big hero 6 full movie online free - Rechercher (2025)

Flounder69 a écrit:

Funko a écrit:

What if we kissed… at the Leaning Tower of Cheeza? Send a postcard to your friends back home as you hit the road to find new POP! collectibles from Disney’s A Goofy Movie
#Funko #FunkoPOP #Disney #AGoofyMovie

Funko a écrit:

I’m gonna need this whole POP! lineup to dive straight into my collection. Stock up on munchings and crunchings for an epic adventure with these Disney’s The Black Cauldron collectibles!
#Funko #FunkoPOP #Disney

Les Funko Dingo sont incroyables 🤩

Funko a écrit:

What if we kissed… at the Leaning Tower of Cheeza? Send a postcard to your friends back home as you hit the road to find new POP! collectibles from Disney’s A Goofy Movie
#Funko #FunkoPOP #Disney #AGoofyMovie

Funko a écrit:

I’m gonna need this whole POP! lineup to dive straight into my collection. Stock up on munchings and crunchings for an epic adventure with these Disney’s The Black Cauldron collectibles!
#Funko #FunkoPOP #Disney

D23 a écrit:

Gal Gadot on Her Dual Transformation in Disney’s Snow White

The opportunity to play the Evil Queen in the new live-action musical Disney’s Snow White was—like the poison apple that tempted the first Disney Princess—too delicious to pass up for Gal Gadot.

“Sometimes I pinch myself and I can’t believe I got to do all these amazing and iconic things with the character that I play. It was just a lot of fun,” Gadot shared in an exclusive interview for the Spring 2025 digital cover story of Disney twenty-three.

Glancing at a behind-the-scenes photo, Gadot says, “I am watching myself in the mirror, which we do not see [here]. I’m wearing one of the beautiful dresses Sandy Powell designed. I remember every time I went to the mirror to say the line, ‘Magic mirror on the wall.’ There’s something so powerful and humbling about it. There’s something so great about playing a character that is bigger than life.”

The striking actress was equally enthused about her character’s transformation into the old hag in the highly anticipated reimagining of the 1937 animated classic. “The next image is me dressed as the old hag when I’m getting the poison apple ready to go. It was so much fun to be able to completely transform and be completely unrecognizable and as far as one could be from the Evil Queen,” she says with a smile.

Commenting on an informal shot from production, Gadot beams, “It’s me and [director] Marc Webb and [producer] Marc Platt taking a selfie. It’s so great when you get to work with people who love what they get to do and are simply such wonderful people. I got very lucky with the Marcs. I really enjoyed working with them.”

D23 a écrit:

Rachel Zegler Shares Iconic Moments from the Making of Disney’s Snow White

Taking on the lead role in Disney’s Snow White—the live-action reimagining of the animated classic—was a dream come true for lifelong Disney fan Rachel Zegler. “We had the most incredible time making this movie. It was so magical,” Zegler told Disney twenty-three at D23: The Ultimate Disney Fan Event in Anaheim, California, last August.

In an exclusive interview for the Spring 2025 digital cover story of Disney twenty-three, Zegler shares stories inspired by a number of photos that capture some of the iconic looks and moments from the production, as well as her experience at D23.

Looking at a backstage photo from the D23 event, Zegler says, “I am wearing my best princess dress for you all—and that was right before [Gal Gadot] and I went onstage to show the first official trailer for Snow White, which was so exciting. I was very nervous!” she adds with a laugh.

“It’s such a nerve-wracking experience to show what you’ve been working on to so many people, but it was such a warm, amazing environment. To see an auditorium filled with so many people who are so excited about what Disney has coming out was an amazing experience,” Zegler says about her presentation with co-star Gadot, who plays the Evil Queen. In addition to the teaser trailer for the film, which debuts exclusively in theaters on March 21, fans were treated to the first glimpse of the “Whistle While You Work” musical sequence with Zegler, as Snow White, and the Seven Dwarfs.

Commenting on a photo from the shoot for the film in 2022, Zegler marvels, “This is me and director Marc Webb having a conversation over the wishing well. This scene changed so many times because we just wanted to get it absolutely right about introducing Snow White’s character and her relationship to wishing and her relationship to the well. Ultimately, we ended up adding some really adorable squirrels and mice into this scene where Marc is standing,” she says about the visual effects added in post-production. “This is such a sweet photo. I’m such a baby. I think I was 20 years old.”

During the filming, Zegler celebrated a milestone occasion on set, and she delights at a behind-the-scenes photo from that day.

“This was on my birthday. These are our amazing puppeteers. We named the deer head [puppet] Denzel,” says Zegler about one of the woodland creatures represented by a lifelike puppet during filming. “This is right after the scary forest scene, where the scary forest becomes the beautiful forest, and all the animals come out to help Snow White.”

“I really loved this day of shooting,” Zegler adds with a warm smile. “This was my 21st birthday. What a way to spend it.”

Read more about Disney’s Snow White in the Spring 2025 issue of Disney twenty-three, available exclusively to D23 Gold Members. Join today to access our digital publication and receive more perks year-round!

Sadie Sink (Stranger Things) rejoint Spider-Man 4.

Deadline Hollywood a écrit:

‘Stranger Things’ Star Sadie Sink Joins Tom Holland In Next ‘Spider-Man’ Movie

EXCLUSIVE: With production set to start later this year on the next installment in the Spider-Man franchise, series star Tom Holland looks to have found a new co-star — one who is no “stranger” to popular IP. Sources tell Deadline that Stranger Things star Sadie Sink is set to join the sequel from Sony Pictures and Marvel Studios. Holland is already set to return as Peter Parker.

Marvel and Sony had no comment.

Destin Daniel Cretton is directing, with Amy Pascal and Marvel president Kevin Feige producing.

As for who Sink will be playing, the prevailing theory is she’ll be introduced as X-Men character Jean Grey, but don’t count out the idea that she shows up as another beloved redheaded Spider-Man character. What is known is that the role will be a significant one given how the most recent film, Spider-Man: No Way Home, concluded with Parker making the decision to complete Doctor Strange’s spell that erases his identity from the world.

By staying on track with that plotline, one can expect Holland’s old castmates to have reduced roles while newcomers are added to the ensemble, with Sink being the first major new role.

Holland is currently filming the Christopher Nolan’s The Odyssey and the plan is for him to start shooting Spider-Man once he has wrapped production on Nolan’s pic.

For Sink, the role comes on the heels of her saying goodbye to the part that helped launch her career as the final season of her the Netflix series Stranger Things recently wrapped production. The final season is one of the more anticipated premieres of 2025 and will air later this year.

Sink can be seen next in the Searchlight musical O’Dessa, which just had its world premiere at SXSW. Sink earned strong reviews for her performance and the film is set to bow next week on Hulu. Before she starts production on Spider-Man, she will first be seen in the Broadway play John Proctor Is the Villain which opens April 4.

She is repped by WME, Mara Entertainment and Peikoff Mahan.

Suite du communiqué de presse :

In Cinemas:

About the Cast:

About the Filmmakers:

Le communiqué de presse confirme qu'en plus de Waiting on a Wish, Heigh Ho ou encore Whistle While You Work, les nouvelles chansons écrites par Pasek et Paul incluent le grand morceau d'ouverture et de clôture Good Things Grow, All is Fair chantée par la Reine, Princess Problems par Jonathan, et A Hand Meets a Hand pour Blanche Neige et Jonathan.

PRODUCTION INFORMATION
“Disney’s Snow White,” a live-action musical reimagining of the classic 1937 film, is directed by Marc Webb, with a screenplay by Erin Cressida Wilson, and produced by Marc Platt, p.g.a. and Jared LeBoff, p.g.a., with Callum McDougall serving as executive producer. The magical adventure, which stars Rachel Zegler, Andrew Burnap, and Gal Gadot, journeys back to the timeless story with beloved characters Bashful, Doc, Dopey, Grumpy, Happy, Sleepy, and Sneezy and features all-new original songs from Benj Pasek and Justin Paul. The original score is by Jeff Morrow.

Once upon a time, there was a kingdom on the edge of a magical forest where beauty and light filled the air. The kingdom was governed by a kind and virtuous king and queen, who were the parents of a daughter named Snow White. Following the queen’s untimely death, the king remarries, and while Snow White’s new stepmother is graced with poise and beauty, she has an evil heart and despises her new stepdaughter. Before long, the Evil Queen has assumed leadership of the kingdom, manifesting her cruel nature. And when her magic mirror reveals that Snow White is the fairest in all the land, she is furious, and quickly devises a scheme to get rid of the princess. Snow White flees the castle to escape the wrath of the Evil Queen, where she comes across some woodland creatures who led her to a picturesque cottage in the woods. The cottage is home to Bashful, Doc, Dopey, Grumpy, Happy, Sleepy, and Sneezy, who spend their days digging for jewels in the nearby mines. It is in this magical forest that she encountersJonathan, a young man eager to defy the monarchy. Jonathan, who is captivated by her beauty and kindness, joins forces with her magical friends, empowering Snow White to find her voice and the strength and courage to face the Evil Queen.

A Return to the Magical Story That Started It All:

The Beloved Characters:

From Animation to Live-Action:

People a écrit:

Inside Snow White's 'Iconic' Costumes, Including the Evil Queen's 'Glamour and Sophistication' (Exclusive)

Costume designer Sandy Powell breaks down the style inspiration behind Disney's live-action 'Snow White,' in theaters March 21

Sandy Powell is continuing to sprinkle her Disney costuming magic in Snow White.

The Oscar winner — known for her work on films like Shakespeare in Love (1998), The Aviator (2004) and, of course, Cinderella (2015) — brings her expertise to Disney's newest live-action reimagining, starting with a "direct reference" to the original 1937 animated Snow White and the Seven Dwarfs.

"I knew I couldn’t deviate too far from the iconic color palette of the original Snow White but wanted to create a new version nonetheless," Powell, 64, tells PEOPLE of the primary ensemble worn by the titular princess, now played by Rachel Zegler.

"When she is first given the dress by the Evil Queen, it has a blue overskirt attached to the bodice, which gets ripped off as she runs through the forest, revealing the yellow skirt and creating a similar silhouette to the animated version," Powell explains.

She continues of Snow White's costume, "I also decided to give her long sleeves to give a more period feel reminiscent of the Middle Ages."

The costume worn by Gal Gadot's Evil Queen is "inspired by the glamorous evening gowns worn by goddesses of the silver screen during the Golden Age of Hollywood in the 1930s," Powell says.

"Since this was also the decade of the original animated version, it felt appropriate as an homage," she continues, adding that she wanted the costume worn by Gadot, 39, to "exude glamour and sophistication and yet be intimidating."

"It also had to have a clean silhouette without too much detail to showcase the jewels she accumulates," Powell says. "The crown was inspired by stained-glass windows and the colors of the jewelry she wears."

Gadot, meanwhile, says her experience working with the "so established and talented" Powell was "amazing," adding, "She knew what she was doing, and she took everything very seriously."

"The amount of research and all the different images she showed me was mind-blowing," she says.

For Zegler, 23, the "iconic" Powell's looks "truly make the film," which is directed by Marc Webb and will feature new songs from EGOT-winning duo Benj Pasek and Justin Paul.

"Her costumes for the Kenneth Branagh live-action Cinderella were so beautiful that it made perfect sense for her to do a movie like this as well," Zegler says.

While it might be difficult to put one's own stamp on a story that's close to a century old, the West Side Story actress says Powell pulled it off: "She was able to keep the class and what makes the original classic but also gives it a spin that's just incredibly Sandy."

Snow White is in theaters March 21.

Medley des chansons en version acoustique :

Et un premier extrait VO entre Blanche Neige et la Reine :

Un partage de l'artiste anglais Matt Ferguson auteur de l’illustration présentée ici dans son entièreté :

Matt Ferguson a écrit:

Here’s the full piece of art I made for Revenge Of The Sith.

It was several months of work all in. I think worth every second.

The final master file is 48GB and very complex for a Photoshop PSB.

Disney Parks a écrit:

SXSW: New Details for Mando and Grogu’s Millennium Falcon Mission Revealed

A new adventure is coming your way, so prepare to jump to lightspeed. First announced at D23: The Ultimate Disney Fan Event, a new adventure featuring Din Djarin, the titular Mandalorian from The Mandalorian, is coming to Star Wars: Galaxy’s Edge at both Walt Disney World Resort and Disneyland Resort. And yes, Grogu’s coming along for the ride, too.

During The Future of World-Building at Disney panel at SXSW, The Mandalorian creator and Disney Legend Jon Favreau was joined onstage by Imagineers Leslie Evans and Asa Kalama to talk about what’s coming soon to Batuu.

“One of the cool things about Disney is how we can tell our stories in so many different formats,” Favreau told the crowd. “We’re already taking Mando and Grogu from the TV screen to the movie screen, and at the same time, [The Mandalorian executive producer] Dave [Filoni] and I are working with Asa to bring this story to the Disney parks, too.”

It’s something that can only be done at Disney, bringing avid Star Wars fans closer to the stories they know and love via the innovative magic at Disney Parks. This update is only a parsec or two away — both the upcoming The Mandalorian and Grogu movie and this update to Millennium Falcon: Smuggler’s Run will debut on May 22, 2026.

“Opening an attraction and such a massive movie on the same day wouldn’t be possible without the relationships we have inside Disney,” Kalama added. “Jon and Dave have shared their story with us, and now we’ve all worked together to come up with a new mission for Smugglers Run that plays into this narrative.”

Working alongside The Mandalorian team, the Imagineers captured scenes for the attraction on the movie set, and you might see some familiar (and beloved) Star Wars locations aboard the Millennium Falcon. Care for a trip to Cloud City, anyone?

“This isn’t going to retell what happens in the movie – it’s more like participating in something that’s happening just off-camera from what you see in the film,” Favreau explained.

But, that’s not the only thing making the jump from the parks to the movies, and vice versa. You might have seen the playful BDX droids puttering around Disneyland before, and soon they’ll make a trip around the world to visit Walt Disney World, Tokyo Disneyland, and Disneyland Paris. And that’s in addition to the little droids appearing in The Mandalorian and Grogu film, too.

Going from Imagineering to the parks, to their feature film debut, is a lot for the droids. With all this work, they’re sure to need a tune-up eventually and don’t worry, Imagineering already has the right creature for the job.

As previously seen in Star Wars: The Rise of Skywalker and the latest season of The Mandalorian, say hello to an Anzellan named Otto, who specializes in tuning up droids. Just maybe don’t make him too cranky.

May the Force be with you. See you onboard the Falcon, on May 22, 2026.

Disney Parks a écrit:

SXSW: Scary-Good New Monsters, Inc. Coaster Includes Vertical Lift

When the team at Pixar Animation Studios start dreaming up new worlds and places to visit in the movies, there’s a little voice inside their head (an emotion, maybe) asking, “Is this something Imagineers could create, and we could walk into?” If the answer is no, they keep working.

But if the answer is yes… well it’s time to partner with the team at Walt Disney Imagineering to see if it’s possible to bring that space to life in one of the Disney Parks around the world.

Taking to the stage during The Future of World-Building at Disney panel at SXSW, Pixar Chief Creative Officer Pete Docter and Imagineer Michael Hundgen walked the crowd through their latest upcoming immersive space to occupy Disney’s Hollywood Studios: Monstropolis.

First announced at last year’s D23: The Ultimate Disney Fan Event, Imagineers are hard at work bringing the world of Pixar Animation Studios’ Monsters, Inc. to life — and that includes its monster inhabitants, James P. Sullivan, Mike Wazowski, and more. While getting to walk through the streets of Monstropolis is exciting enough, the land will include a signature attraction where guests embark on a thrilling roller coaster ride through the Monsters, Inc. door vault.

“Imagineers have been itching to turn that moment into an attraction ever since we saw it for the first time,” Hundgen teased.

While many details about the attraction are still locked up in a laugh canister, the Imagineering team is ready to reveal the load area for the attraction. The upcoming door ride will feature the first-ever suspended coaster at a Disney Park, and the first-ever vertical lift. Get ready to scream — not out of fright, but fun.

Showing off a new animatic of the attraction, guests will board the vehicle before being hoisted into the air (just like in the movie!) to zoom into the door vault. It’s going to be, “an experience that’s as memorable and fun as the film,” Hundgen continued.

“I can tell you that everyone at Pixar is excited about how this is coming together,” Docter told the crowd. “It really is like a dream come true for us.”

Miss any Disney Experiences updates from SXSW? Catch up on all the exciting announcements now!
But do you want more Imagineering? We’ve got more Imagineering.

Come along as we pull back the curtain on the latest episode of “We Call It Imagineering,” and take you behind the scenes of the Ride Studio. What’s the Ride Studio? Great question — it’s the birthplace of many vehicles just seen in the SXSW presentation in a space dedicated to design and engineering.

Join us as we take a deeper dive into the evolution of some of the most beloved attractions, from Haunted Mansion to the upcoming Monsters, Inc. coaster. Catch a brand-new episode this Monday only on the Walt Disney Imagineering YouTube.

Regal a écrit:

Find your happily ever after with Regal’s #SnowWhite collectibles
Take home a piece of the movie with the Heartbox popcorn container, or show your love for these classic characters with the specialty collector’s cup and tin combo, Funko Pops, and more.
See it in theatres March 21.

Empire a écrit:

Avatar: Fire And Ash Writers ‘Split’ The Film From The Way Of Water: ‘We Had Too Many Great Ideas’

Avatar: Fire And Ash almost didn’t exist at all. James Cameron’s original plan was to follow up his 2009 mega-smash Avatar with three sequels, but when he and his writers’ room got into developing the story, there proved just too much juicy material. Hence, as Cameron tells Empire in our latest Path To Pandora dispatch, some of the story planned for Avatar: The Way Of Water got developed as a whole other film.

“In a nutshell, we had too many great ideas packed into act one of movie 2,” Cameron says, unpacking the process of the Avatar writers’ room. “The [film] was moving like a bullet train, and we weren’t drilling down enough on character. So I said, ‘Guys, we’ve got to split it.’” While The Way Of Water was epic in its own right, “movie 3 will actually be a little bit longer than movie 2”, he teases.

For both The Way Of Water and Fire And Ash, Cameron was joined by screenwriters Rick Jaffa and Amanda Silver, in a writers’ room that also included Josh Friedman (assigned Avatar 4), and Shane Salerno (Avatar 5). “It was spectacular. You’re talking about a character deeply for days and days, and all of a sudden there they are,” Silver tells Empire of seeing concept art for the scenes they were discussing. And the benefit of having The Way Of Water and Fire And Ash as distinct films meant allowing enough time to bring all those nuances to the screen. “The characters needed to breathe,” she says. “These movies are a lot more than just propulsive plot and gorgeous spectacle. I mean, these are real characters.”

Much of that depth was drawn from personal experience. “These characters are amalgams of us, our childhoods, our role as parents, the mistakes we made, and probably to some extent continue to make as parents,” says Cameron. “I mean, Jake is a hard-ass motherfucker. He’s very hard on his kids. Well, that’s me.” As for Jaffa, he poured much of himself into Jake’s middle child, Lo’ak – seen in all-new Fire And Ash concept art above, riding an ilu. “A good friend of mine who saw Way Of Water — a woman I grew up with — wrote to me after she’d seen it,” he recalls, “and said that the relationship between Lo’ak and Neteyam reminded her of the relationship I had with my older brother.” It’s just like Jake Sully says: ‘This family is our fortress’.

Empire a écrit:

Florence Pugh Calls Thunderbolts* An ‘A24-Feeling Assassin Movie With Marvel Superheroes’

When Jake Schreier got the job of directing Marvel’s Thunderbolts*, it came with an all-important directive from the top: “‘Make it something different’,” he tells Empire. Because, while on the surface it’s a team-up of several existing MCU characters from across various previous projects, this isn’t just an Avengers redux. The Thunderbolts are barely powered, barely heroic, and barely a team – a jumble of misfits and murderers, all looking for some kind of belonging. In the hands of a director previously behind indie favourites like Robot & Frank and Netflix hit Beef, the result is something with a tone distinct from any previous Marvel movie.

“It ended up becoming this quite badass indie, A24-feeling assassin movie with Marvel superheroes,” Florence Pugh laughs to Empire, reprising her role as Widow-trained assassin Yelena Belova, previously seen in Black Widow and Hawkeye. Schreier has form in that arena, given Beef was an actual A24 production. “There’s a certain amount of that Beef tone in it, that does feel different,” he notes. “There’s an emotional darkness that we brought to this that is resonant, but doesn’t come at the expense of comedy.”

That indie sensibility doesn’t just emerge since the Thunderbolts members are largely power-free (Hannah John-Kamen’s Ghost, who can phase through objects, comes closest to having a special ability). On a character level, they’re all a little bit lost, looking for belonging, purpose, and – perhaps – redemption. Particularly Lewis Pullman’s mysterious ‘Bob’, the unknown quantity among the team. “Bob is going through what all of them are probably, secretly, going through,” Pugh teases. “Yelena sees parts of herself in him. She’s always been someone that wants to look after people. She has a sweet spot for him, and essentially likes looking after him because he’s useless. He’s absolutely useless.” The Thunderbolts might not be the team anyone expected – but it might just be what each of them needs.

Empire a écrit:

In Thunderbolts*, Avengers Tower Is Now Val’s ‘Watchtower’: ‘A Symbol Of Things Taking A Darker Turn’

Across the MCU so far, Avengers Tower has been a beacon of hope in New York – the home of Tony Stark, Steve Rogers and co, keeping a watchful eye on the city, ready to protect its citizens from danger. It was the scene of that epic Loki-Hulk smackdown in Avengers, hosted a rockin’ party in Avengers: Age Of Ultron (until the titular AI gatecrashed and killed the vibe), and was the location for a pivotal time-heist moment in Avengers: Endgame. But in the wake of Tony Stark’s death, and with no Avengers line-up to speak of, it isn’t Avengers Tower any more. In Thunderbolts*, it has new ownership.

These days, it’s the headquarters of Val – aka Valentina Allegra de Fontaine – the mysterious and murky CIA director played by Julia Louis-Dreyfus, previously seen recruiting disgraced Captain America wannabe John Walker (Wyatt Russell) for future service at the end of The Falcon And The Winter Soldier, and sending Florence Pugh’s Yelena Belova on a murderous mission in Black Widow. And under Val’s reign, Avengers Tower is now known, somewhat ominously, as ‘Watchtower’. “We know what that tower means,” Thunderbolts* director Jake Schreier tells Empire, teasing a portent of things to come. “Who’s the person you would least like to own that tower, that means so much to so many people? Can you use that as a symbol of things taking a darker turn?”

It’s clear Val will be integral in bringing together the mismatched group of misanthropes who come to form the Thunderbolts team – the most Avengers-adjacent among them being Sebastian Stan’s Bucky Barnes, formerly the Winter Soldier. “It’s like the Al Pacino quote from Godfather III,” laughs Stan. “Every time I try to get out, they pull me back in. Bucky is going to come across this group, and realise that they’re quite similar, in a way, to him. So I think he feels he can contribute and be a leader.” Hopefully he can bring a dash of that old-school Steve Rogers heroism to the building that was once Avengers Tower.

Janet McTeer serait en négociations pour jouer McGonagall, tandis que Paapa Essiedu serait sur le point de conclure un accord pour jouer Rogue.

Deadline Hollywood a écrit:

‘Harry Potter’: Janet McTeer In Negotiations To Play McGonagall; Paapa Essiedu Near Deal To Play Snape In HBO Series

EXCLUSIVE: HBO is closing in on two more main cast members for its high-profile series adaptation of the hugely popular Harry Potter fantasy books. Oscar and Emmy-nominated actress Janet McTeer is in negotiations to play Professor Minerva McGonagall, sources tell Deadline. Additionally, Emmy nominee Paapa Essiedu, one of the first actors identified for the series, is closing his deal to portray Professor Severus Snape, I hear. They are poised to join John Lithgow, who, as Deadline reported exclusively, will be playing Professor Albus Dumbledore.

HBO declined to comment. “We appreciate that such a high-profile series will draw a lot of rumor and speculation,” the network said in a statement. “As we make our way through pre-production, we will only confirm details as we finalize deals.”

The Harry Potter series, designed to run over a decade, comes from writer/showrunner Francesca Gardiner and director/executive producer Mark Mylod. Casey Bloys, Chairman and CEO of HBO and Max Content, at the time of the original announcement called the show a “faithful adaptation” of J.K. Rowling’s novels which will “dive deep into each of the iconic books.”

Speaking at a Max event in London last December, Gardiner revealed that the series will stick to the “canonical” ages of Snape, who will be only 31, as well as the Dursleys, who will be much younger than they were in the movies.

That explains the choice of 30-something Essiedu for the role of Snape, the antagonist-turned-hero played in the Harry Potter movies by the late Alan Rickman. Severus Snape is Professor of Potions at the Hogwarts School of Witchcraft and Wizardry who eventually becomes Headmaster.

Meanwhile, McTeer is a just a couple years younger than the late Maggie Smith was when she was cast as Deputy Headmistress Minerva McGonagall in the film franchise two and a half decades ago. The Transfiguration professor at Hogwarts, McGonagall also is the nurturing head of Gryffindor House and the Deputy Headmistress under Headmaster Albus Dumbledore (Lithgow). In the Fantastic Beasts prequel films, the role was played by Fiona Glascott.

With the HBO series, the Harry Potter franchise continues to build a more inclusive and racially diverse universe, an effort that started with the casting of Noma Dumezweni as Hermione in the long-running stage play Harry Potter and the Cursed Child. It is something another popular fantasy franchise, The Lord Of the Rings, also embarked on when transitioning to the small screen with the Amazon series.

The Harry Potter TV series, which will be filmed at Warner Bros Studios Leavesden where the movies were shot, is slated to debut on HBO in late 2026 or early 2027. Some 32,000 kids sent audition tapes for the lead roles of Harry, Hermione and Ron, with the final casting choices yet to be revealed.

This would mark British actors McTeer and Essiedu’s return to HBO. McTeer played Winston Churchill’s wife Clementine in the HBO film Into the Storm, earning an Emmy nomination. Essiedu starred as Kwame opposite Michael Coel in her BBC/HBO limited series I May Destroy You, landing Emmy and BAFTA TV nominations.

In TV, McTeer most recently starred on the Netflix series Kaos and recurred on FX’s The Old Man. In features, she has received Oscar nominations for her roles in Tumbleweeds, which also won her a Golden Globe, and Albert Nobbs. McTeer will next be seen in Mission: Impossible – The Final Reckoning. On stage, she won a Tony and Olivier Awards for A Doll’s House and has earned multiple additional Tony and Olivier nominations. McTeer is repped by Curtis Brown Group, WME, MGMT Entertainment and Johnson Shapiro Slewett & Kole.

Essiedu, also a BAFTA TV nominee for The Lazarus Project, most recently did an arc on the hit Netflix spy drama Black Doves and starred opposite Saoirse Ronan in the movie The Outrun, which premiered at the 2024 Sundance Film Festival. He will next be seen in the British comedy horror film The Scurry. He is repped by Curtis Brown, WME and Johnson Shapiro Slewett & Kole.

La série Tiana serait annulée... Disney abandonne la production de contenu long format pour le streaming.
Des sources affirment que malgré tous les efforts, y compris plusieurs changements dans l'équipe créative, Tiana n'a finalement pas pu arriver là où elle devait être compte tenu des coûts de production.

Un porte-parole a confirmé que le studio de Vancouver procéderait à des licenciements en raison du changement de stratégie commerciale. En plus de la série Tiana, le studio abandonne également un projet de long métrage non annoncé qui devait être directement diffusé sur Disney+.

Disney Animation aurait cependant un projet de court métrage spécial inspiré de La Princesse et la Grenouille, qui est actuellement en phase de développement. Bien que les détails du projet restent secrets, il devrait comporter une toute nouvelle histoire basée sur le film de 2009 avec Joyce Sherri comme réalisatrice et Steve Anderson comme scénariste.

The Hollywood Reporter a écrit:

‘Tiana’ Disney+ Series Shelved as Walt Disney Animation Abandons Longform Streaming Content (Exclusive)

First announced in 2020, the Disney+ show was envisioned as a musical featuring Anika Noni Rose reprising her role as Tiana, Disney's first Black princess, from 'The Princess and the Frog.'

Walt Disney Animation Studios has officially pulled the plug on its Tiana princess series as it abandons making original longform content for streaming, The Hollywood Reporter has learned.

A spokesperson confirmed there will be some layoffs in its Vancouver studio as a result of this shift in business strategy. In addition to the Tiana series, the studio is also scrapping an unannounced feature-length project that was set to go straight to Disney+.

Tiana was first announced in December 2020, and was envisioned as a musical featuring Anika Noni Rose reprising her role as Tiana from the 2009 film The Princess and The Frog, the film centering on Disney’s first Black princess.

Sources close to the streaming series say that despite best efforts, including several changes to the creative team, Tiana ultimately could not get to where it needed to be given production costs.

Still, The Princess and the Frog remains a key property for the company, as Tiana is one of Disney’s canon princesses. Last year, the Splash Mountain attraction was revamped at both of Disney’s U.S. parks and transformed into Tiana’s Bayou Adventure.

And the animation studio is said to developing a separate short-form special inspired by The Princess and the Frog, which is currently in early development. Though details of the project remain under wraps, it’s expected to feature all new storytelling based on the 2009 film with Joyce Sherri attached as director and Steve Anderson as scribe.

The decision to shelve Tiana and the unannounced Disney+ movie follows last year’s news that Pixar would no longer prioritize developing longform episodic content after the release of Dream Productions and Win or Lose on Disney+.

During the pandemic, and amid the push to grow its new streaming service, some Disney execs — including then-CEO Bob Chapek — pressed its various film silos to make original content for Disney+ in order to grow subscribers.

Walt Disney Animation’s Moana 2 was originally conceived as an animated series before being reimagined as a theatrical release. The decision that paid off in spades and led to a $1 billion-plus run at the global box office before. It debuts March 12 on Disney+, where it’s expected to do generate huge numbers (The first Moana, released in 2016, became a cult classic with kids and was the most watched streaming movie in 2024, according to Nielsen.) That, alongside with the $1.7 billion earned by Pixar’s Inside Out 2 — the biggest movie of 2024 — proved that theatrical is its animation’s greatest strength.

Insiders say that Walt Disney Animation remains committed to releasing one theatrical film per year in addition to other shorts and special projects. Zootopia 2 is slated for release on Nov. 26 with the studio’s new chief creative officer, Jared Bush, tapped to direct and writer, with Disney vet Byron Howard also directing. An unannounced feature is calendared for November 2026, while the third installment in the blockbuster Frozen franchise is set for November 2027.

Shortform is wildly popular. Bluey, which Disney+ licenses, was the most watched show in the U.S. last year, according Nielsen.

The Sound Of Music a écrit:

60 Rare Photos for 60 Years! Celebrate The Sound of Music's 60th anniversary with these exclusive and rarely seen photos captured during filming! Explore the full gallery here: https://rnh.social/TSOM60

Bonne nouvelle ! Meet Mickey, le Pavillon des Princesses, Starport et le Hero Training Center sont très populaires et ont une belle thématisation. Ajouter un bâtiment pour des meet’n’greet au fond de Frontierland va donner vie à ce coin du parc. J’imagine déjà quelque chose similaire à Camp Woodchuck Greeting Trail de Tokyo.

Peut-être, ce projet a aussi le but de réduire l’empreinte de la ferme afin de libérer de la place derrière pour une expansion d’Adventureland ?

Mardi 4 février -Journée Universal studios Florida

Nous sommes définitivement sur un réveil médian à 7h! De toute façon tout le monde s'agite pour les virtuals queues à 7h et ensuite le balai des ouvertures/ fermetures de porte achève de nous réveiller.
Direction pour moi le Spyglass Grill qui est le petit quick service destiné plutôt à la section Trinidad du CBBR, et qui a l'avantage d'être un peu moins fréquenté que le food court principal. Comme nous serons à Universal toute la journée, j'utilise des crédits QS pour avoir le full petit déj avec patates, bacon oeufs brouillés et gaufres Mickey histoire d'être rassasiées jusqu'en début d'aprem, le café n'est toujours pas exceptionnel, même avec le menu!

Petit déj sucré-salé:

Ensuite nous commandons notre Lyft, je pense que notre arrivée à Universal est vers 8h30 ( le trajet a duré exactement 20 minutes ). le temps est hyper brumueux, comme souvent le matin mais heureusement en général ça se lève plus tard dans la journée, et la boule ne tourne pas ...

Nous n'arrivons pas à récupérer nos billets sur les bornes automatique mais auprès d'un CM c'est bon ( petit stress quand même vu la somme engagée).
De ce que j'ai compris tout le monde court à Hagrid dès l'ouverture, mais avec les Early Entries c'est déjà blindé à 9h, donc je décide que l'on commencera plutôt par Universal studios plutôt que Universal Islands of Adventure.

Dans l'ordre nous avons fait à US: Gringott's, Revenge of the mummy, Transformers, ET, le show Jason Bourne et Men in Black. Le show Jason Bourne qui remplace Terminator a vraiment beaucoup plu à ma maman, et moi qui ne suit pas très fan je dois avouer que la technologie utilisée est bluffante.
En revanche le système des casiers est vraiment relou, surtout pour certaines attractions genre Men in Black où l'intérêt est hyper limité ( de plus, attention, si votre sac et plûtot gros les casiers ne sont pas gratuits mais sont à 3 dollars par location, ce qui n'était pas le cas au départ il me semble...un peu du racket selon moi.
Vers 13h30 nous prenons finalement le Poudlard Express direction Universal Islands of Adventure. Petit tour dans le wizarding world et je me dirige seule vers Velocicoaster, ma maman m'attend car elle ne veut pas faire l'attraction. La single rider est juste nulle...J'ai attendu autant que la file classique...Les CM sont même obligés au final de faire passer des gens de la single à 2 pour un peu la désengorger ( et ce qui ajoute à cette attente assez longue c'est que l'on doit passer au détecteur de métaux en amont, donc plus de téléphone, donc on attend avec soit même...ça parait d'autant plus long)
En revanche le coaster est vraiment hyper sympa. C'était je pense la première fois que je faisais un coaster avec

Spoiler:

, l'effet de surprise était hyper cool.

Il est presque 15h direction le repas aux Trois balais. Un menu enfant avec un Fish and Chips chacune, un thé glacé et des petits morceaux de pastèque ( les fruits commencent à beaucoup me manquer ), total 29 dollars avec les taxes. La taille enfant était tout à fait suffisante pour nos appétits.

Repas Three Broomsticks:

Petit check des temps d'attente et je constate que Hagrid n'a plus que 50 minutes d'attente, il peut monter facilement à 180 minutes donc on fonce, au final je pense que l'on a attendu une heure, mais la file d'attente aussi bien extérieure que intérieure est plutôt sympathique. Ensuite direction Forbidden Journey, mieux que dans mon souvenir et complètement delaissé, c'est dingue de se dire qu'il y a 10 ans cette attraction avait toujours un temps d'attente très long, la file d'attente que l'on parcourt quasi vide en est d'ailleurs le témoin.
18H approche et le parc ferme officiellement à 19h , on se dirige vers King Kong, et par la suite je retourne faire Velocicoaster mais la single rider est fermée.
Un monsieur qui partait a donné 3 express pass à un couple près de moi dans la file, donc je leur demande le 3ème, mais apparemment les 3 express pass n'étaient pas identiques et le troisième ne marche pas pour Velocicoaster : j'étais DEGOUTEE ( montagne russe mais émotionnelle ).
Ce Velocicoaster est plutôt à faire de jour selon moi, le ride de nuit perd un peu de son intérêt.

Il est quasiment 19h et donc nous décidons de regagner la zone Rideshare pour rentrer au CBBR(je ne suis pas fan de CityWalk, trop peuplé et très bruyant. La zone Rideshare est réellement prise d'assaut, mais on peut envoyer un sms au chauffeur si on ne sait pas dans quel zone il se trouve ( il y a des couleurs par zones )
Super mimi notre conductrice de Lyft écoute des chansons Disney, il y a un peu de circulation et notre trajet durera ce soir 25 minutes.

Le bilan de cette journée est plutôt positif, nous avons l'impression d'avoir bien rentabilisé notre journée, nous aurions eu le temps de faire une dernière attraction, mais on était un peu cramées ! J'ai un moyennement bon souvenir de la montée à la verticale de Hollywood Ripe Ride Rock'it, et idem pour Hulk je l'avais déjà fait les deux fois précédentes et je n'ai pas spécialement envie de le rider une nouvelle fois. Idéalement j'aurai voulu faire Hagrid une seconde fois, pour essayer la place sur la moto ( que j'ai laissé précedemment à ma maman! ) et le faire de nuit. J'aurai bien aimé également faire Jurassic Park mais nous n'étions pas équipées pour éviter d'être trop mouillées.
Les CM sont quand même beaucoup moins chaleureux qu'à Disney, les parcs sont moins propres qu'à WDW et à part Wizarding World et Diagon Alley, ce ne sont pas des parcs où l'on aime flâner, on ne regrette pas de n'y avoir consacré qu'une seule journée.

Pour finir cette journée nous sommes retournées au Primo Piatto, prendre une margherita à partager et au lieu de la boisson nous avons pris du Hummus, ça ne nous a compté qu'un seul crédit QS ( #tipsDiningPlan). Le hummous était hyper bon et la portion est super bien servie, et la pizza est hyper bonne aussi ( après c'est simple) mais vu que Primo Piatto est un peu devenu notre cantine, on le savait déjà!

On a vraiment mis peu de temps à trouver le sommeil ce soir là, demain direction Orlando Vineland Outlet!

Disney Princess Collector Snow White Collectible Fashion Doll Inspired by Disney Live Action Movie :

Disney Princess Collector Evil Queen Collectible Fashion Doll Inspired by Disney Snow White :

Flounder69 a écrit:

J'ai beau avoir des choses à redire sur l'adaptation des paroles françaises de Wicked, je préfère avoir une version française complète.
Je trouve toujours déroutifiant (ou perplexifiant dans la version québécoise) le passage d'une langue à une autre. D'autant plus quand des dialogues s'immiscent dans les chansons. Dans le cas de Wicked, on se retrouve parfois avec des choses comme "How can it be? What does it mean? It's uncanny. It's obscene! Like a froggy, ferny cabbage, the baby is unnaturally VERT" ou "Whenever I see someone less fortunate than I, et disons le franchement, ça arrive souvent less fortunate than I?". Il y a également des jeux de mots et des rappels entre les dialogues et les chansons qu'on perd.

Alors c'est sûr, on perd les performances incroyables de la VO. Mais si je veux profiter de leurs voix, je préfère regarder le film entièrement en VO. Avoir une adaptation française entièrement traduite permet aussi de toucher un public plus large, et les comédiens et chanteurs ont été bien choisis.
Je regrette par contre le manque aberrant de séances en VO dans les cinémas, mais là c'est un autre sujet.

Mais pour le coup, c'est chouette d'avoir deux versions françaises, une gardant les chansons originales et une complètement traduite. Surtout que la VFQ est très qualitative, et ses sous-titres beaucoup plus proches du texte original que ceux en Europe (qui reprennent simplement la traduction adaptée pour l'audio). Même si les sous-titres de la VFQ ne sont pas exempts de choix étonnants, comme Ozdust Ballroom traduit en "bal Oz-Bonbon".

Je sais que ce n'est pas un avis "popular" mais pour moi, regarder une version de ce film sans les voix originale de Cynthia et Ariana, c'est un sacrilège, voir une abomination. C'est déjà que je pense beaucoup de mal des VF en temps normal mais c'est encore plus un non sens quand tout l'intérêt du film repose sur la prestation vocale des 2 actrices. Pour moi c'est bien simple, regarder la VF avec les chansons traduites en français, c'est regarder un autre film hybride, avec une bande-son qui est une nouvelle création artistique (mais dont je doute que la qualité puisse rivaliser avec celle de la VO puisque même si les chanteuses VF prennent des mois et mois de cours en coaching vocal, elles n'ont de toute façon pas réalisé la performance de tourner la scène en même temps que chanter ce qui en soit constitue déjà un exploit) donc nouvelle création artistique calée sur une création artistique existante amputée de sa plus grande qualité.

La version VF avec les chansons en anglais est pour moi un moindre mal. C'est évident que je préfère le full VO mais au moins elle a le mérite de conserver la qualité artistique des passages les plus importants. Je suis tombé sur cette version car mon père voulait montrer le film à des enfants et n'a pas voulu prendre la VO (on s'est bien bataillé à cause de ça) mais dans la version qu'ils ont vu, il n'y avait pas de sous-titre sur les chansons dans ces passages en anglais, ce que j'ai trouvé passablement stupide.

Par contre, je comprends qu'on puisse écouter en tant qu'album musical, une version française des chansons qui cette fois ne serait pas une déformation de l'oeuvre de base mais en tant que nouvelle oeuvre et non collée sur des images d'autres actrices. Notamment, je pense que la traduction en français peut-être intéressant dans le cadre d'une adaptation en comédie musicale à Paris si on veut importer la comédie musicale.

Mais le film purée, je comprends pas cette manie de vouloir triturer des oeuvres parfaites pour en faite des chimères hybrides dégueulasses. Ca me répugne.
Mais bon, je sais bien que cet avis n'est pas partagé vu que j'ai eu maintes fois ce débat ici sur la VF et que j'étais déjà seul contre tous

Sinon au passage, la dernière vidéo d'Alicia Stella sur Epic Universe parle d'une rumeur de zone Wicked à venir dans les parcs Universal.

Annoncé pour l’automne prochain :

Making Mary Poppins: The Sherman Brothers, Walt Disney, and the Creation of a Classic Film de Todd James Pierce (W.W. Norton and Company, 2025).

:The surprising story behind Walt Disney’s most successful live-action film.

When Bob and Dick Sherman―two relatively unknown songwriters―first walked onto the Walt Disney Studios lot to pitch a song for Annette Funicello, they had no idea that they’d end up meeting Walt himself, or that a few months later they’d be developing the songs and story line for the studio’s biggest live-action movie ever. In this captivating book, Todd James Pierce details the process from conception through production, including the challenges that the boys―and Disney―faced in dealing with author P. L. Travers and persuading her that their vision for the film would resonate with audiences.

While the Shermans and their songs are at the heart of the book, there are also lively anecdotes about the casting of the movie, the innovative special effects, and the relationship between “Mary Poppins” and the larger Disney world. Making Mary Poppins tells the fascinating story behind an iconic film.