US couple blocked from suing Uber after crash say daughter agreed to Uber Eats terms

New Jersey appeals court sides with ride-hailing company, saying arbitration provision in terms was ‘valid’

A New Jersey couple seriously injured when their Uber driver ran a red light and collided with another car has lost a bid to take legal action against the company in court.

John McGinty and Georgia McGinty argue Uber is enforcing an arbitration agreement after their daughter clicked “agree” when presented with updated terms and conditions while ordering food via her mom’s Uber Eats account.

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Disney seeks to dismiss wrongful death lawsuit over widower’s Disney+ free trial

Man says wife died of allergic reaction at Disney World but company claims streamer’s terms block him from filing suit

Attorneys for Disney World are seeking to dismiss a wrongful death lawsuit brought by a husband over the death of his wife last year because of the terms and conditions he agreed to when signing up for Disney+ streaming service several years earlier.

In February of this year, Jeffrey Piccolo filed a wrongful death suit against Disney on behalf of his wife, Dr Kanokporn Tangsuan, a medical doctor from New York who died last year. His lawsuit claims that her death was a result of suffering an allergic reaction while dining at a resort restaurant in Disney Springs at the Walt Disney World Resort in Florida.

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Russell Tovey and Gugu Mbatha-Raw to star in Doctor Who spin-off

Writer Russell T Davies says drama The War Between the Land and the Sea ‘will shake the Whoniverse to its foundations’

Russell Tovey and Gugu Mbatha-Raw are to star in a Doctor Who spin-off called The War Between the Land and the Sea, it has been announced.

They will lead the cast alongside Jemma Redgrave and Alexander Devrient in the series, which was created by Doctor Who showrunner Russell T Davies. He has co-written the series with Pete McTighe, who has also worked on Doctor Who.

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Can Murdoch’s Tubi repeat its US success as it launches in the UK?

Ad-funded streamer wades into market with offering it says will appeal to those underserved by rivals

The Wes Anderson classic Moonrise Kingdom, the Channel 4 sitcom Fresh Meat, a reality TV series about adult content creators, some Bollywood hits and a handful of shark flicks: Tubi’s home screen is not short of viewing options, just like the British video-streaming market it waded into this week.

Tubi is taking on the likes of Netflix, Disney+, ITVX and the BBC’s iPlayer with a free, ad-funded service offering 20,000 films and TV episodes, and an ambition of repeating its success in the US, where it has amassed nearly 80 million monthly users. But will it have a similar impact in the UK, where rival platforms are already well established?

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Disney’s Shōgun breaks mould with careful respect for Japanese culture

High-budget series with largely Japanese cast avoids well-worn western orientalist fantasies and wins plaudits in Japan

Japanese audiences could have been forgiven for bracing themselves when Disney announced Shōgun, a 10-part adaptation of James Clavell’s classic 1975 novel.

With few exceptions, Hollywood depictions of Japan and the Japanese have relied on one-dimensional characters whose purpose is to confirm cultural stereotypes, set against the backdrop of an inscrutable archipelago whose people have much to learn from the western hero.

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Flanders government looks to force TikTok and YouTube to share revenue

Belgium already takes a cut from Netflix and Disney and new income will support local TV production

Cute cat videos, fried chicken clips and viral dances could soon help to finance Belgian TV, with the Flanders government on the verge of passing laws to force TikTok and YouTube to share revenues with local television producers.

“Politically speaking, it is important in audiovisual and media services that there are obligations on companies to invest in local TV content,” the media minister for the Flemish government, Benjamin Dalle, told the Guardian.

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Australia joins international call for local content quotas on streaming TV platforms

Statement from peak bodies argues independence and viability of global screen industry under threat unless mandatory quotas for non-US content introduced

Australia has joined an international campaign calling on governments to provide better protection for local screen industries in a market dominated by global streaming platforms such as Netflix, Disney+ and Amazon Prime.

Screen Producers Australia (SPA) issued a joint statement with counterparts in Spain, France, Italy, Portugal, Germany, Ireland, New Zealand and Canada, demanding regulation to force streaming services to make content that is relevant to local markets where they operate.

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Disney+ production Nautilus scrapped after wrapping on the Gold Coast

The UK series, which employed hundreds of Australian cast and crew, is the latest victim of cost-cutting measures at Disney and beyond

A big budget series filmed in Queensland which employed hundreds of Australian cast and crew has become the latest victim of cuts at Disney, being dropped by the studio after filming – and before it even had a chance to be released.

Nautilus, a UK series that had been set to stream on Disney+, is a prequel story to Jules Verne’s 20,000 Leagues Under the Sea. Shazad Latif stars as Captain Nemo, an Indian prince who became a prisoner of the East India Company and sets off on a mission of revenge on submarine Nautilus.

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Marvel faces backlash over AI-generated opening credits

Social media users condemned use of AI -generated opening credits for Secret Invasion premiering this week on Disney+

Marvel’s Secret Invasion, a new television series which launched on Disney+ this week, has received backlash online after it was revealed that its opening credits were generated by artificial intelligence.

In an interview with Polygon on Wednesday, director Ali Selim confirmed that AI operated by a company called Method Studios produced the opening sequence to the new series, which stars Samuel L Jackson as Marvel fixture Nick Fury.

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Disney+ loses 4m subscribers amid exodus in Indian market

Lost cricket rights prompts outflow but streaming service almost halves losses while theme parks boom

Disney, known for Pixar, Star Wars and Marvel movies, said its flagship streaming service lost 4 million subscribers in the first three months of the year.

Subscribers to Disney+ services, home to movies such as Toy Story, Monsters, Thor and Black Panther, fell to nearly 158m from January to March, the second quarter of customer losses after a 2.4 million drop in the previous three months. Analysts had expected Disney to add more than 1 million customers in the quarter. The shares fell nearly 5% in after-hours trading.

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Disney announces 7,000 layoffs while teasing Toy Story and Frozen sequels

Cuts represent an estimated 3.6% of Disney’s global workforce in effort to save $5.5bn in costs and follow major job losses at other top US companies

Disney has announced a sweeping corporate restructuring that will result in 7,000 people losing their jobs as part of an effort to achieve US$5.5bn (£4.5bn, A$7.9bn) in cost savings, at the same time as revealing plans for sequels to Toy Story and Frozen.

The layoffs represent an estimated 3.6% of Disney’s global workforce and come after major job cuts at other US giants including Alphabet, Amazon, Ford and Meta.

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Disney+ edges past Netflix in streaming subscribers as it raises ad-free prices

Disney sees total of 221m customers at the end of the June quarter compared to Netflix’s 220.7m


Walt Disney edged past Netflix with a total of 221 million streaming subscribers at the end of the most recent quarter and announced it will launch a Disney+ option with advertising this December.

In the just-ended quarter, Disney added 14.4 million Disney+ customers, beating the consensus of 10 million expected by analysts polled by FactSet, as it released Star Wars series Obi-Wan Kenobi and Marvel’s Ms Marvel.

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What happens when your star is cancelled but you can’t cancel the film?

Scandals affecting Armie Hammer, Kevin Spacey and Johnny Depp have all hit their movies. We look at how film companies cope when leading players’ box-office stock crashes

Does Armie Hammer ever yearn for the time when the worst thing people said was that nobody liked him? “Ten Long Years of Trying to Make Armie Hammer Happen” was the cruel but incisive headline of a 5,000-word BuzzFeed article from 2017 which concluded that only a wealthy white man could not merely have withstood so much failure but have been rewarded for it. The US actor tweeted about the piece, calling it “bitter AF” before making a celeb’s exit from the social media platform: he deleted his account then quietly reactivated it.

Those must seem now like halcyon days. Hammer’s fall began a year ago when messages surfaced online, purportedly sent from him to various extramarital partners, suggesting an erotic interest in cannibalism. Sexual assault allegations were made by multiple women, while an accusation of rape prompted a Los Angeles police investigation. Hollywood tends to act fast when handling a scandal in the age of social media and #MeToo: Hammer was dropped immediately by his agents, William Morris Endeavor. He exited projects including the Jennifer Lopez romcom Shotgun Wedding, Amma Asante’s cold war thriller Billion Dollar Spy and The Offer, a 10-part series about the making of The Godfather. His scenes in Taika Waititi’s soccer comedy Next Goal Wins were reshot with Will Arnett taking his place.

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Disney+ channel launches in Hong Kong, without the Simpsons Tiananmen Square episode

Streaming channel went live this month, but without an episode in which the family visit China

An episode of the Simpsons in which the cartoon American family visit Tiananmen Square is absent from Disney’s streaming channel in Hong Kong, at a time when authorities are clamping down on dissent.

The missing episode adds to concerns that mainland-style censorship is becoming the norm in the international business hub, ensnaring global streaming giants and other major tech companies.

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‘I just can’t believe it exists’: Peter Jackson takes us into the Beatles vault locked up for 52 years

Ahead of his epic series Get Back, the director reveals the secrets of 60 hours of intimate, unseen footage of the Fab Four – and why it turns everything we know about their final days upside down

When the world closed down in March 2020, most of us had to make do with pretending to enjoy video calls with friends or baking bread. Peter Jackson, meanwhile, was busy sifting through a mountain of unseen footage – 60 hours in total – of the Beatles, shot by the director Michael Lindsay-Hogg in 1969.

His four-year project is now finished – “we finally completed it on Friday,” says a relieved-looking Jackson from his home in New Zealand – and the resulting series, The Beatles: Get Back, will be released on Disney+ from 25 November. Originally envisaged as a feature film, Covid uncertainty saw plans revised. It is now three two-hour episodes, using the mass of outtakes from Lindsay-Hogg’s work on what would become Let It Be, the band’s fourth feature film.

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Aisling Bea: ‘I was completely burnt out – I definitely became less nice’

Irish actor Aisling Bea on writing This Way Up in lockdown while filming the new Home Alone movie reboot, women’s inner lives and her abiding love of potato waffles

When it comes to comedy, there is little Aisling Bea can’t turn her hand to. After training as an actor, she began performing standup in her mid 20s and quickly became a rising star of the scene, winning the Edinburgh fringe’s So You Think You’re Funny? competition in 2012 and landing a nomination for best newcomer at the festival the following year. The Kildare-born comic’s chatterbox charisma readily translated to the screen; Bea soon became a panel show fixture, while continuing to land roles in sitcoms on both sides of the pond. In 2019, she wrote and starred in her own Channel 4 comedy-drama, This Way Up, playing Áine, an exuberant and quick-witted EFL teacher who struggles with her mental health. The show’s combination of giddy humour and emotional heft was a winning one, and a second, pandemic-crafted series aired this summer. Television mastered, the 37-year-old is now segueing into film – specifically the new Home Alone reboot, Home Sweet Home Alone, in which she takes on the role of panicked matriarch Carol.

Updated versions of beloved family films from the 1980s and 1990s tend to elicit a strong response online. How have you found the reaction to Home Sweet Home Alone so far?
Everyone’s like: “You’re remaking it, you’re going to ruin my Christmas!” Oh yeah, because Disney deleted the old one so you’ll never see it again and then they force you to pay money to watch this on Disney+. I’ve found the reaction to it really heartwarming and funny. It was sort of what Twitter was created for: people to complain about things that don’t matter.

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Do we really need a new version of Home Alone?

A new trailer has surfaced for Home Sweet Home Alone, which looks to be a sequel that’s also a carbon copy of an original that doesn’t need bettering

The trailer for the Disney+ movie Home Sweet Home Alone is really quite something. In it, a large and chaotic family tie themselves in knots ahead of a holiday to Tokyo only to discover that, in their haste, they have accidentally left one of their children behind. While they scramble to return to their home, the boy is left to fend for himself – a danger that is only compounded when two sly burglars pick his home to be robbed. What follows is an orgy of cartoonish violence as the abandoned boy jerry-rigs a selection of household items to cause maximum damage to the intruders. Brilliant.

Basically, then, Home Sweet Home Alone appears to exist in order to answer one simple question: what if Home Alone was, um, Home Alone?

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Beatles on the brink: the truth about the Fab Four’s final days

The director’s new documentary weaves together hours of unseen footage to dispel many myths about the band’s final months. John Harris, who was involved in the project, tells the inside story

On paper, the idea looked brilliant. In the opening weeks of January 1969, the Beatles were working up new songs for a televised concert, and being filmed as they did so. Where the event would take place was unclear – but as rehearsals at Twickenham film studios went on, one of their associates came up with the idea of travelling to Libya, where they would perform in the remains of a famous amphitheatre, part of an ancient Roman city called Sabratha. As the plan was discussed amid set designs and maps one Wednesday afternoon, a new element was added: why not invite a few hundred fans to join them on a specially chartered ocean liner?

Over the previous few days, John Lennon had been quiet and withdrawn, but now he seemed to be brimming with enthusiasm. The ship, he said, could be the setting for final dress rehearsals. He envisaged the group timing their set so they fell into a carefully picked musical moment just as the sun came up over the Mediterranean. If the four of them had been wondering how to present their performance, here was the most gloriously simple of answers: “God’s the gimmick,” he enthused.

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Marvel and DC face backlash over pay: ‘They sent a thank you note and $5,000 – the movie made $1bn’

As the comics giants make billions from their storylines and characters, writers and artists are speaking out about their struggles for fair payment

Watch any superhero movie and you will see a credit along the lines of “based on the comic book created by”, usually with the name of a beloved and/or long-dead writer or artist. But deep, deep in the credits scroll, you will also see “special thanks” to a long roster of comic book talent, most of them still alive, whose work forms the skeleton and musculature of the movie you just watched. Scenes storyboarded directly from Batman comics by Frank Miller; character arcs out of Thor comics by Walt Simonson; entire franchises, such as the Avengers films or Disney+ spinoff The Falcon and the Winter Soldier, that couldn’t exist without the likes of Kurt Busiek or Ed Brubaker.

The “big two” comic companies – Marvel and DC - may pretend they’ve tapped into some timeless part of the human psyche with characters such as Superman and the Incredible Hulk, but the truth is that their most popular stories have been carefully stewarded through the decades by individual artists and writers. But how much of, say, the Marvel Cinematic Universe’s (MCU) $20bn-plus box office gross went to those who created the stories and characters in it? How are the unknown faces behind their biggest successes being treated?

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Scarlett Johansson suing Disney over Black Widow streaming release

The actor claims that the studio breached her contract by releasing her standalone Marvel adventure on Disney+

Scarlett Johansson is suing Disney over the recent release of Black Widow.

The actor is claiming that the studio’s decision to launch her first, and last, Marvel standalone film on Disney+ as well as cinemas is a breach of contract.

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