NEW YORK—Concluding a protracted legal battle in which the popular singer-songwriter stood accused of plagiarism, a federal jury found Thursday that singer-songwriter Ed Sheeran did not infringe upon anyone’s intellectual property with his song “I Wish I Were An Oscar Mayer Wiener.” “What you need to understand is that pop songs are harmonically and lyrically very simple, so yes, my song may use a similar chord progression and the exact same lyrics as a famous jingle used to sell hot dogs, but that doesn’t make it a copyright violation,” said Sheeran, who testified in his own defense, telling the Manhattan courtroom that ruling in favor of the plaintiff, processed meat purveyor Oscar Mayer, would have a chilling effect on artistic expressions of wanting to be an Oscar Mayer wiener. “It’s all part of the folk music process. Long before anyone thought of advertising hot dogs on television, Leadbelly and Woody Guthrie sang of how an Oscar Mayer wiener is what they’d truly like to be, and you can trace this through to the Beatles and Bob Marley, who each in their own way sang about how, if they were Oscar Mayer wieners, everyone would be in love with them. The theme of envying an Oscar Meyer wiener continues today, especially in hip-hop, and will be here long after we’re gone.” Shortly after the verdict was read, Sheeran reportedly attended a ceremony at which multiplatinum certification was awarded to his album My Bologna Has A First Name.
Tag: Oscar
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Marvel’s Undergoing A Big Shake-Up Right Now
The Marvel Cinematic Universe is in a weird phase right now, and no, I don’t mean Phase Five which began with Ant-Man and the Wasp: Quantumania. Over just a few short days, it became clear that the shared movie universe is undergoing a lot of change, and not for the best reasons. From actors to workers and even top leadership, Marvel’s going through it right now.
Marvel as a subset of Disney was just part of a huge set of layoffs earlier this week, with Mickey Mouse and friends slashing over 7000 jobs. Only the first wave of those cuts happened this week, and the final 7000 number is expected to come sometime in April. Company-wide, personnel is being dropped by one of the biggest corporations in the world, but even outside of egregious labor issues, Marvel has been dealing with a few more precise changes in its workforce.
Top executives are being let go
Marvel recently fired Victoria Alonso, who AV Club describes as “one of the biggest architects of the Marvel Cinematic Universe,” having been with the connected universe project for over a decade before her leaving the company earlier in March. At the time of her departure, she was Marvel’s president of physical production, post-production, VFX and animation. According to a Variety report, this came as part of a joint decision between Disney’s human resources, legal department, and executives including but not limited to Disney Entertainment co-chairman Alan Bergman. Kevin Feige, president of Marvel Studios, reportedly didn’t intervene, and Alonso was “blindsided.” The entire situation is wading into legal territory. Disney says Alonso’s firing came as part of a breach of contract because of her production work on Argentina, 1985, a non-Disney film, though Alonso’s team claims she had permission to do so.
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This smart TV has access to a wide array of streaming services, all of which are easier to navigate, has 4K visuals for a stunning picture, and comes with an Alexa Voice Remote too.On top of this, there seems to have been conflict between Alonso and Disney/Marvel in regards to queer issues within the company, according to Variety and The Hollywood Reporter. Alonso, who is gay, reportedly clashed over an issue where Disney wanted a scene in Ant-Man and the Wasp: Quantumania altered to blur out a shop window that included Pride memorabilia in Kuwait, which has anti-LGBTQ+ laws in place. This is after she publicly spoke out against then-CEO Bob Chapek at the GLAAD awards for Disney’s reaction to Florida’s “Don’t Say Gay” bill, and was told she would no longer be allowed to do press for Marvel. Attorney Patty Glaser, who is representing Alonso, released the following statement to Variety:
“The idea that Victoria was fired over a handful of press interviews relating to a personal passion project about human rights and democracy that was nominated for an Oscar and which she got Disney’s blessing to work on is absolutely ridiculous,” Glaser says. “Victoria, a gay Latina who had the courage to criticize Disney, was silenced. Then she was terminated when she refused to do something she believed was reprehensible. Disney and Marvel made a really poor decision that will have serious consequences. There is a lot more to this story and Victoria will be telling it shortly—in one forum or another.”
While Alonso’s influence on the MCU is significant and dates back to the earliest films like the original Iron Man, she’s also been named in ongoing reports about the dire state of the animation industry as reported by Vulture and allegedly blacklisted artists working on Marvel projects that she took issue with. In general, Marvel’s animation and VFX workers have been coming forward about apparent toxic work environments and unfair contracts while working on the studio’s projects. This has reportedly been especially difficult on Disney+ projects like She-Hulk, with smaller budgets and shorter turnaround times still expecting movie-quality work.
Read More: Let’s Rank All The Spider-Man Games, From Worst To Best
Another high-profile departure is that of Ike Perlmutter, who was let go from the company this week. Perlmutter has had a long, storied history with Marvel, including a stint on the board of directors (as well as the chairman of the board), working as the vice chairman of the company in the early 2000s, moving up to the chief executive officer position in 2005, then remaining the CEO after Disney acquired the comic company in 2009. He oversaw Marvel Studios up until 2015 while reportedly being very tight on production budgets and also claiming Black people “look the same” regarding Don Cheadle’s replacement of Terrence Howard as James Rhodes in the MCU. He operated as a chairman from 2017 until his eventual layoff.
Jonathan Majors’ domestic violence case is ongoing
While executive departures will have an effect on things down the line, the most immediate problem Marvel movies have to contend with is the ongoing domestic violence case against actor Jonathan Majors. The actor, who plays Kang the Conquerer most recently in Ant-Man and the Wasp: Quantumania, was arrested in Manhattan on assault, strangulation, and harassment charges. Majors’ legal team led by attorney Priya Chaudhry claims he’s innocent and released text messages allegedly sent by the victim in the case. The texts say this was “not an attack,” claim fault for the dispute because she was “trying to grab [Majors’] phone,” and disputed the strangulation charges. The alleged texts say the authorities were called due to the woman fainting, and that when there was a suspicion of a domestic dispute, Majors was arrested per mandatory arrest laws associated with domestic abuse cases in New York.
Majors’ future in the Marvel Cinematic Universe is unclear as the investigation is ongoing, but the U.S. Army has pulled ads featuring the actor until the investigation is complete. The reason this is so significant in Marvel’s view is Majors’ character, Kang the Conquerer, is essentially Marvel’s main villain right now. He’s only appeared in two projects thus far, one being the Loki Disney+ show, and the second being Quantumania. But the shared universe franchise is leading up to Avengers: The Kang Dynasty and Avengers: Secret Wars, both of which are set to feature Kang as the primary antagonist. He’s a Thanos-style character that Marvel can’t simply pluck from the story. Should the investigation lead to a guilty verdict, it’s likely Majors will be recast.
While all of these developments have happened for different reasons, whether that be corporate greed, office politics, and a domestic violence case, Marvel as a production is seeing some serious shake-ups right now. Not all of it seems to be of the company’s volition, but things are changing for Marvel at a time when the brand has been losing a lot of its staying power. Quantumania is the last movie Marvel released in theaters, and it was one of the series’ most poorly received and is sitting at a 47 percent approval rating on Rotten Tomatoes.
While Marvel movies still make more money than you or I will ever see in a room at once, the franchise has been trending somewhat downward at the box office. Quantumania still made $470 million in its theatrical run, but that’s significantly lower than Ant-Man and the Wasp made in 2018, which was around $623 million. Several Marvel movies have made below the half-a-billion mark in recent years, such as Eternals and Shang-Chi and the Legend of the Ten Rings. Black Widow is one of the lowest-performing movies in the franchise’s lifetime with $379 million but was notably hindered by the covid-19 pandemic making fewer people willing to head out to theaters in 2021. Black Panther: Wakanda Forever did manage to bring in over $859 million, but that was even down from the original’s $1 billion.
It’s unclear what, if any, changes this might bring to the franchise, but figureheads and workers that have been with the brand for a long time are gone. Reading over it all now, ultimately, I sympathize most with the workers who were subject to the layoffs. Alonso and Perlmutter will be fine, but the people who worked (and apparently suffered) under them are in a much worse position.
We’ve reached out to Marvel, Majors, and Alonso for comment on this story and will update it should we hear back.
Update: This piece has been updated with information about Alonso’s reported disputes with Disney regarding queer content in its movies.
Kenneth Shepard
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Tessa Thompson Says She’s “Never Had a Hamburger in My Life”
Tessa Thompson might want to consider broadening her culinary horizons after admitting on the red carpet that she’s never had one fast food staple.
While speaking to Amelia Dimoldenberg during an interview at the Vanity Fair Oscar party, the actor casually revealed, “I’ve never had a hamburger in my life.” When asked if that’s because she’s a vegetarian, she replied, “No. I eat other things, I’ve just never had a hamburger.” Thompson then added with a laugh, “It’s the only thing extraordinary that I can still claim.”
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However, she then went on to claim something else pretty extraordinary, which is that she also only “recently” had an egg for the first time, but doesn’t get what all the hype is about. “I had never had one of those. I don’t think they’re great,” she confessed. When Dimoldenberg expressed that “eggs are so cool” because of all the different ways you can cook them, the Creed III star replied, “That’s the problem with them. It’s like, pick a lane.” But when asked about another famously versatile food—potatoes—she admitted, “I love potatoes.”
This revelation comes shortly after Thompson made a very different sort of confession during an interview with Refinery29 earlier this month. She explained that she and Michael B. Jordan went to couple’s therapy together in character in preparation for their roles in the third installment of the Creed franchise in which she plays Jordan’s character’s wife, Bianca. “The line sometimes between character and us get blurred because we bring so much of what we’re exploring personally to the characters in general,” she explained of the experience. “I’ll say it was an early experience in couples therapy for us both [personally], but it was as these characters, which is very weird. But I think it reminded us of our own personal lives that going to therapy, even when a relationship is good, can be a good thing if you’re trying to just sharpen communication and figure out how someone works. It’s useful in so many relationships.” She added that while they were playing a character in those sessions, they were “also reflecting on our own relationships. Since we’ve been making these movies for eight, nine years, we’ve seen each other through various stages in our own romantic things.” She concluded, “We know stuff about each other’s lives. We shared and talked about it. So therapy ended up starting at work and getting more personal.”
Emily Kirkpatrick
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Hollywood’s Biggest Stars Explain Why The Oscars Are Still Relevant
“Listen—no time to explain, but in 2027, someone known as ‘Mr. Beast’ is nominated for Best Director for a film called Coincidentally Spearman. He must not win! If this happens, a timeline is created wherein billions will perish. I have to go—I’ve used all of my time credits on this final jump, and if I stay around any longer, the multiverse will implode.”
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Weekend Box Office: ‘Ticket To Paradise’ Nabs $16 Million As Terrifier 2’ Jumps 84%
(from left) David (George Clooney) and Georgia (Julia Roberts) in Ticket to Paradise, directed by Ol Parker. Photo Credit: Universal Pictures
© 2022 Universal Studios. All Rights Reserved.
Universal’s Ticket to Paradise finally opened in North America with a refreshingly robust $16.3 million weekend. The last of Universal’s four live-action comedies this year, after Marry Me, Easter Sunday and Bros, showed that the sub-genre (even without music, action or fantasy) isn’t dead yet. Ol Parker’s $60 million rom-com, about two bitterly divorced parents (George Clooney and Julia Roberts) who team up to sabotage their daughter’s wedding, should be leggy. Oscar season expansions aside, there’s nothing for adults who don’t like superheroes or horror films until Thanksgiving weekend. It has already earned $80 million overseas, on par with The Lost City’s $85 million lifetime cume, following a month of slow international rollout. This gives the indifferently reviewed (I liked it, and your parents will too) studio programmer a $96 million global cume.
It’s not a blockbuster, as it’s mostly winding down overseas and may end up with over/under $145 million global. But that will still be 2.45x its budget, with plenty more to come from PVOD rentals courtesy of older audiences either not caring about theaters or not wanting to pay for a babysitter. It may be a grim example of the modern theatrical business that a Julia Roberts/George Clooney romantic comedy barely scraping by is considered a sign of hope, but that’s where we are in the streaming era. Besides, if Hollywood were better at making new stars, we wouldn’t have to rely on the Tom Hanks, Tom Cruises and Julia Roberts of the world 20 years past their relative prime. That’s what Top Gun: Maverick, which finally fell out of the top ten on weekend 22, is subtextually about.
Sosie Bacon and Kyle Gallner star in Paramount Pictures Presents in Association with Paramount Players A Temple Hill Production “SMILE.”
Walter Thomson, MPA Approved.
Paramount’s
PARA
Halloween Ends
Ryan Green/Universal Pictures
Universal and Blumhouse’s Halloween Ends took a massive 80% drop in weekend two, grossing just $8 million for a $54.177 million ten-day total. The poor review, divisive word-of-mouth and concurrent Peacock availability killed this one quick. Again, Peacock didn’t help, but it’s not like either Halloween Kills ($92 million from a $49 million debut) or the well-received and Peacock-free Halloween ($159 million/$77 million) were remotely leggy. I’m also old enough to remember when the biggest Halloween movies earned $47 million (Halloween in 1978), $55 million (Halloween: H20 in 1998) and $58 million (Rob Zombie’s Halloween remake in 2007) in total. Come what may, the $33 million slasher threequel has earned $82 million worldwide and should crack $110 million global before exiting theaters. The new Halloween trilogy should end with over/under $500 million worldwide on a combined $63 million budget.
Olivia Wilde and Florence Pugh in ‘Don’t Worry Darling’
Warner Bros. Discovery
Sony’s Lyle Lyle Crocodile earned $4.2 million (-43%) in weekend three for a disappointing $28.7 million 17-day cume. Sony’s The Woman King earned $1.93 million (-48%) for a $62.9 million domestic and $83 million worldwide cume. The $50 million Viola Davis-led action drama may not be a theatrical hit. Still, it’s doing great domestically and is the sort of film Sony can justify making for theaters thanks to the first-window pay-tv deal they signed with Netflix
NFLX
Terrifier 2
Bloody Disgusting
Bloody Disgusting’s Terrifier 2 got oodles of mainstream media attention this week, as reports of audiences fainting or vomiting led to petitions to ban the film. Those petitions are no more serious than the morons advocating for a remake of Halloween Ends or the idiots who tried to raise $200 million to remake The Last Jedi. It’s nice to see that an old-school video nasty-type flick can still get the torches and pitchforks in this fragmented media culture. Art the Clown’s 138-minute epic slasher sequel earned $1.895 million (+85%) in weekend three for a $5.256 million domestic cume. Even accounting for the notion of demographically specific event movies (think RRR, Christmas with the Chosen, BTS: Permission to Dance, etc.), this is entirely unexpected. Art the Clown’s Terrifier 2 is turning into The Greatest Showman of unrated slasher epics.
The Banshees of Inisherin
Searchlight
In Oscar rollout news, Martin McDonagh’s terrific The Banshees of Inisherin debuted in four theaters yesterday, earning $181,000 in its opening weekend. That will give Searchlight’s dark Brendan Gleeson/Colin Farrell/Kerry Condon/Barry Keoghan dramedy a promising $45,250 per-theater average. The film opened with $1.62 million in the United Kingdom. United Artists’ Till expanded to 104 theaters in advance of its nationwide rollout next weekend. The acclaimed true-life drama, for which Danielle Deadwyler is earning serious Oscar buzz, earned $376,000 in weekend two (+55%) for a $3,617 per-theater average and $666,500 ten-day cume. Cate Blanchett’s TÁR will also go wide next weekend. It expanded to 141 theaters and made $470,000 (+42%) for a $3,333 per-theater average and $1.175 million 17-day cume. We’ll see how many of this year’s critically acclaimed Oscar contenders can outgross Terrifier 2 ($5.3 million and rising rather than falling).
Scott Mendelson, Forbes Staff
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Sacheen Littlefeather Lied About Being Native American, Biological Sisters Claim
By .
Less than a month after Sacheen Littlefeather died, her two biological sisters are claiming in on-the-record interviews that the late actress and Native American activist wasn’t Native American at all.
In an explosive report published Saturday in the San Francisco Chronicle, Rosalind Cruz and Trudy Orlandi accused their late sister of being an ethnic fraud. For decades, Littlefeather claimed her father, Manuel Ybarra Cruz, was a White Mountain Apache and Yaqui Indian, but the sisters say their father’s family actually came from Mexico and that he was born in Oxnard, California, about an hour north of Los Angeles. Their mother, Gertrude Barnitz, was white.
In one of her final interviews, Littlefeather said of her Oscars rejection speech in 1973 that she “spoke my heart, not for me, myself, as an Indian woman but for we and us, for all Indian people … I had to speak the truth.”
“It’s a lie,” Orlandi told the Chronicle. “My father was who he was. His family came from Mexico. And my dad was born in Oxnard.”
Cruz chimed in saying, “It’s a fraud. It’s disgusting to the heritage of the tribal people. And it’s just … insulting to my parents.”
Sacheen Littlefeather reads Marlon Brando’s refusal of his 1972 Best Actor Oscar for “The Godfather”, 1973. Photo: CP Images
— Photo: CP Images
It’s been nearly 50 years since Littlefeather at the age of 26 took the stage at the Academy Awards in place of Marlon Brando, who won the Best Actor Oscar for “The Godfather”, and delivered a message on Brando’s behalf about the mistreatment and oppression of Native Americans. She was under orders from Brando to not touch the Oscar, and he’s also reportedly the one who suggested she wear her buckskin dress to the event that eventually led to her getting blacklisted from Hollywood.
In August, the Academy shared an apology for the subsequent fallout from her act of protest. Academy president David Rubin issued a letter to Littlefeather on the Academy’s behalf, praising her speech and the impact it had.
“As you stood on the Oscars stage in 1973 to not accept the Oscar on behalf of Marlon Brando, in recognition of the misrepresentation and mistreatment of Native American people by the film industry, you made a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity,” Rubin said of Littlefeather’s remarks at the ceremony in the letter.
“The abuse you endured because of this statement was unwarranted and unjustified. The emotional burden you have lived through and the cost to your own career in our industry are irreparable,” the letter continued. “For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”
But, according to Littlefeather’s biological sisters, the family has no known Native American/American Indian ancestry. What’s more, the sisters claim they identified as “Spanish” on their father’s side.
“I mean, you’re not gonna be a Mexican American princess,” Orlandi said. “You’re gonna be an American Indian princess. It was more prestigious to be an American Indian than it was to be Hispanic in her mind.”
Littlefeather, born Marie Louise Cruz in the agricultural town of Salinas, California in 1946, dedicated her life shedding light on the mistreatment of Native Americans and its cultural significance. She earned a degree in holistic health from Antioch University, where she also minored in Native American medicine. According to The Hollywood Reporter, she later penned a column for the Kiowa tribe newspaper in Oklahoma and taught in the traditional Indian medicine program at St. Mary’s Hospital in Tucson, Arizona.
Her work with Mother Teresa and AIDS patients in the San Francisco area led to her becoming a founding board member of the American Indian AIDS Institute of San Francisco. She was so dedicated to Native American causes that, upon her death, Littlefeather requested that donations be made to the American Indian Child Resource Center in Oakland.
But the outlet reported, among other things, that White Mountain Apache tribal officials found no record of either Littlefeather or her family members, living or dead, being enrolled in the White Mountain Apache. As for the claim that Littlefeather was of Yaqui decent, there’s only one federally recognized Yaqui tribe in Arizona, but she never specifically claimed which Yaqui tribe.
As for why the sisters decided to go public with their claim now, the Chronicle reports that the sisters reached out upon learning that the outlet was compiling a public list of alleged “Pretendians,” or non-Native people suspected or proven “to have manufactured their Native identities for personal gain.”
MORE FROM ET:
Sacheen Littlefeather Dead at 75
Academy Apologizes to Sacheen Littlefeather Over 1973 Oscars Speech
Woman Believed to Have Inspired ‘Mama Coco’ Dead at 109
Brent Furdyk
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Box Office: ‘Ticket To Paradise’ Nabs Solid $6.4 Million Friday, ‘Halloween Ends’ Plunges 88%
Still Photography on the set of “Ticket To Paradise”
Stills Photography by Vince Vali
In even better news for the overall theatrical industry, Universal’s Ticket to Paradise opened with a rousing $6.4 million on Friday. The last of Universal’s four live-action comedies offered up this year, after Marry Me, Easter Sunday and Bros, showed that the sub-genre (even without music, action or fantasy) isn’t quite dead yet. With mixed-negative reviews (I liked it a lot, and your parents will too) and an A- from Cinemascore, we can expect an over/under $16.5 million domestic launch. Ol Parker’s $60 million rom-com, about two bitterly divorced parents (George Clooney and Julia Roberts) who team up to sabotage their daughter’s wedding, should be leggy as hell. Oscar season expansions aside, there’s nothing for adults who don’t like superheroes or horror films until Thanksgiving weekend. It has already earned $73 million overseas following a month-long international rollout.
The Banshees of Inisherin
Searchlight
In Oscar rollout news, Martin McDonagh’s terrific The Banshees of Inisherin debuted in four theaters yesterday, earning $67,000 for a likely $161,000 weekend. That will give Searchlight’s dark Brendan Gleeson/Colin Farrell/Kerry Condon/Barry Keoghan dramedy a promising $40,348 per-theater average. United Artists’ Till expanded to 104 theaters in advance of its nationwide rollout next weekend. The acclaimed true-life drama, for which Danielle Deadwyler is earning serious Oscar buzz, earned $120,000 on Friday for a likely $351,000 weekend (+45%) and $3,377 per-theater average. Cate Blanchett’s TÁR will also go wide next weekend. It expanded to 141 theaters and should gross $510,000 over the weekend for a $3,617 per-theater average and $1.215 million 17-day cume. We’ll see how many of this year’s critically acclaimed Oscar contenders are able to outgross Terrifier 2 ($5.7 million and rising rather than falling).
Michael Myers (aka The Shape) and Jamie Lee Curtis as Laurie Strode in HALLOWEEN ENDS, directed by David Gordon Green
© Universal Studios. All Rights Reserved.
Universal and Blumhouse’s Halloween Ends took a near-record 89% drop on its second Friday, earning just $2.74 million for a likely $8 million (-80%) weekend and $54.177 million ten-day total. The poor review, divisive word-of-mouth and concurrent Peacock availability killed this one quick. I’m old enough to remember when the biggest Halloween movies earned $47 million (Halloween in 1978), $55 million (Halloween: H20 in 1998) and $58 million (Rob Zombie’s Halloween remake in 2007) in total. Paramount’s
PARA
Terrifier 2
Bloody Disgusting
Bloody Disgusting’s Terrifier 2 got oodles of mainstream media attention this week, as reports of audiences fainting or vomiting led to petitions to get the film banned. Those petitions are no more serious than the idiots advocating for a remake of Halloween Ends or the schmucks who tried to raise $200 million to remake The Last Jedi. It’s nice to see that an old-school video nasty-type flick can still get the torches and pitchforks in this fragmented media culture. Art the Clown’s 138-minute epic slasher sequel earned $545,500 (+118%) on Friday for a likely $2.29 million (+122%) weekend and $5.651 million domestic cume. Even accounting for the notion of demographically specific event movies (think RRR, Christmas with the Chosen, BTS: Permission to Dance, etc.), this is quite unexpected. Terrifier 2 is turning into The Greatest Showman of unrated slasher epics.
(l to r) Mrs. Primm (Constance Wu), Josh Primm (Winslow Fegley), Lyle (Lyle the Crocodile) and Hector (Javier Bardem) slurp up an ice cream sundae in Columbia Pictures LYLE, LYLE, CROCODILE. Photo by: Courtesy of Sony Pictures
©2022 CTMG, Inc. All Rights Reserved. **ALL IMAGES ARE PROPERTY OF SONY PICTURES ENTERTAINMENT INC. FOR PROMOTIONAL USE ONLY.
Sony’s Lyle Lyle Crocodile earned $1.185 million (-41%) on Friday for a likely $4.19 million (-43%) weekend and a disappointing $28.7 million 17-day cume. Sony’s The Woman King earned $520,000 (-49%) on Friday for a $1.93 million (-48%) weekend and $62.9 million 38-day domestic cume. Warner Bros. Discovery’s Don’t Worry Darling will have $44 million by day 31, while 20th Century Studios’ all-star (and $80 million) Amsterdam will have just $14 million by day 17. 20th Century Studios’ $4 million, R-rated original Barbarian will cross $40 million domestic this weekend, a remarkable achievement even while Smile stole much of its buzz. Top Gun: Maverick will plunge 61% in weekend 22 for a $261,000 weekend to absolutely, unquestionably and probably permanently fall out of the top ten. It’ll have to settle for Titanic-worthy legs, $716.5 million domestic and around $1.48 billion worldwide.
Scott Mendelson, Forbes Staff
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