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Disney will release Mulan online Sept. 4 on Disney Plus, for $30 in US

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It’ll cost roughly the same amount in other select countries, including Canada, Australia, New Zealand and a number of countries in Western Europe.

Disney will release its live-action film Mulan online through its Disney Plus service on Sept. 4, but it won’t be included as part of a standard subscription. Mulan will cost $30 in the US in addition to Disney Plus’ regular subscription fee, and it will be priced at roughly the same amount in international markets where it’ll be available online too, including Canada, Australia, New Zealand and a number of countries in Western Europe.

Don’t get your hopes up yet that other mega-budget films — like Marvel’s Black Widow with a theatrical release date set for Nov. 6 — necessarily will follow the same quick path onto your living-room TV. The company characterized Mulan’s release as a onetime deal, though it could serve as an experiment that guides its future release decisions.

“Mulan is a one-off,” Disney CEO Bob Chapek said Tuesday during a call that discussed the company’s fiscal third-quarter results. “That said, we find it very interesting to be able to … learn from it and see what happens, not only in terms of the uptake of the number of subscribers that we get on the platform but the actual number of transactions on the Disney Plus platform that we get.”

Mulan, which was supposed to open in theaters in March but had to delay the release date multiple times because of the coronavirus, will be available be available as what’s known as premium video on demand, which usually means a high-priced rental. But it will be offered exclusively through the company’s Disney Plus streaming service, seemingly holding out from other popular stores for online rentals like Apple’s TV app, Amazon Video and others.

The company will also release Mulan theatrically on Sept. 4 in markets where cinemas are open and where Disney Plus isn’t operating yet.

“We see this as an opportunity to bring this incredible film to a broad audience currently unable to go to movie theaters, while also further enhancing the value and attractiveness of the Disney Plus subscription with great content,” Chapek said.

The decision marks an unprecedented approach to releasing a big-budget movie that had been destined to be a blockbuster back when theaters were open worldwide. The coronavirus pandemic has shuttered cinemas around the globe and forced studios across the board to delay big-budget films for months and years, with no certainty in sight for when theaters can reopen at large or when audiences will feel comfortable sitting in windowless, enclosed rooms for hours.

It’s also a major defection from the rigid rules that usually keep new movies only in theaters for 75 days or more, as well as a surprising change to how Disney Plus has been pitched to audiences since it launched in November. Disney Plus is Disney’s online hub for streaming almost everything the company produces, but it was marketed as an all-you-can-eat buffet like Netflix, where your subscription unlocks everything on the platform to watch. Mulan will bring an a la carte transaction to Disney Plus that its 60 million subscribers haven’t yet encountered.

Disney’s changes underscore how disruptive the pandemic has been to Hollywood studios’ meticulously planned release cycles. With theaters closed and coronavirus preventive measures keeping people stuck at home, studios have mostly decided to keep pushing back the theatrical release dates for mega-budget pictures. But with their tentpole movies in a holding pattern, studios could be setting themselves up to all release a glut of movies on top of each other, crimping ticket sales.

Already, smaller-budget films began to go straight to online rentals or streaming services, such as Disney’s decision to release its Hamilton film and its young-adult sci-fi movie Artemis Fowl on Disney Plus rather than in theaters. And Universal has released new movies like DreamWorks Animation’s Trolls World Tour and others as special online rentals.

But Universal’s Trolls World Tour online release enraged cinemas, with US chain AMC even vowing it would ban Universal movies from its screens, including its blockbuster Fast & Furious franchise. Cinemas have doggedly clung to rules that keep new movies only in theaters for months, even as audiences have grown more accustomed to watching video when they want, where they want. Then last month Universal struck a deal with AMC to patch things up, promising to give theaters three weekends of exclusivity for new movies going forward in exchange for lifting the ban on its movies, a signal that cinemas are willing to compromise.

Disney, however, has been one of the Hollywood studios most dedicated to theatrical release. It’s decision to put out Mulan online reinforces the prospect that these alternative release strategies devised in the extraordinary circumstances of the pandemic may have lasting effects even after cinemas start reopening at large.

Disney Plus’ standard subscriptions costs $7 a month, or $70 a year, in the US. In Canada, Disney Plus is priced at C$9 a month, or C$90 per year.

In countries that are part of the euro zone, it is 7 euros, or 70 euros a year. In the UK, it is £6 a month, or £60 a year. In Australia, it’s priced at AU$9 a month, or AU$90 per year, while New Zealand subscribers pay NZ$10 per month, or NZ$100 per year. In India, Disney Plus Hotstar is priced at 299 Indian rupees a month, or 999 rupees a year. In Japan, Disney Plus is 700 yen a month through an exclusive partnership with Japanese telecom company NTT Docomo.

Matthew Ronald grew up in Chicago. His mother is a preschool teacher, and his father is a cartoonist. After high school Matthew attended college where he majored in early-childhood education and child psychology. After college he worked with special needs children in schools. He then decided to go into publishing, before becoming a writer himself, something he always had an interest in. More than that, he published number of news articles as a freelance author on apstersmedia.com.

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David Schwimmer Remembers Rejecting “Men in Black”: ‘That Would Have Made Me a Hollywood Star’

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Although David Schwimmer admits his “career would have taken a very different trajectory” if he had been the lead in the 1997 movie, he doesn’t regret declining Men in Black.

The actor said, “That’s not why I turned it down,” in response to a question on a recent episode of the podcast Origins With Cush Jumbo regarding whether he rejected down the successful franchise because it conflicted with his Friends filming schedule. Rather, he decided to become a feature film director.

Schwimmer said, “[It] was a brutal decision.” the actor chuckles. “I had just finished filming The Pallbearer, my first film with Gwyneth Paltrow, and there were high expectations of that, which didn’t come true (Laughs). It was kind of a bomb, but there were high expectations, and the studio, which was Miramax, wanted to lock me into a three-picture deal at a fixed price, and I said I would do that if I got to direct my first movie.”

After months of talks, the intelligence actor said that they had come to an agreement whereby he “would act in three more movies for them” in exchange for allowing him to “direct my entire theater company in the first film,” Since You’ve Been Gone from 1998. The film was told through the perspective of a doctor who was severely beaten up by a fellow graduate on graduation day, humiliating him and setting the stage for a ten-year class reunion.

“All these unknown actors but I was going to put them on the map, basically. I was going to let everyone discover the talent of this amazing company,” Schwimmer said, “We found this amazing script, and we were developing it. We started pre-production. All my best friends in the world in my theater company quit their jobs so they could be in this film over the summer, which was going to be a six-week shoot in Chicago.”

However, Schwimmer had to make a tough decision about his career because the production for his directing debut happened to coincide with the filming of Men in Black.

The Six Days Seven Nights actor recalls, “We’re in pre-production, hired the whole crew, everything’s going and that’s when I was offered Men in Black.” “It was a direct conflict with this. My summer window from Friends was four months. I had a four-month hiatus and Men in Black was going to shoot exactly when I was going to direct this film with my company. And of course, it was an amazing opportunity. However, my theater company and that relationship with all those people would probably have ended. I don’t think it would have recovered.”

Schwimmer stated that he is unsure if “he made the right choice,” but he firmly feels that in these kinds of circumstances “you have to follow your gut, you have to follow your heart.”

“Look, I’m really aware, whatever 20 years later maybe more, [Men in Black] would have made me a movie star,” he continued. “If you look at the success of that film and that franchise, my career would have taken a very different trajectory.”

In the end, Tommy Lee Jones and Will Smith played the key parts in the Men in Black franchise.

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The Role of Vulnerability in Success: Hannah Love’s Guide to Embracing Your True Self

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In a world that often celebrates strength and success, vulnerability might seem like a weakness—but for Hannah Love, it’s a cornerstone of true personal growth and success. Throughout her journey, Hannah has discovered that embracing vulnerability isn’t just about being open with others; it’s about being honest with yourself. It’s through this honesty that real transformation begins.

Hannah’s life has been shaped by challenges that tested her resilience and forced her to confront deep-seated fears and insecurities. From childhood trauma to the emotional struggles of her twenties, she faced moments where vulnerability was not an option but a necessity. “For a long time, I saw vulnerability as a sign of weakness,” Hannah recalls. “I thought that if I let people see my pain, they would see me as less capable, less strong.”

However, as Hannah began to open up about her experiences, she realized that vulnerability was not her enemy—it was her greatest ally. It allowed her to connect with others on a deeper level, to share her struggles without shame, and to find strength in the very parts of herself that she had once tried to hide. “Vulnerability isn’t about being weak,” she explains. “It’s about being real. It’s about showing up as your true self, no matter how imperfect that self might be.”

One of the most significant lessons Hannah learned is that vulnerability is essential to building meaningful relationships. When we allow ourselves to be vulnerable, we create space for others to do the same. This mutual openness fosters trust and deepens connections, both personally and professionally. “The more I shared my story, the more I realized that others were going through similar struggles,” Hannah says. “By being vulnerable, I wasn’t just helping myself—I was helping others feel less alone.”

In her work as a mental health advocate, Hannah emphasizes the power of vulnerability in healing and personal development. She encourages others to embrace their imperfections, to share their stories, and to see vulnerability as a pathway to growth rather than a hurdle to overcome. “When we hide our true selves, we limit our potential,” she explains. “But when we embrace who we are, flaws and all, we open ourselves up to new possibilities.”

Hannah’s journey also taught her that vulnerability is closely linked to authenticity. For years, she tried to fit into societal molds, hiding her true feelings behind a mask of perfection. But this only led to more pain and disconnection. It was only when she started living authentically—when she stopped trying to be what others expected and started being herself—that she found true success. “Living authentically means embracing your vulnerabilities and showing up as your whole self,” she says. “It’s about being honest with yourself and others, even when it’s hard.”

Through her platform, Hannah continues to advocate for vulnerability as a key to personal and professional success. She believes that when we embrace our vulnerabilities, we not only empower ourselves but also inspire others to do the same. “Success isn’t just about what you achieve,” she explains. “It’s about how you achieve it—by being true to yourself and allowing others to see the real you.”

As Hannah prepares for her TEDx Miami talk, she is eager to share her insights on vulnerability and authenticity with a broader audience. She hopes to inspire others to embrace their true selves and to see vulnerability not as a weakness, but as a source of strength and connection. Her message is clear: in a world that often values perfection, it’s our imperfections—and our willingness to share them—that truly make us successful.

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HBO Unveils First Looks at “Knight of the Seven Kingdoms” and “Last of Us” Season 2

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HBO debuted teasers for a number of highly anticipated new and returning shows, such as The Last of Us’ second season and A Knight of the Seven Kingdoms, the first season of the Game of Thrones prequel.

Aside from clips from The White Lotus season 3 and IT spin-off series It: Welcome to Derry, the trailer (below) featured new superhero parodies The Franchise, upcoming seasons of The Gilded Age and And Just Like That, and more. It aired before the second-season finale of House of the Dragon.

The third season of Industry, the fourth and last season of My Brilliant Friend, the adult animation DC Universe series Creature Commandos, the drama spin-off Dune: Prophecy, and the Batman spin-off series The Penguin are a few of the other programs included in the mix.

Aside from the new Max originals The Pitt, starring Noah Wyle, and the J.J. Abrams drama Duster, starring Rachel Hilson and Josh Holloway, there is footage from the documentaries Wise Guy David Chase and The Sopranos, which examine the life and career of The Sopranos creator.

A number of the “big” titles, such as Knight of the Seven Kingdoms, Welcome to Derry, The Last of Us season two, and others, will launch in 2025.Season three of And Just Like That.

However, a few of the series, such as Industry (which returns on August 11), The Franchise (which returns later this year), and The Penguin (which returns on September 19), are quickly approaching.

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