning environmental settings around the world with National Geographic.
D23 Expo is sold out. Select presentations will be streamed for guests at D23 Expo Live! For more information, visit D23Expo.com.
About Disney General Entertainment
Disney General Entertainment Content (DGE) is a collection of renowned content brands at The Walt Disney Company creating original entertainment and news programming for the Company’s streaming platforms Disney+, Hulu and Star, and its broadcast and cable networks. Its extensive brand portfolio is comprised of ABC Entertainment, ABC News, Disney Branded Television, Freeform, FX, Hulu Originals, National Geographic Content and Onyx Collective, as well as Disney Television Studios, which include 20th Television, 20th Television Animation, ABC Signature and Walt Disney Television Alternative. The creative brands and studios are responsible for producing and curating some of the most popular and culture-defining shows: from long-running franchises—“9-1-1,” “Atlanta,” “black-ish,” “Family Guy,” “Grey’s Anatomy,” “Mickey Mouse Clubhouse,” “The Simpsons,” “World News Tonight,” and the “American Horror Story” and “Genius” franchises—to the newest hits including “Abbott Elementary,” “The Old Man,” and “The Proud Family: Louder and Prouder.” In 2022, DGE’s programming excellence earned 117 Primetime Emmy® nominations.
The post Disney General Entertainment Presents ‘Journey Into Storytelling’ With Fan-Favorite Shows at D23 Expo 2022 appeared first on The Nerd Element.
Warner Bros. Discovery is about to make big changes to their big screen DC Universe. At least, that’s what they are telling us. During their investor call on August 4, just one day after canceling the already completed Batgirl film, as well as Wonder Twins, CEO David Zaslav revealed the following:
“We have done a reset. We’ve restructured the business where we’re going to focus, where there will be a team with a ten-year plan focusing just on DC. It’s very similar to the structure that Alan Horn and Bob Iger put together very effectively with Kevin Feige at Disney.”
There’s a lot to unpack in that brief statement. First off, Marvel Studios’ big plan that led to the MCU worked because they had Kevin Feige. They had someone who understood the intricacies of making movies and that is also a fan of the source material. DC’s strategy in the past nine years has been incredibly scattershot, because there was no one in charge who was both of those things. If you find that person, make sure they have a real vision for what this new DC shared universe is, and how it fits together. Simply put, that’s not what we had before. Otherwise, it’s just cool logos together up on a screen with release dates.
Secondly, focus on getting it right immediately out the gate. The MCU worked because the first Iron Man was amazing, and knocked it out of the park. People wanted to see more, because the first one was almost universally beloved. If your starting point is divisive, it’s hard to build a universe on that. Yes, it’s good to have a plan, but make sure you focus on one movie at a time. Otherwise, you are constructing a house on a faulty foundation. But if DC Films are indeed committed to a “master plan” over ten years, then we believe it should look something like this. And in this release order. No exceptions!
The DC comics universe began with Superman as its first hero, and so did the DCEU. It always starts with the Last Son of Krypton. And for whatever this new shared DC cinematic universe is, it should also start with Supes. While we don’t need yet another origin story again, maybe they should take the Spider-Man: Homecoming route with Kal-El as a young but already established hero in Metropolis, having adventures alongside Lois Lane.
The most important thing is to make a Superman film bright, fun, and most of all, inspiring. We need a Superman that is a beacon of hope in a hopeless world again. Also, one with big sci-fi ideas and concepts. And while we all love Henry Cavill and felt he got done dirty, if you’re going to start fresh, it’s time for a new Man of Steel. And as for what you call this movie? Sometimes you just need to keep things simple. You just call it Superman.
Batman already has his own film series with Matt Reeves, one that definitely does not exist in a world with superpowered heroes in it. And it should stay that way. The Dark Knight doesn’t need the DC heroes to work. But any shared DC universe does need a Batman. And sorry, Michael Keaton is too old to anchor a new continuing universe (Keep him as “Old Man Bruce for an eventual Batman Beyond film though).
Instead, introduce our new DC shared universe Bruce Wayne much as Superman: The Animated Series did. Yes, the two heroes will come into some conflict, but please, no plot about Batman trying to kill Superman. No “vs.” here. They need to find out each other’s secret identities in a fun tit-for-tat way as the animated shows did. And then they need to put aside their difference for the greater good and work together, as the World’s Finest team. And for the love of Krypton, don’t mention Martha. Oh, and Superman’s name comes first.
The 2017 Wonder Woman film is one of the best superhero origin story films ever, and Gal Gadot is the perfect Diana of Themyscira. But if we’re going to make a clean break, that probably means a new Wonder Woman too. Gal Gadot and Patty Jenkins probably deserve at least one more solo film before this reset sets in. But after that, let’s see a new version of the Amazing Amazon for a new era. Of course, seeing as Gal is popular, maybe DC films do what Marvel Studios is rumored to be doing for Daredevil; keeping the actor but rebooting the universe they are in.
We’ve seen Diana enter the outside world during World War I, but we’ve never seen her as a true contemporary of the other members of the Trinity, Superman and Batman. These three should be roughly the same age at the same time, and come up together. In fact, they should have the same dynamic as the original Star Wars trilogy heroes. The idealistic farmboy, the sarcastic scoundrel with the cool ride, and the powerful princess. Hopefully this time, we also get a tad more Greek mythology too. Not just badass Amazons (though we need those) but also Medusas and minotaurs. The fully Olympian treatment.
With Matt Reeves’ The Batman universe still going, you don’t need another solo Batman movie in any new DC shared universe. But one thing the Reeves movies (and the Nolan films before them) didn’t do was explore Batman’s partners. So let the DC shared universe Batman’s movie be a team movie, which showcases Batman and his family of heroes. We haven’t had a big screen Robin since the ‘90s, and certainly not a very faithful one.
In addition, Batgirl needs big screen representation, especially after what just happened. If there’s a shred of decency in the world, they’ll offer the part to Leslie Grace. Let the Gotham Knights fight the kind of sci-fi villains that Reeves would likely never touch, like Man-Bat and Clayface. And while we’re at it, let Batman wear his navy blue and gray. Something to really differentiate him from the grim and gritty world of Battinson. The Multiverse is big enough for both. And yes, we know there is a CW show with the name Gotham Knights coming soon. We don’t expect that to be an issue by the time this comes out.
No iconic DC hero has gotten a raw deal on screen as much as Green Lantern. His 2011 movie was so disliked, even its star Ryan Reynolds regularly mocks it. And we know an HBO Max series was announced, but we have a feeling that is going to fall by the wayside now. But it’s been a decade, and it’s time to start over with GL. Because GL is one of the cornerstones of the DC universe, and a key to any future Justice League.
But instead of a solo movie, it’s a more prudent move to make a total intergalactic adventure with several Lanterns. Instead of one GL, use all the most popular ones as a team. Hal Jordan, John Stewart, Guy Gardner, Kyle Rayner, Jessica Cruz, and Simon Baz. (This would also make for a diverse cast). One or more of them could eventually be the Lantern stationed on Earth, once we get to Justice League. But for a return to the big screen, give us a grouping of the best and brightest together in a big space opera.
Yes, the Flash is about to get his first solo movie, and the character is also ending a 9-year run on TV. But a new DC shared universe needs the Scarlet Speedster. And one thing the new Flash movie isn’t going to be is a proper origin story for Barry Allen, but a retelling of Flashpoint. Give us a proper Flash movie, one without Batman and tons of other DC characters, that just focuses on how lightning struck a young police scientist, and connected him to the Speed Force. The Flash TV show captured that lightning in a bottle (no pun intended) in the first season, but let’s see what a big-budget version of that would look like. And maybe it goes without saying at this point, but definitely recast the lead.
Now that all your major iconic heroes have been reintroduced on the big screen, then you bring them together as the Justice League. But not before. You could also add a few heroes who didn’t get their own solo films, much the same way Black Widow and Hawkeye were original Avengers. Who the villain is, or what exactly brings them together, is all secondary to making sure that we love each of these iconic heroes already, so once they get together, it’s an event. A Justice League movie deserves to be a true, earned event, not something rushed. Because we tried that once, and the results were what they were. Time to do it right. Let it take as long as it takes to get there.
Aside from the Justice League, DC’s other most iconic team is the Teen Titans. If you were a Gen X kid who grew up in the 80s, you knew them from being DC’s biggest comic series. If you were a Millennial, you probably loved the 2000’s Cartoon Network show. They are that big, and deserve the big screen treatment. The Titans series on HBO Max is too dark, and Teen Titans Go! is way too silly. But a Teen Titans movie could deliver something in the tone of the comics with the grand scale it deserves. They could also use this film to transition Robin into Nightwing. That’s something everyone has been hoping to see on screen for years.
The blueprint for a shared DC Universe on screen already exists, and it’s not just the MCU. In the ’90s, Warner Animation created the DC animated universe, ultimately resulting in Justice League Unlimited. The Arrowverse connected six shows over 35 seasons of TV in just a decade. It can be done. It has been done. You just need the right people who really care about this mythology beyond their “brand value” to put it together.
The post What DC Films 10 Year Plan Should Look Like appeared first on Nerdist.
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Time to rock and droll, people! it's time for Afronerd Radio's Mid Week in Review show, airing every Wednesday at 8 p.m. Eastern, courtesy of BTalk 100. com. Listen to your genetically-modified AFROnerdist hosts discuss the following issues: the uniquely cast, Batgirl movie from Warner Media starring Afro-Latina, Leslie Grace, has been canceled due to budgetary concerns; and the even more expensive Warner IP, The Flash, along with its lead actor (Ezra Miller) foibles, might be next; is Ben Affleck "the Batman" or not? Especially while this alleged corporate turnover is occurring at Warner-media.; another dimension; our thoughts about yet another Disney+ Star Wars prequel series, Andor, in the wake of a full trailer release:
So now amoral and unscrupulous business people are promoting "Slave Cabin" Airbnbs now? Let's discuss; something we failed to cover-legendary action star/director, Slyvester Stallone is actually starring in a superhero project via Amazon entitled Samaritan:
The CW Flash TV series will purportedly end with a shortened set of episodes for its 9th season; the iconic, problematic, and hotly debated Death of Superman comic and storyline turns 30; who will become the new Black Panther and conversely, who will become the King of Wakanda for the upcoming sequel?; And lastly, is it true that recent test screenings for the MCU's Marvels film went poorly? Again, let's deliberate/
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In Black Panther’s now famous museum scene, Erik Killmonger (Michael B. Jordan) responds to the museum curator’s statement, “These items aren’t for sale,” with the ever resonant: “How do you think your ancestors got these? You think they paid a fair price? Or did they take it like they took everything else?”
In three concise sentences, Killmonger summarizes all that is wrong with the modern museum and the colonizer mentality that displaces sacred items far from the peoples to whom they belong, with no recourse for return or even acknowledgement of the cultural and social theft that has occurred in the process.
Over the course of four films and a fifth on the way in 2023, archaeologist-adventurer Dr. Indiana Jones (Harrison Ford) is positioned as an American hero as he travels the world in search of objects and information that he claims will contribute to the collective and global knowledge bases represented by the Western university system.
“It belongs in a museum,” Dr. Jones constantly says, firmly situating himself in the exact same camp as those whose cultural appropriations he is constantly fighting against. According to Dr. Jones, these artifacts don’t belong in just any museum, they specifically belong in his university museum, where he can conveniently get credit for securing them. Also, Indiana Jones seems to have forgotten that the museums of his own era aren’t exactly accessible to general audiences, let alone the peoples from whom the objects have been taken.
From the perspectives of those who have been violently colonized and experienced the horrors of forced assimilation and even genocide, the modern museum is not the bastion of knowledge that Indiana Jones and his allies pretend it to be. Rather, it’s a glorified display of wanton grave-robbing from around the world, the results of the looting of sacred sites and culturally valuable items justified through a lens of white supremacy.
There is very little in a museum that actually belongs there. But through the Indiana Jones franchise, the exact opposite is promoted as Dr. Jones and his colleagues continue an ongoing pillaging project that takes them through Central and South America as well as the Middle East, Africa, and Asia as they meddle in the trafficking of items that categorically don’t belong to them, often across continents. This vicious dynamic is framed within a white savior narrative that is inherently racist even before we get to the actual events on screen in Indiana Jones movies.
Raiders of the Lost Ark opens with Indiana Jones in Peru breaking into a tomb, stealing a sacred idol, and replacing it with a bag of sand as booby traps set off all around him. Thanks to Jones, this one act sets off a series of events that lead a group of Nazis to the Ark of the Covenant as they seek immortality for their designs of global domination.
“I hate Nazis,” becomes another Indiana Jones catchphrase, and he ably defeats some of them in Raiders. Ironically, though, Nazis were actually inspired by the United States’ very own Jim Crow laws, centuries of slavery, and institutionalized racism that Nazis actively used and integrated into their campaigns to eliminate Jews, Romani, disabled, and LGBTQ communities altogether.
Raiders might have taken place in 1936, but Jones’ narrative distancing from the reality of his own era actually reflects a 1981 perspective that had already begun whitewashing the slavery and segregation eras of American history through this adventure tale. There are multiple levels of colonization going on in Spielberg’s opus, extending far past what’s on screen.
Things only get worse as the franchise rolls on through the years. As a Sri Lankan American who has lived in India, I have found myself haunted by Indiana Jones and the Temple of Doom‘s open racism against Asian countries and cultures as monoliths. From its Chinese villains to Indian ones, Temple of Doom literally demonizes Asian people on screen, presenting Indians in particular as snake and monkey-brain eating savages who kidnap and subjugate children while worshiping a demonic fictionalized version of Hindu goddess Kali who demands human sacrifice.
If I had a dollar for every time someone has asked me what monkey brains taste like I could put a down payment on a house, even in this economy. Worse, Temple of Doom wasn’t even filmed in India. It was actually filmed in Sri Lanka; you can even hear the villagers speaking Sinhala in the fore and background, not Hindi.
Here we see Indiana Jones’ colonizer, white savior mentality infest the screen as Spielberg collapses two distinct cultures into one Brown lump for white audiences, correctly assuming nobody would know the difference between India and Sri Lanka, and forever setting a cultural wallpaper that includes levels of depravity and savagery decades later that real-life South Asians still can’t escape when in the Western gaze.
In the next Jones adventure, The Last Crusade, the man in a panama hat (Paul Maxwell) who uncovers the Cross of Coronado in Utah that a young Indy (River Phoenix) fights as a teenager is framed as a villain. Yet, Indy goes on to base his field “look” as an adult on this supposed villain. Indy believes himself to be better because his motivation isn’t money but rather intellectual colonization — as if that’s somehow more noble. It isn’t.
All the while, this third installment of the Indiana Jones franchise conveniently leaves out how the Knights of the Crusades were themselves colonizing forces across the Middle East and Europe, converting people by force and mass murdering those who refused. It also once again frames Nazis in opposition to good Americans, leaving out crucial pieces of the USA’s history that inspired the Nazi’s genocide and global domination projects.
By the end of Temple of Doom and Last Crusade, we find out that Indiana Jones actually does understand that some things categorically do not belong in a museum. In Temple of Doom he returns the Shivalingum stones of the Mayapore people to them, restoring their thriving village and overthrowing the evil maharaja (who was backed by colonial British forces). By the end of Last Crusade he realizes that some objects are too powerful for public awareness, let alone consumption as he allows the Holy Grail to disappear into the deep mountain cavern of Alexandretta.
This indicates that Indy has always known that museums aren’t the end all, be all repositories for artifacts. He only applies that knowledge selectively. When Indiana Jones returns 20 years later in The Kingdom of the Crystal Skull, for the first time he is dragged into a deadly artifact hunt against his will. But his racist and culturally insensitive quips have not changed, nor does he yet have the self-awareness to recognize he is exactly the same as the colonizers out there seeking to enrich themselves or unnaturally increase their power.
Ultimately it’s not just Indiana Jones who’s a colonizer, it’s also the entire creative team of Spielberg and company who have and continue to promote a racist, colonial gaze decades past its expiration date. Reviving a franchise as problematic as this one in the current context of encroaching fascism in the United States and whitewashing American history in schools so as not to make the colonizers’ descendants feel badly about their past sends the opposite message to what we need.
Even if Indiana Jones 5 situates itself in the civil rights era of the 1960s, will it address and take responsibility for all of its own colonizer legacy over the years? Or will it bury its head in unacknowledged past missteps, continuing to promote a historically inaccurate version of an American good guy with a gun? If it’s not self-reflective and retroactively professing attrition for the many harms the figurehead and stories have caused, we categorically don’t need it.
What we do need is for museums to return all the items they’ve looted from around the world, and most especially the sacred and religious ones.