Despite recent news that the massive, pop culture convention would be going virtual in July, plans for the fall gathering have moved forward. Comic-Con International has announced their plans to hold an in-person convention in 2021.
The three-day event titled, “Comic-Con Special Edition” will take place over Thanksgiving weekend Friday, Saturday and Sunday, November 26 through the 28 at the San Diego Convention Center.
Last week everyone was fixated on the “Right Up Our Alley” drone video that made us all nostalgic for bowling alleys. On Friday night, a VP at drone company DJI tweeted this video of a drone flight through a mostly-empty movie theater in Minnesota, and I don’t know about you but I really miss going to the movies. This video makes that longing about 100 times worse.
From formatting guides to memoirs, no writer’s bookshelf is complete without these eight titles.
Every great movie began as a blank sheet of paper. Before a filmmaker or actor can create onscreen magic, they need something to say. So it should come as no surprise that many directors and performers credit scripts for much of their success. Good screenwriters lay the foundation for the beautiful shots and memorable performances that stick with us throughout our lives. In the words of George Clooney, “It’s possible for me to make a bad movie out of a good script, but I can’t make a good movie from a bad script.”
The Warner Bros. contract player also appeared in several Westerns and was a standout in the world of musical theater.
Joan Weldon, the actress and singer dubbed “filmdom’s fairest exterminator” after her turn as a young scientist investigating giant, radiation-mutated ants in the 1954 sci-fi classic Them!, has died. She was 90.
A onetime contract player at Warner Bros., Weldon during her heyday appeared in several Westerns, including The Stranger Wore a Gun (1953) and Riding Shotgun (1954) opposite Randolph Scott; The Command (1954) with Guy Madison; Gunsight Ridge (1957) alongside Joel McCrea; and Day of the Badman (1958) with Fred MacMurray.
In April 2019, thousands of Hollywood writers fired their agents en masse. The move convulsed the entertainment industry. It looked like an impossible David and Goliath scenario: The Writers Guild of America had declared war on the immensely powerful talent agencies, several of which had mutated into full-blown media conglomerates over the years, backed by private-equity money.
The WGA argued that these agencies—in producing their own projects and creating package deals that combined writers, actors, and directors—no longer had the best interests of their clients as their first priority. The packages, they believed, were riddled with conflicts of interest and weren’t necessarily the best deal for writers.
“This has the potential to be a really, really big bang,” one veteran TV writer told me in March that year.
Nearly two years later, the bitter struggle concluded with a plot twist: The writers have triumphed. One by one, the agencies signed on to WGA’s terms, agreeing to phase out the widespread practice of packaging. William Morris Endeavor (WME), the last agency holdout, finally came to an agreement earlier this month.
Editor’s Note: Sometimes, it’s true.. the pen is mightier than the sword!