This seriously sucks. And what the heck they are tearing down the newest and best piece of the Javits Center? Oooookay.
With over 100 animated features in development and production across Latin America, the region is setting itself up for an animation renaissance.
The post The New Wave Of Latin American Animated Features: 10 Films To Watch For appeared first on Cartoon Brew.
A theatrical release is set for fall 2017 in the United States.
The post Cartoon Saloon Releases ‘The Breadwinner’ Teaser Trailer appeared first on Cartoon Brew.
New York has clearly benefited from the third-wave coffee boom — it’s hard to walk two blocks without finding amazing lattes, for example — and now, the specialty-tea movement is gaining momentum. A few businesses that started by selling their tea to luxury restaurants (Té Company, Kettl) have...More »
Some pictures of upcoming “The Dam Keeper” series.
Directed by Erick Oh with Tonko House studio for Hulu.
Florida and Alabama are better than Indiana. Yeah. That's where I come from ya'll.
In a recent study analyzed by MoveHub, women's statuses were investigated in all 50 U.S. states based on "gender pay gap, political representation in the state legislature, equality in education, accessibility to health insurance, reproductive rights, and the number of incidents of violence against women at the hands of men."
After each of these factors were analyzed, the numbers were combined to determine the best and worst states for women to live in the U.S. in 2017.
The overall scores determined that Hawaii (lowest score) was the best place for women in the country, while the worst was Oklahoma (highest score). Essentially, the study showed that (to no one's surprise) "the quality of women's lives is somewhat determined by inequality in government."
Check out the 10 best and worst states, and see all of the in-betweens in the infographic below:
10 Best States For Women:
7. New York
10 Worst States For Women:
5. South Carolina
Photo Credit: Getty Images
Ongoing Investigations: Mystery Science Theater 3000: The Return from Netflix, Rudolf the Black Cat from OLM Digital and Sprite Animation Studios, Hayate the Combat Butler (finale) by Kenjiro Hata, Robot x Laserbeam (Ch. 1-3) by Tadatoshi Fujimaki, Your Name from Comix Wave Films.
Song: “Nandemonaiya” (movie version) from Your Name by RADWIMPS
Food for Thought: Which type of ending has the most emotional impact to you–happy, sad, or ambiguous? Why?
Topics: Leiji Matsumoto Writing Work that Connects His Universe, Japanese Digital Manga Market grows 27.5%, Rumiko Takahashi Has 200 Million Copies in Print, Blazing Transfer Student Live-action Netflix Series, New TV Anime Block.
Filed under: Anime, Editorials, Live Action, Manga, Podcasts, The Speakeasy Tagged: Hayate the Combat Butler, Mystery Science Theater 3000, Robot x Laserbeam, Rudolf the Black Cat, Your Name
We've seen what the gender pay gap looks like — and it's not pretty. Women getting paid equally to their male counterparts seems like it should be a non-issue in 2017, but in many fields — like, infamously, the male-dominated Silicon Valley tech world — women are getting the short end of the stick. Now, a Department of Labor investigation alleges that Google has a huge pay gap issue — even for the tech industry.
"We found systemic compensation disparities against women pretty much across the entire workforce," Janette Wipper, a Department of Labor regional director, testified in court in San Francisco on Friday, according to the Guardian.
The hearing pertained to the lawsuit the Department of Labor filed against Google when the tech giant refused to provide job and salary history for employees to prove it's complying with the equal opportunity laws. As a federal contractor, according to TechCrunch, Google is "required to let the government review documents and other relevant information that is relevant to the company’s compliance with equal employment laws."
"The investigation is not complete, but at this point the department has received compelling evidence of very significant discrimination against women in the most common positions at Google headquarters," Janet Herold, a regional solicitor for the Department of Labor, told The Guardian. "The government’s analysis at this point indicates that discrimination against women in Google is quite extreme, even in this industry," she added. Google has previously said that the Department of Labor is going overboard with their request, according to TechCrunch, and that providing the information requested would be a violation of employees' privacy.
The tech company has also previously positioned itself as a champion of salary parity, tweeting the following on Equal Pay Day: "We're proud to share that we have closed the gender pay gap globally, and also provide equal pay across races in the U.S., according to our annual compensation analysis. At our re:Work site, we're sharing some of the lessons we've learned, to help other business close the pay gap."
Google also made a statement to The Guardian rejecting the Department of Labor's allegations: "We vehemently disagree with [Wipper’s] claim. Every year, we do a comprehensive and robust analysis of pay across genders, and we have found no gender pay gap. Other than making an unfounded statement which we heard for the first time in court, the [Department of Labor] hasn't provided any data or shared its methodology."
The Department of Labor's allegations come after finding pay disparities in 2015 salaries, which prompted further investigation. Until Google complies with the government audit, the labor department has requested that the court cancel any of Google's federal contracts and stop the company from future government business until it complies with the investigation.
More From Glamour:
• Which Career Fields Are Most Off-Limits to Women? It's Not Just Tech
• McKinsey Report: Women Face Barriers to Senior Leadership at Work
• Want a Raise? Here's Exactly What You Need to Do
Photo Credit: Getty Images
Variety reports that Sony Pictures Television will produce the TV adaptation of Robert Jordan’s The Wheel of Time series. The news comes just about a year after Harriet McDougal, wife of the late author, announced that the TV rights for the 14-book epic fantasy series had been optioned by a major studio. Sony will produce with Red Eagle Entertainment and Radar Pictures.
The series has also set a showrunner: Rafe Judkins, who has written for Agents of S.H.I.E.L.D., Chuck, and Hemlock Grove, will write and executive produce. Other executive producers include Rick Selvage and Larry Mondragon (from Red Eagle), Ted Field and Mike Weber (from Radar), and Darren Lemke. Harriet McDougal will also serve as consulting producer.
“Novels are not slogans,” Margaret Atwood said in a 1986 New York Times feature in response to assertions that The Handmaid’s Tale was a feminist tract. “If I wanted to say just one thing I would hire a billboard. If I wanted to say just one thing to one person, I would write a letter. Novels are something else. They aren’t just political messages. I’m sure we all know this, but when it’s a book like this you have to keep on saying it.”
What’s fascinating about the legacy of The Handmaid’s Tale is how it’s spread to almost every medium: reimagined on stage and screen, buzzing on the airwaves and between your ears, inked earnestly onto skin and snarkily onto protest signs, embodied in real bodies through viral marketing and political action. This is not meant to be an exhaustive list; rather, it’s a look at the breadth of Atwood’s influence, and how you can see Offred’s story from tech conferences to the Senate floor.
For most books, there’ll be a movie or TV adaptation; not only does Handmaid have both, but they are far from the only interpretations. In the early 2000s, both BBC Radio 4 and CBC Radio released dramatic radio plays. The former, adapted by John Dryden, takes a documentary-style approach and was lauded for its “faultless acting and imaginative, varied, and multi-layered sound effects.” Playwright Michael O’Brien adapted the Canadian take, with a robust cast and a more streamlined narrative that focuses on the most dramatic moments of the book.
Secrets, Crimes & Audiotapes’ podcast adaptation is perhaps the biggest departure from the source material (at least in the audio sphere): It presents Offred’s story chronologically, beginning with her, Luke, and her daughter trying to cross the border; then her capture and training at the Red Center; and only then does she become Offred. We don’t even meet the rest of the household until a few episodes in (there are six installments total). While this was initially jarring, having just reread the book with its jumping back and forth between present and past, I appreciate the commitment to a more linear narrative, carrying us along with Offred so that we experience her emotions in the moment (instead of in retrospect) and change along with her.
Photo: Daniel R. Winters (via Sarah Beth Hall)
On the stage, we have seen Offred’s story in the form of a both a traditional play adaptation (in 2002) and a one-woman show (in 2015). The latter is set entirely in Offred’s room—a bed, a lamp, a chair—from which the Handmaid relates her tale; the lead’s ability to “frequently and skillfully [quote] dialogue from other characters” communicates the scope of Gilead outside of her small prison. A 2003 opera, commissioned by the Royal Danish Opera, fell short of its ambitions, despite its inventive use of staging (including video) and “wonderfully committed” performances. A decade later, the Royal Winnipeg Ballet’s “dance-drama” take on Atwood’s dystopia was praised as “edgy” and “gripping.”
One of my personal favorite demonstrations of the book’s legacy was the Handmaid’s Tale tattoo chain collaboration among Book Riot Live, Litographs, and Random House in 2015: They took the text of the first two chapters of Atwood’s classic dystopian novel, broke it into 350 lines or phrases, then distributed the temporary tattoos to volunteers at Book Riot Live. Each person photographed their arms or necks or other body parts, with the end result being a photo series of the text as written across 350 bodies. Atwood herself kicked off the tattoo chain with the first line.
A 1986 NYT feature on Atwood and the novel emphasizes the hope in there being a post-Gilead era:
“You’ll notice,” she says, “and not many people have, that the section on Newspeak at the end of Nineteen Eighty-Four talks about Newspeak in the past tense. It’s written in ordinary language, not Newspeak. The obvious implication from that is that the regime has fallen, that someone in the future, we don’t know who, has lived to tell the tale and to write this analysis of Newspeak in the past tense.
“And my book isn’t totally bleak and pessimistic either, for several reasons. The central character—the Handmaid Offred—gets out. The possibility of escape exists. A society exists in the future which is not the society of Gilead and is capable of reflecting about the society of Gilead in the same way that we reflect about the 17th century. Her little message in a bottle has gotten through to someone—which is about all we can hope, isn’t it?”
Illustrations from the Folio Society edition of The Handmaid’s Tale, by Anna and Elena Balbusso
A new edition of the audiobook (narrated by Claire Danes) plays to this optimism, with Atwood contributing new material that builds on the final line of Are there any questions? Professor Pieixoto answers 10 of them: How was the footlocker of cassette tapes discovered? Was Offred ever reunited with her daughter? Have there been attempts to recover DNA samples from that time period? When asked about the Mayday resistance, Pieixoto mentions that they might have uncovered some new material, which could be Atwood’s sly way of hinting at new work:
“I and my team have made some fresh discoveries, but I am not yet at liberty to share them. We do not wish to rush to publication before we have double and triple checked our material from the standpoint of authenticity. People have been taken in by clever forgeries before. Long ago there were the spurious Hitler diaries and more recently, I have to say, the very well done Aunt Lydia’s Log Book. We wish to be sure of our ground, but give us a year or two, and I hope you will be pleasantly surprised.”
Photo: Natalie Zutter
For all that The Handmaid’s Tale is enjoying a resurgence of attention decades after its publication, Atwood knows that the dystopian genre is ever-shifting. When NPR asked her what she thinks the next big dystopian novel is, she was thinking outside of pages and spines:
Well, it won’t be a book, according to Atwood. “The question to be asked is, if somebody does write such a novel where will it be published?” she says. “I think we might go back to newspaper serials … Because events are evolving so fast it would almost take a serial form to keep up with them.”
One installment a week, Atwood says, and “I would make my narrator somebody from within one of the alt-Twitter handles that are popping up all over—as alternative Department of Justice, alternative Parks Department, alternative Education.” Someone inside the government, who’s risking their job to leak information to the public.
A profile in the New Yorker crowning Atwood the “prophet of dystopia” makes mention of how at least one participant in the Women’s March held up a sign reading “MAKE MARGARET ATWOOD FICTION AGAIN.” Two months later, activists dressed as Handmaids walked into the Texas Senate to protest two anti-abortion bills.
That’s free marketing for the Hulu series, which has been utilizing its richly visual source material for viral marketing opportunities. I spotted the above graffiti painted (though made to look as if it had been scratched) in the bathrooms at last year’s New York Comic-Con. But then Hulu upped the ante at SXSW last month by hiring women to walk through Austin, TX, dressed as handmaids, with the official Twitter account inviting onlookers to ask the women if they would like to walk to the river. While that particular publicity stunt might have been a bit creepier than Hulu intended, it was certainly memorable.
“Why do I do such a painful task?” Atwood asked during her acceptance speech for the National Book Critics Circle award ceremony in early 2017. “For the same reason I give blood. We must all do our part, because if nobody contributes to this worthy enterprise then there won’t be any, just when it’s most needed.”
Next week, we’re watching the 1990 film adaptation of The Handmaid’s Tale! I’ve never seen it (though the trailer looks delightfully dramatic), and I figured it would make for a good visual comparison to the TV series, which premieres the following week.
Top photo via margaretatwood.ca
Ice cream is a treat that should be enjoyed year-round, of course, but it’s understandable that some New Yorkers prioritize it in the warmer months. Finally, it seems that spring weather is here for good, and that means pastry chefs are seriously stepping up their game, unveiling bold flavors like...More »
The directors of "Archer" and "The Lego Movie" are involved.
The post Netflix Announces Its First Animated Feature – America: The Motion Picture – And It’s Rated R appeared first on Cartoon Brew.
Gary Goldman, a screenwriter of "Total Recall," alleges Disney's 2016 hit "Zootopia" was based on his own project, also titled "Zootopia."
The post Disney Slammed With ‘Zootopia’ Theft Lawsuit by ‘Total Recall’ Screenwriter appeared first on Cartoon Brew.
Are you ready for the return of Mystery Science Theater 3000 next month? Are you, like some of us here, quivering with anticipation? Just in case you can’t wait another thirty interminable days for more riffs, Shout Factory has released twenty classic episodes on Netflix, and they’re premiering today! The best part is they’ve included fantastic episodes from both the Joel and the Mike eras, so you can revisit both hosts’ styles before Jonah Ray steps into the jumpsuit next month.
Check out the whole list below.
Look at all these options!
The Giant Gila Monster
Hercules Against the Moon Men
Horrors of Spider Island
I Accuse My Parents
Manos: The Hands of Fate
Merlin’s Shop of Mystical Wonders
Santa Claus Conquers the Martians
Teenagers from Outer Space
Personally? I would be hard heckin’ pressed to select a favorite among these. Is it Puma Man, flying like a moron? Big McLargehuge thwarting a Space Mutiny? Trumpy, doing stupid things in Pod People? Or The Giant Gila Monster‘s hero, reminding us to “Sing Whenever [We] Sing Whenever [We] Sing”?
I can’t choose, you can’t make me!
You can, however, watch my all-time-favorite-ever host segment, courtesy of Eegah, below:
Now get thee to Netflix and binge MST3K.
"It’s not going to look like a Pixar movie, where you see money on the screen," says "Ernest & Celestine" director Benjamin Renner.
The post The New Wave of European Animated Features: Small Budgets, Big Freedom appeared first on Cartoon Brew.
For the fourth time ever, Sony PlayStation will host its annual Girls Make Games summer camp — a camp for girls interested in game development.
According to Polygon, this three-week camp takes place in California from July 10-28, and "by the end of the camp, they'll have created fully functional games with the help of local game studios and other industry pros at Sony."
What's more? For those who qualify to attend the program, Sony will offer scholarships and match those girls with mentors.
To learn more about the summer camp and programs offered by Girls Make Games, visit their site.
Photo Credit: Mario Tama/Getty Images
HBO has announced, by way of a block of melting ice yes really*, that the first half of Game of Thrones season 7 will debut on Sunday, July 16, 2017.
The final season of Game of Thrones was been cut in two by HBO, with the first half airing this year and consisting of only 7 episodes. The second half will air in 2018 in what is sure to be an epic 6-episode sprint to the finish.
Last we knew, Daenerys was making her way in a giant fleet to Westeros. Leaked set pics have shown some strange alliances and events. (DEFINITE spoilers in those links! Proceed with caution!) Season 7 promises to be very, very interesting….
*The reveal itself was an interesting example of Not Doing The Science First. The Game of Thrones reveal feed pointed two flamethrowers at a block of ice measuring one foot thick by 3 feet wide and 3.5 feet high. The bottom edge of the plate revealing the premiere date is about 1 foot down, so really all they had to do was melt the ice that far down.
Unfortunately, while flame-throwers are really awesome, they’re not going to get the job done.
Why? Because the heat that the flamethrowers are adding to the block is only affecting a small, small portion of the surface area of the ice. Most of the heat provided by the flames is being lost as it travels upwards towards the ice block.
Melting ice quickly is TOUGH. Drop an ice cube into a pot of boiling water at home. That’s how much ambient heat you have to surround the ice with in order for it to speedily warm beyond the melting point. The ice’s temperature ranges from 30 F to -10 F. Boiling water is around 200 F. It takes THAT much energy to melt ice quickly, and that temperature has to be surrounding the ice block, or the heat doesn’t transfer as completely.
(The Game of Thrones crew eventually tore off a big chunk of the ice block to speed up the process. It also helped that the interior of the ice block appeared to be hollow.)
Guess the Wall will be a little tougher to melt than we thought, eh?
Ongoing Investigations: Fire Emblem Heroes from Intelligent Systems, Granblue Fantasy the Animation ep. 1 from A-1 Pictures, Voltron: Legendary Defender S2.
Song: “Rainmaker” by Yonosuke Kitamura (Kazuchika Okada’s theme)
Food for Thought: What Japanese event would you plan a trip around?
Topics: We talk with Patz Prime about his recent trip to Japan.
Filed under: Anime, Cartoons, Editorials, Podcasts, The Speakeasy, Video Games Tagged: Fire Emblem, Granblue Fantasy, Voltron
Sweet, sweet nachos, tacos, and burritos for one week only
Tonight, Kellogg’s NYC will transform from its signature red into a Pop-Tarts blue space in preparation for a week-long pop-up as Pop-Tarts Cafe, starting tomorrow at 8 a.m. through Sunday —with a menu of tacos, burritos, pizza, cheesecake, milkshakes, and nachos, all made from the more than two-dozen flavors of the sweet toaster pastry.
The $9 nachos, for example, are Confetti Cupcake-flavored Pop-Tarts, cut into chips, drizzled with strawberry salsa, dolloped with frosting, sprinkles, and topped with a candle. “Looks like nachos, tastes like birthday,” says partner, Sandra Di Capua.
The six types of milkshakes seem to borrow a little inspiration from the baroque Black Tap creations. The hot fudge sundae milkshake is a blend of chocolate ice cream, milk, sprinkles, a whole fudge Pop-Tart, then another whole Pop-Tart is used as garnish in the whipped cream.
Kellogg’s NYC opened in July at 1600 Broadway, dedicated to bowls of cereal curated by Milk Bar chef Christina Tosi. The small restaurant, co-owned by Per Se alum Anthony Rudolf and Di Capua, seemed ridiculous — why would anyone pay $7.50 for a bowl of something that they can get a whole box of for less than $5? Yet because they do, it comes as no surprise that Pop-Tarts concoctions like tacos run for $9 and burritos average $12 each.
This isn’t the first Pop-Tarts pop-up in New York. The first had a more grandiose name, Pop-Tarts World Cafe, with a vast menu that included Pop-Tarts sushi, as well as machine that allowed visitors to make their own Pop-Tarts box with The Varietizer.