31 de diciembre de 2017

Jenna Ortega Shares Some Advice On What To Do If You See Someone Being Bullied



"Let's stop bullying together, not just watch from the sidelines," the actress says.


It's never easy to witness someone being bullied. But it may be even MORE challenging to know exactly what you can do to step in and help. But "Stuck In the Middle" actress Jenna Ortega may be able to inspire you to get involved in any way you can.
The Disney Channel star had to reach out when she came across a horrible Twitter video that captured a Florida high schooler getting bullied at school, apparently for being Muslim. Unfortunately, the minute-long clip appears to show an entire group of students ganging up on her, but not many knowing how to step into the situation to her defense.
"This is heartbreaking, and its so upsetting to see it isnt being brought up in the news," Jenna tweeted, re-sharing the video. "We’ve got to protect 1 another! if u see something wrong, do something about it. dont record it on ur phone so u can show ur friends. lets stop bullying together, not just watch from the sidelines."
We know that it can be tempting to capture evidence on your phone, especially to prove something happened. And it might be dangerous to literally jump into a rowdy group. But Jenna's message is so important because there's another meaning to watching "from the sidelines," and that's getting involved in a safe way.
If you're faced with a scary bullying situation, it's crucial that you alert teachers or parents who can help de-escalate any conflict. And if you get the chance to stand up for a friend who's getting picked on verbally, make sure to use that powerful voice of yours!

30 de diciembre de 2017

Madison Beer & Boyfriend Zack Bia Wear Matching Shoes at Lunch

Madison Beer and Zack Bia stepped out for a lunch date together!

The "Dead" singer was all smiles while chatting it up and holding hands with her new boyfriend on Thursday (December 28) in Beverly Hills, Calif.

She rocked a black crop top and matching sweatpants, accessorizing with hoop earrings, an assortment of necklaces, and a pair of dark shades on her head.

They both wore red and white Nike sneakers with different colored laces. (They also matched their outfits last month.)

Check out their latest Instagram post below.









26 de diciembre de 2017

This animated Porg plush from ThinkGeek brings the adorable little creatures to life


Porg mania is still running wild and now you can get your hands on your very own live porg – sort of.

This Animated Porg Plush from ThinkGeek is like an adorable little Disney animatronic that you can take home for yourself.

Forget sitting on a ride track and admiring from afar or sitting in a theater and wishing you could jump right over to Ahch-To, this little porg can be all yours.


The animated plush flaps its wings and moves its mouth as it makes one of its three different sounds.



This Animated Porg Plush from ThinkGeek can be yours for $34.99.

‘Star Wars: The Last Jedi’ Dominates Christmas Box Office, Nears $400 Million in U.S.



Disney-Lucasfilm’s “Star Wars: The Last Jedi” is nearing the $400 million mark on Monday at the domestic box office in a dominant performance during the Christmas holiday.

“The Last Jedi” took in an estimated $32 million Monday on Christmas Day at 4,232 North American sites. That’s the second-highest total ever on the day, trailing only 2015’s “Star Wars: The Force Awakens” at $49.3 million and topping “Rogue One: A Star Wars Story” from a year ago by at least $6 million.

The Christmas Day performance will leave “Star Wars: The Last Jedi” with a $100 million-plus Friday-Monday take and an 11-day domestic total of about $399 million — already the 28th-highest of all time. “Star Wars: The Force Awakens” tops that list with $936.7 million and “Rogue One: A Star Wars Story” is in seventh place with $532.2 million.

“Stars Wars: The Last Jedi” earned $75.1 million in 55 international markets for the Friday-Sunday weekend and had totaled $380.3 million at the international box office as of Dec. 24. Its worldwide haul will top the $800 million mark on Monday.

Sony’s action comedy “Jumanji: Welcome to the Jungle” is leading the rest of the pack with an estimated $52 million at 3,765 North American sites for the Friday-Monday period and a six-day total of around $69 million. “Jumanji” also opened solidly with $49.5 million in 53 international markets for the Friday-Sunday weekend.

Universal’s “Pitch Perfect 3” took in about $26 million at 3,447 theaters for the four-day period. The threequel brought back the Bellas singing group with Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, and Hana Mae Lee reprising their roles. “Pitch Perfect 3” also opened with $9.8 million in 14 international territories during the weekend.

Hugh Jackman’s “The Greatest Showman,” a musical take on circus founder P.T. Barnum, is projected to gross $14 million at 3,006 venues during Friday-Monday. The movie, produced by Chernin Entertainment, opened on Dec. 20 and is on track to make about $18.6 million in its first six days.

Paramount’s “Downsizing” has debuted softly with $7.3 million at 2,558 theaters during its Friday-Monday launch. The studio paid $65 million for the near-future comedy in which Matt Damon decides to become five inches tall in order to live in luxury. Audiences gave the film an unimpressive C CinemaScore.

“Downsizing” finished in seventh place behind Fox’s second weekend of “Ferdinand,” with $9.7 million at 3,630 sites, and Disney-Pixar’s fifth weekend of “Coco” with $7.4 million at 2,111 locations. “Coco,” which led the North American box office for three weekends before “Star Wars: The Last Jedi” opened, has totaled $163.5 million in 34 days.

Focus Features’ expanded run of theWorld War II drama “Darkest Hour” came in eighth place with $5.4 million at 806 venues for the Friday-Sunday period. The film, starring Gary Oldman as Winston Churchill, has grossed $8.3 million so far in a month of limited release.

The R-rated comedy “Father Figures” grossed a quiet $5 million at 2,902 theaters, landing in ninth place during Friday-Monday for Warner Bros., which is distributing through its output deal with Alcon Entertainment. The $25 million film follows two brothers — played by Owen Wilson and Ed Helms — who set out to find their biological father.

Fox Searchlight’s expanded run of Guillermo del Toro’s “The Shape of Water” followed in 10th with $4.3 million at 726 locations. The fantasy drama, nominated for a leading seven Golden Globes, has reeled in $8.9 million in four weeks of limited release.

“The Post,” directed by Steven Spielberg and starring Tom Hanks and Meryl Streep, performed impressively in its platform release with $830,000 at nine sites for Friday-Monday. The journalism drama, centered on the 1971 legal battle over the publication of the Pentagon Papers, is playing at three venues in Los Angeles, three in New York City, and three in the Washington, D.C., area. Fox will go wide with the journalism drama on Jan. 12.

25 de diciembre de 2017

Happy Disney Holidays: Kim Kardashian, Kanye West Pose With Kids for Christmas Card (PHOTOS)

Una publicación compartida por Kim Kardashian West (@kimkardashian) el


Instead of sending just one traditional family Christmas card, the Kardashian and Jenner families decided to share multiple holiday photos in the days leading up to Christmas. In early December, Kim Kardashian began sharing one Instagram photo per day from a holiday-themed photo shoot by photographer Eli Russell Linnetz.

The photos feature most of the Kardashian-Jenner clan -- including Kim and Kanye West with their kids, North and Saint -- wearing white T-shirts and blue jeans. One photo shows a beaming West proudly holding up Saint, while another sees the rapper twirling around North. Kardashian also shared snapshots of the family posing together.

See more highlights from the Christmas card countdown below.

Una publicación compartida por Kim Kardashian West (@kimkardashian) el


Una publicación compartida por Kim Kardashian West (@kimkardashian) el


Una publicación compartida por Kim Kardashian West (@kimkardashian) el


Una publicación compartida por Kim Kardashian West (@kimkardashian) el


Una publicación compartida por Kim Kardashian West (@kimkardashian) el


Una publicación compartida por Kim Kardashian West (@kimkardashian) el


24 de diciembre de 2017

Happy Disney Holidays: 10 Not-Quite-Christmas Films


Every new December is a chance to dust off old copies of holiday classics and bask in the warm glow of nostalgia and yuletide cheer, preferably with a warm drink in hand and cozy slippers on feet. The list of go-to Christmas films is ever-growing, from familiar classics like Miracle on 34th Street and It's a Wonderful Life to more recent fare such as Elf or Grumpy Cat's Worst Christmas Ever.
However, repeated viewings may leave once-beloved films feeling as stale as leftover gingerbread cookies, not to mention the familiar themes, settings and tropes shared by so many "quintessential" holiday films. For those looking for a little kick in their red satin pants, here's a list of films that are "not quite" Christmas movies, but should become standard viewing every year when the nights grow longer, the air gets chillier and Saint Nick is a little too busy prepping his sleigh to keep a stalwart eye on who's been bad or good.

'On Her Majesty's Secret Service' (1969)




James Bond doesn’t regularly order an eggnog “shaken, not stirred,” but if he were going to, this would be the film he’d do it in. Taking over for Sean Connery in 1969, Australian model George Lazenby donned the tuxedo of Agent 007 for the sixth film in the franchise, and the first without Connery in the lead role. Odd(job)ly enough, the film is set around Christmastime, not exactly the traditional backdrop for a Bond outing. The film even features its own holiday tune, “Do You Know How Christmas Trees Are Grown?” which underscores a number of scenes in the film.

'Gremlins' (1984)




Elves are undoubtedly a big part of Christmas. Their imp-like, cheery optimism as they bustle around Santa’s Workshop preparing toys for good girls and boys exemplifies so much of what makes the holiday season so special. Mogwai are similar, in a way, with their adorably furry faces and floppy ears. But if you get them wet or feed them after midnight, well, then things take a turn from cuddly to carnivorous. 1984’s horror-comedy Gremlins follows the antics of the mischievous little titular monsters as they wreak havoc on a small town at Christmas time. The film is filled with classic practical effects and dark humor, but what cements it as a holiday classic is watching a man in a Santa Clause suit being mauled by the horrible little creatures.

'Rocky IV' (1985)



Admittedly, to call the fourth installment in Sylvester Stallone’s iconic boxing series a “Christmas Movie” is a bit of a stretch. However, one could posit this counterargument: The film’s most iconic scenes all feature heavy holiday imagery. Don’t believe it? Rocky’s training montage takes place in the deep heavy snow of Russia’s mountains surrounded by pine trees. Rocky’s final match against Ivan Drago takes place on Christmas Day. Rocky’s unforgettable unifying speech after defeating Drago ends with the boxer wishing his son back home a Merry Christmas. And, if that’s not enough proof for you, Sico, the film’s lovable robot, was clearly made by technically advanced elves.

'Lethal Weapon' (1987)



Screenwriter Shane Black penned the script for this buddy cop shoot-'em-up following grizzled veteran LAPD Sergeant Roger Murtaugh (Danny Glover) and his suicidally reckless partner Martin Riggs (Mel Gibson) as they tackle a heroin-smuggling ring. The film is known for its humor and its full-throttle action sequences, but it should also be appreciated for Black’s decision to set his action at a time of year when we generally don’t think about heroin smugglers or prostitution rings – or not as much, at least.

'Die Hard' (1988)



In many households – read: awesome ones – NYPD officer John McClane is, and has been, a Christmas hero for years. However, not everyone thinks of yuletide cheer when they hear the words Die Hard. The 1988 action classic brought star Bruce Willis from the small screen to the big time by upping the violence and providing viewers with one of cinema’s best baddies: Alec Rickman’s Hans Gruber — a man so sinister even his reading of the words “ho-ho-ho” can send a shiver down your spine. The film takes place on Christmas Eve, when a group of German terrorists take an office Christmas party hostage. If watching John McClane pick off terrorists while muscling his way through a crawlspace doesn’t inspire you to spike some eggnog, then you don’t deserve a Christmas tree.


'Batman Returns' (1992)



Tim Burton may be known for offering a quirkily dark tone in his films, but he’s also no stranger to the holidays. A Nightmare Before Christmas is a December staple, and even Edward Scissorhands could have made this list, but Batman Returns is a film that rarely comes up in holiday conversations — but it really should. Burton’s 1992 follow-up to Batman brought back Michael Keaton as the Dark Knight — though the Dark (Silent) Knight could have worked as a title, too. In addition to the obvious fact that the film's main villain is the Penguin — arguably the most wintery of all Batfoes — it also features Catwoman and Batman sharing a moment under the mistletoe and a Burtonesque Christmas tree lighting that gets interrupted by an enormous exploding gift filled with murderous clowns. You won’t see that in Whoville.

'The Ref' (1994)



For whatever reason, Christmas seems a ripe setting for dark comedies. 1994’s The Ref taints the white snow of December a shade or two darker with its tale of a feuding couple (Kevin Spacey and Judy Davis) who are held hostage by a jewel thief (Denis Leary) while pretending to be their marriage counselor in front of their visiting family. Nothing feels quite as much like Christmas as tense family drama amongst in-laws. 

'Kiss Kiss Bang Bang' (2005)



Another Shane Black film, this comedic mystery starring Val Kilmer and Robert Downey Jr. was a box office disappointment but has achieved cult status for its dark humor and tightly wound plot. The film is a send-up of many classic noir clichés, and its holiday setting only adds to the parody. Try to think of another crime noir where the “dame” — in this case a tough-talking Michelle Monaghan — sports a Santa hat and Kris Kringle-themed miniskirt.

'Just Friends' (2005)



Long before he was Deadpool, but after he was Van Wilder, Ryan Reynolds was the chubby kid in high school with a crush on the popular cheerleader in Just Friends. While the film initially wasn’t a hit, it has become something of a cult classic. Set on the days surrounding Christmas, everything from the costumes, the setting and the particularly strong soundtrack ooze Christmas cheer. Throw in Anna Faris’ superb performance as an over-the-top pop diva singing lyrics like "Mall people they come and go/Small people they just don't know," and you have the makings of a holiday classic.

'Iron Man 3' (2013)



Another Shane Black script, though this time he served as director, as well. Robert Downey Jr. returned as Tony Stark for the final standalone installment in the series. Set after the events of 2012’s The Avengers, this 2013 Marvel blockbuster was the highest-grossing in the Iron Man series and saw Stark fighting off anxiety as well as exploding superhumans. Dark stuff. But, despite its May release, it also featured fluffy white snow, jolly Christmas tunes, and a giant stuffed rabbit the size of which only someone like Stark could afford. Joyeux Noel!

Happy Disney Holidays: TUNE-IN ALERT! Y&R’S SPECIAL CHRISTMAS EPISODE

Tune in tomorrow for a very special episode of Y&R that celebrates the holiday. “This is my first year of [head] writing and the network doesn’t usually have an original show on Christmas Day, so we normally put on a repeat,” reports Executive Producer/Head Writer Mal Young. “Earlier this year, one of the regular episodes got pre-empted by an event so that bumped the amount of episodes needed. The network said, ‘You owe us an episode, why not do a real one for Christmas Day?’ I love Christmas, so I jumped at the chance.” Airing on the holiday wasn’t a new concept for British-born Young. “In England, the soaps, like CORONATION STREET and EASTENDERS, the biggest episode of the year is on Christmas Day,” he explains. “It’s the most-watched day and it’s a big competition with all of the soaps. If you’re killing someone off, you always kill them on Christmas Day. These episodes are watched by half the country! First, you watch the Queen’s speech and then you tune in to EASTENDERS for mayhem. So, I come from that tradition.” Young was aware that there was an opportunity to pull in new viewers, so he wanted to find a way to give the episode mass appeal. “This is a chance for people who don’t watch us to tune in and go, ‘Oh, I didn’t know Y&R was like this. This is fun,’ ” he says. “But also please the regular audience. When I came to the writers, every idea I came up with, they said, ‘It’s been done.’ They’ve already done A Christmas Carol and It’s A Wonderful Life. Then it suddenly occurred to me, why not just do four mini-movies, like self-contained plays, so Four Christmases was the idea. We needed a theme, something to glue the four stories together. Each is named after a Christmas song. We looked at the long list of Christmas songs available to us and selected four titles that I thought would suggest story.”

21 de diciembre de 2017

TV Shows We Quit in 2017


 In general, it’s advisable to finish what you start — but if what you started was a show that eventually felt more like an obligation than entertainment, who has the time to stick with it?

And in the era of Peak TV, sometimes we have to sacrifice series in place of others. Maybe they were once beloved and just dragged on too long; maybe they were new shows that just didn’t stick; or maybe, life just got busy. Variety‘s own staff had to leave a few series behind, whether they were finally giving up on Rick Grimes and co. on “The Walking Dead” or saying goodbye to “Friends From College” in its first season. Here are their show-quitting confessions.



“House of Cards” (Netflix) Knowing what we know now, my decision to break up with the political potboiler seems prescient. But I tuned out long before the Kevin Spacey revelations — when its fifth season premiered — and though the prospect of watching Robin Wright take center stage is certainly tempting, I’ve already moved on. Blame it on the headlines. Blame it on the constant churn of the news cycle. But this political junkie gets enough of a fix from reality. — Debra Birnbaum

Maybe “House of Cards,” like your typical presidential term, should have ended after four years. Even before the Kevin Spacey allegations dropped, the Frank Underwood shtick was starting to feel old. As the show killed off more characters — and tainted the rest — who was left to root for? Robin Wright’s electric charisma could only keep me hanging on for so long. But who am I kidding? As producers mull killing off Frank Underwood in its sixth and final season, the promise of Claire Underwood leading a (kind of) grieving nation may just yet pull me back in. — Alex Stedman

“Game of Thrones” (HBO)

Endings are tough, and with a sprawling cast and a story spread out over several different mythical worlds, “Game of Thrones” faces a unique challenge. Still, after deliberately and painstakingly laying out its warring Iron Throne aspirants over six seasons, the HBO show’s creators are rushing to wrap things up with dizzying speed. That’s led to some serious plot holes and pacing problems, as “Game of Thrones” has dispatched key characters to tie up loose ends across the Seven Kingdoms, often ignoring pesky issues of geography and travel time. For me, the show officially jumped the white walker when Jon Snow was sent to the other side of the Wall to capture a “live” wight in order to convince Cersei to join forces with hated enemy Daenerys to stave off the existential threat posed by armies of the undead. That scheme is ludicrous because Cersei has shown no taste for empirical evidence in the proceeding seasons and because a journey that would have consumed a 12-episode arc in previous years transpires over the course of a half hour. As loyal viewers know, the whole adventure ends with a late-in-the-game dragon rescue and me deciding to pack it without finding out who will rule Westeros. — Brent Lang

“Santa Clarita Diet” (Netflix)

Having grown up in the Santa Clarita Valley, it was always fun to point out locations in shows or movies that I recognized around town. Santa Clarita is so often used to represent other locations, and it’s ironic that when a show is finally set in SCV, the town is almost unrecognizable. If you’re using real businesses, why make up locations? And if you’re going to make up locations why set the show in a real town rather than a fictional one? Much of the show’s humor is dead on arrival, based on inside jokes about SCV life that non-residents probably won’t fully grasp, recycled gags, or repetitive references to Drew Barrymore’s charñacter’s undead vagina. While the show’s premise had promise and its social critique of suburban life is often spot-on, clunky writing and lifeless performances from Barrymore and Timothy Olyphant kill any momentum before it even takes off. — Matt Fernandez



“The Walking Dead” (AMC)

When Glenn’s brains hit the pavement, so did my heart. To be fair, even after that traumatic Season 6 premiere that bordered on torture porn, I stuck through it for 2016, dredging through every demoralizing episode. And it did get better — though it was painful to watch us lose Sasha as Sonequa Martin-Green moved on to “Star Trek: Discovery,” I cheered as Shiva mauled one of Negan’s soldiers and Maggie led Hilltop in triumphant fashion in the finale. I thought that would be enough to reel me back in, since I was already hanging by a thread, but Season 7’s slow start finally made me lose interest. It’s not like I meant to break it off with “The Walking Dead.” In fact, I fully intended to return to those episodes piling up on my DVR like wasted zombie bodies! But after I heard about a certain character’s death in the Season 7 midseason finale, I’m not sure it’s stress I want to put back on myself. — Alex Stedman

DC on the CW (“Arrow,” “The Flash,” “DC’s Legends of Tomorrow,” “Supergirl”)

Anti-hero series were quite the trend a few years ago, but these four series, each with varying degrees of roots in DC comic book characters, were designed to have the central figures be the heroes of the stories. However, all-too-often the heroes were the ones causing catastrophic complications — from Barry Allen (Grant Gustin) becoming Savitar to the Legends literally breaking time. While initially interesting as origin story missteps, as time (and seasons) went on, it became harder and harder to root for characters that kept putting selfishness above their supposed greater good. Similarly, it became hard to watch, let alone root for, shows that constantly put its core characters in life or death situations that it was obvious they would get out of due to contract statuses. It felt both emotionally manipulative and like low stakes, and the suspension of disbelief could not be sustained. — Danielle Turchiano

“Big Mouth” (Netflix)

To put it simply, “Big Mouth,” which follows a group of seventh graders as they undergo the wonders of puberty, is an uncomfortable and cringe-worthy show whose juvenile humor is entirely comprised of sex jokes and disgusting visual gags. For a show packed with comedic talent, it’s hard to believe that penis jokes wet dreams are the best that the likes of Nick Kroll, John Mulaney, Jordan Peele, and Maya Rudolph have to offer. While it could be argued that the show’s awkwardness and dirty humor mirror the experiences of the characters and teens going through that stage of life, prepubescent tweens are obviously not the target audience and edginess for edginess sake is never a good thing. — Matt Fernandez




“Homeland” (Showtime)

It’s not a popular opinion, but Quinn (Rupert Friend) should have died in Season 5. Instead, the show left him lingering in the hospital, only to have Carrie (Claire Danes) pull his pulse monitor off of his slack body in the hospital bed in the finale. Season 6 picked up a few months later — and Quinn was still very much alive, although impaired due to complications from a stroke. It felt like the show was just reluctant to lose an actor they so loved, and it also felt like a repeat of earlier season fake-outs regarding Brody’s (Damian Lewis) own alive or deceased status. Too much of the same-ole-same-ole made this long-in-the-tooth-drama a victim to the era of Peak TV. — Danielle Turchiano

“New Girl” (Fox)

There was no particular reason why, but after Cece and Schmidt got together, I just lost interest in the show. It seemed to just meander on without a purpose. The lines weren’t that funny, nothing seemed to happen. Every week, the DVR’ed show would pile up and seemed to look at me accusingly. I knew there were five shows or more waiting for me, but they seemed to be a chore, like laundry that hasn’t been put away. I finally deleted the series from my DVR. — Shalini Dore

“Ray Donovan” (Showtime)

Dear Ray: It’s not you, it’s me. I knew what I was getting into when I entered this relationship — that there was a limit to what you could give me emotionally. And though you did awful things, I always found it in my heart to forgive you. But I admit it: I started cheating on you. Other men came into my life with a bit less baggage, and given the choice between an antihero and a hero with heart, the good guys won. I know my timing wasn’t great — I heard this season was rough for you (my condolences about Abby) — but just like you, I never meant to be truly cruel. — Debra Birnbaum



“Modern Family” (ABC)

To the Dunphy, Pritchett-Delgado, Pritchett-Tucker families — don’t take it personal. The ABC family comedy at its best still delivers a deft mix of big funny and authentically poignant moments. But the situations, the hijinks, the what-goofy-thing-will-the-kids-do-next set-ups have grown predictable and retread. I stopped keeping up on a weekly basis about halfway through Season 8, and haven’t checked in at all yet for Season 9. Like all messy family relationships, I’m sure we’ll patch things up one of these days. — Cynthia Littleton

“Riverdale” (The CW)

“Riverdale’s” first season was a great example of bad TV you loved to watch. It had a cheesy murder mystery, steamy teacher-student relationships, and enough melodrama — from the kids and adults of of the town alike — to weaponize. Unfortunately, the second season seems to have thrown out everything that made the show a quintessential guilty pleasure. In it’s place is an increasing dark and brooding series with dialogue (which was admittedly never great) that is borderline impossible to sit through in some scenes. That and having the students of Riverdale form a group to hunt down the Black Hood is a bizarre move. Not every show in your lineup has to be a vigilante origin story, CW. — Jacob Bryant

“The Deuce” (HBO)

The prospect of another series from David Simon, creator of what many critics consider the greatest TV Show of all time with “The Wire,” had many salivating long before “Deuce” began on HBO. And it’s certainly not a bad show; many of the individual performances are actually quite good. But as painstaking recreated as 1970s-era Manhattan is in all its seedy exoticism, no amount of production value can make up for the fact that the stories move way too sluggishly in those opening episodes. The milieu of pimps and porn stars also feels thoroughly picked over by pop-culture predecessors from “Taxi Driver” to “Boogie Nights.” The creative risk of having James Franco play twins doesn’t work at all. Simon brings the same eye for the complexities of society’s underclass that he always delivers. But “Deuce” just isn’t great, and it suffers greatly in the shadow of “Wire” regardless of whether that comparison is fair or not. — Andrew Wallenstein




“Ozark” (Netflix)

An actor as accomplished as Jason Bateman deserves to try his hand at drama, and it’s great that Netflix gave him the chance. But while the actor is more than up to the task, the script does him a disservice; the Ozarks just doesn’t make up for a particularly interesting setting for an entire series. Plus Laura Linney is thoroughly wasted in a role that in its first season doesn’t feel multi-dimensional enough for someone of her caliber to inhabit. As for Bateman, his comedy acumen is so strong that it catches up to him; there’s so many times where you want him to just wisecrack his way through scenes the way we’ve known him do so ably over the course of his career. “Ozark” should have better matched the man with the material to allow him to show off what he does best. — Andrew Wallenstein “Friends From College” (Netflix)

“Party Bus” was the straw that broke the camel’s back. It happened mid-way through the fifth episode of the eight-ep series. And you know there’s no turning back when the show stops appearing on your Netflix “continue watching” queue. As much as I wanted to love “Friends From College” — considering that it was created and directed by Nicholas Stoller (“Forgetting Sarah Marshall”) and Francesca Delbanco, and stars Keegan-Michael Key, Cobie Smulders, Nat Faxon, and Billy Eichner — I just couldn’t bear it. I went from hate-watching the comedy to hating watching it. It’s not the fact that the characters are so desperately flawed (I stuck by Don Draper, Walter White, and Frank Underwood) that’s infuriating, but that we don’t know why they’re dysfunctional. The characters have no depth, leading to a shallow comedy that just isn’t funny — plain and simple. The jokes fall flat, even when delivered by Key, and the pointless plot wears thin in no time. — Maane Khatchatourian

19 de diciembre de 2017

DWTS Champs Jordan Fisher & Lindsay Arnold Broke A Major Record on The Show

Just last month, JJJ told you about the record that the now reigning champs Jordan Fisher and Lindsay Arnold could break on Dancing With The Stars -- and THEY DID IT!

The record to beat on the reality competition program was for the most perfect scores in a season.

The record for the most perfect scores in a single season is eight, held by Bindi Irwin, who won in season 21, and season 23 winner Laurie Hernandez.

But now, Jordan and Lindsay hold that record with 9 perfect scores in a single season -- on Disney Night, Halloween Night, two from Trio Night, the Semi-finals, Finals and for 24-hour fusion challenge and redemption dance.

Congrats to both Lindsay and Jordan!

16 de diciembre de 2017

Shirtless Justin Bieber Tackles Invisible Box Challenge – Watch!

Justin Bieber took on the now-viral Invisible Box Challenge!

The "Love Yourself" crooner took to his Instagram Story on Friday (December 15) to post a clip of himself attempting the trick while shirtless.

The goal is to imagine a box in front of you and film yourself stepping on top of it.

Justin whistles throughout the video as he nails the feat.

Watch below!

ICYMI, watch Justin decorate his Christmas tree while shirtless as well.














14 de diciembre de 2017

Lo que cambiará en la televisión con la compra de Disney a Fox

Con esta estrategia quiere fortalecer el grupo en un gigante mediático y del entretenimiento para competir con Netflix, Amazon, Facebook o incluso Apple, cuyas ambiciones han cambiado profundamente el sector.



Walt Disney Co. comprará por 52.400 millones de dólares gran parte de los activos de 21st Century Fox, el grupo mediático fundado por Rupert Murdoch, lo que debería alterar los equilibrios en Hollywoood y Silicon Valley y modificar profundamente el panorama audiovisual y de la industria del entretenimiento en Estados Unidos, y el mundo.

La empresa anunció el jueves que se hará con los estudios de cine de 20th Century Fox para agruparlos con sus propios estudios.

Estas dos compañías produjeron recientemente películas como "Asesinato en el Expreso de Oriente", "Kingsman: el círculo dorado", "El planeta de los simios", "Logan", "Talentos ocultos" (Fox), "Piratas del Caribe", "La bella y la bestia", "Cars 3" y la última entrega de "Star Wars" (Disney), cuyo estreno es este jueves. La mayor parte de estos títulos han sido grandes éxitos en todo el mundo.

Disney, que posee las cadenas de televisión ABC y ESPN y grandes estudios de cine en Hollywood, controlará los canales FX y National Geographic, se reforzará con los canales indios Star y se hará con el 39% que Fox detenta del operador de televisión europeo Sky, presente en Reino Unido, Irlanda, Alemania, Austria e Italia.

Estos activos entran en la estrategia de Bob Iger, CEO de Disney, de transformar el grupo en un gigante mediático y del entretenimiento para competir con Netflix, Amazon, Facebook o incluso Apple, cuyas ambiciones han cambiado profundamente el sector.

Según la firma de inversiones Raymonmd James, 31% de los estadounidenses afirman que los servicios de streaming (Amazon, Video, Hulu...) constituyen su primera fuente de contenidos de video.

La plataforma de video Youtube, controlada por Google, está acelerando por su parte la producción de contenidos originales, mientras que Apple ya ha previsto destinar 1.000 millones de dólares a la creación de programas, según la prensa.

La operación "refuerza The Walt Disney Company en los contenidos y el entretenimiento", subrayó el grupo, que prevé próximamente lanzar su propio servicio de streaming con el fin de establecer relaciones directas con los consumidores.

"Proyectamos ofrecer contenidos de la más alta calidad para los consumidores a escala mundial", insiste Iger, cuyo mandato ha sido prolongado hasta 2021 a pesar de rumores que anunciaban el desembarco de James Murdoch, hijo de Rupert, en el equipo dirigente para asumir la sucesión del gran patrón del grupo.

La transacción marca de todas maneras un importante giro en el imperio construido por Rupert Murdoch.

Reguladores al acecho

El magnate, que cedió gran parte de la conducción de su imperio a sus dos hijos, James y Lachlan, sólo conservará la cadena Fox, la mayor de televisión abierta de Estados Unidos, cercana al presidente republicano Donald Trump, las emisoras locales y cadenas deportivas como Fox Sports. Estos activos serán agrupados en una nueva sociedad separada que cotizará en la bolsa.

También mantendrá el control de sus diarios (el Wall Street Journal y el New York Post en Estados Unidos, el Sun, el Times y el Sunday Times, entre otros, en Reino Unido), que forman parte de la sociedad independiente News Corp.

Los términos financieros del acuerdo firmado con Disney prevén que los accionistas de 21st Century Fox controlarían 25% del nuevo Disney, que recuperará 13.700 millones de dólares de deuda de Fox.

Todavía queda por obtener el visto bueno de las autoridades reguladoras de la competencia de Estados Unidos, una etapa que se prevé ardua puesto que la mayor parte de los medios estadounidenses estarán en manos de un puñado de grandes grupos: Comcast (NBCUniversal), Disney-Fox, Viacom, Sony Pictures y Lions Gate.

"Prevemos un análisis minucioso de parte de los reguladores en todo el mundo, pero esperamos que privilegiarán las ventajas para los consumidores" que tendrá esta operación, dijo Bob Iger.

El Departamento de Justicia de Estados Unidos anunció recientemente su intención de bloquear la compra por 84.500 millones de dólares de Time Warner (estudios de cine Warner Bros, el grupo de canales de cable HBO...) por el operador AT&T, al menos que este último se separe de activos como CNN, uno de los blancos mediáticos preferidos del presidente Donald Trump.

Ultima Hora Disney — Disney to Buy 21st Century Fox Assets for $52.4 Billion in Historic Hollywood Merger

Disney CEO Bob Iger extends contract through 2021 to oversee integration


The Walt Disney Co. has set a $52.4 billion, all-stock deal to acquire 20th Century Fox and other entertainment and sports assets from Rupert Murdoch’s empire. The deal between Disney and 21st Century Fox marks a historic union of Hollywood heavyweights and a bid by Disney to bolster its core TV and film businesses against an onslaught of new competitors in the content arena.

Key elements of the transaction unveiled Thursday morning:

• The deal values the 21st Century Fox assets in the transaction at $66.1 billion, including $13.7 billion in 21st Century Fox debt, or $28 a share. The enterprise value of the deal is $69 billion.

• Disney chairman-CEO Bob Iger has extended his contract with the company for another two years, through the end of 2021, in order to oversee the integration of the assets.

• 21st Century Fox shareholders will receive 0.2745 Disney shares for each Fox share held, giving Fox shareholders about 25% of Disney.

• 21st Century Fox will spinoff Fox Broadcasting Co., Fox Sports, Fox News, Fox Television Stations and a handful of other assets into a new company that will have revenue of $10 billion and earnings of about $2.8 billion. The 20th Century Fox lot in Century City will also remain with the spinoff Fox company.

• 21st Century Fox will continue to pursue its acquisition of the remaining 61% stake in Euro satcaster Sky that it does not already own with the intention of Disney taking it over when the Disney-Fox transaction is completed.

• Disney expects to realize $2 billion in cost savings from combining Disney and Fox’s overlapping businesses within two years of the deal’s closing.

• Disney expects the regulatory review of the acquisition to take as long as 18 months.

“The acquisition of this stellar collection of businesses from 21st Century Fox reflects the increasing consumer demand for a rich diversity of entertainment experiences that are more compelling, accessible and convenient than ever before,” said Iger. “We’re honored and grateful that Rupert Murdoch has entrusted us with the future of businesses he spent a lifetime building, and we’re excited about this extraordinary opportunity to significantly increase our portfolio of well-loved franchises and branded content to greatly enhance our growing direct-to-consumer offerings. The deal will also substantially expand our international reach, allowing us to offer world-class storytelling and innovative distribution platforms to more consumers in key markets around the world.”

21st Century Fox chairman Rupert Murdoch said: “We are extremely proud of all that we have built at 21st Century Fox, and I firmly believe that this combination with Disney will unlock even more value for shareholders as the new Disney continues to set the pace in what is an exciting and dynamic industry. Furthermore, I’m convinced that this combination, under Bob Iger’s leadership, will be one of the greatest companies in the world. I’m grateful and encouraged that Bob has agreed to stay on, and is committed to succeeding with a combined team that is second to none.”



21st Century Fox chairman Rupert Murdoch said: “We are extremely proud of all that we have built at 21st Century Fox, and I firmly believe that this combination with Disney will unlock even more value for shareholders as the new Disney continues to set the pace in what is an exciting and dynamic industry. Furthermore, I’m convinced that this combination, under Bob Iger’s leadership, will be one of the greatest companies in the world. I’m grateful and encouraged that Bob has agreed to stay on, and is committed to succeeding with a combined team that is second to none.”

Disney is betting on an ambitious purchase of a sizable chunk of 21st Century Fox, hoping that more cable networks, production studios and other properties will buoy it into the future as it dives into the direct-to-consumer streaming distribution business with sports and entertainment services planned to launch in 2018 and 2019, respectively.

To feed those new pipelines, Disney is expanding its content production infrastructure with the acquisition of 20th Century Fox, a cable group that includes FX Networks, National Geographic and 300-plus international channels, and 22 regional sports networks. Also included is Fox’s 30% stake in Hulu, 50% share of Endemol Shine Group, the Star India satellite service, and Fox’s 39% interest in Euro satellite broadcaster Sky. Disney emphasized that the transaction was not contingent on Fox closing the buyout of the remainder of Sky.

If federal regulators block the $52.4 billion deal Disney has committed to pay a $2.5 billion breakup fee to 21st Century Fox.

Staying with 21st Century Fox is the Fox broadcast network and its 28 TV stations, the Fox News and Fox Business channels, and the national Fox Sports 1 and Fox Sports 2 networks and cablers Big Ten Network and Fox Deportes. Notably, the 50-acre 20th Century Fox lot in Century City will also remain with the new Fox company.

There was no immediate word from the companies on management plans for the enlarged Disney film and TV operations — a key question for thousands of employees at both companies. Nor did 21st Century Fox specify management plans for the coming spinoff company that will house the remaining Fox assets.

As Disney’s empire expands, another one will shrink. The deal, telegraphed in early November when word first surfaced the two companies had sounded each other out about a possible deal, initially shocked industry insiders. Under Rupert Murdoch, Fox has long been a swashbuckling builder. Murdoch has never shied away from attempting what once seemed impossible, from launching Fox Broadcasting Co. as the fourth national broadcast network in 1986 to acquiring the Wall Street Journal in 2007 to revving up Fox Sports as a national competitor to ESPN in 2013.

But the sale reflects rising uncertainty about the economics of traditional media outlets as digital technology forces massive change in the way people consume their news, movies and TV programs. In a world of tech giants such as Facebook, Amazon, Apple and Google with global reach, conglomerates like 21st Century Fox became small by comparison, despite the strength of its brands and content-producing expertise.

“With many pressures hitting the media industry, Fox’s potential moves make immense sense,” said media-industry analyst Michael Nathanson in a recent research note. Fox can bank on strong revenue from affiliate fees from its remaining TV assets, and use its sports rights; passionate Fox News views fan base; and big-audience broadcast events for leverage. “Paring down their asset base would not change this hand,” he said.

The decision by the Murdoch to sell comes a little more than two years after Rupert Murdoch handed control of 21st Century Fox to his sons, James and Lachlan. There’s been much speculation about 21st Century Fox CEO James Murdoch moving to a top role at Disney after the sale. Lachlan Murdoch, executive chairman, meanwhile, is expected to remain with the reconfigured 21st Century Fox. Iger said during an interview with ABC’s “Good Morning America” that he and James Murdoch will “be discussing whether there’s a role for him at this company” in the coming months.

For Disney, the acquisition provides new heft, and even gives it more control over some of the content that fuels its business.

Fox owns the studio, for example, that produces the ABC hit “Modern Family.” Now Disney will take control of the program, and benefit from syndication and other distribution of the series. The 20th Century Fox studio has the rights to make movies for Marvel characters like “X-Men” the result of deals struck before Disney purchased Marvel in 2009. Fox also controls rights to the one “Star Wars” film that is not under Disney’s aegis – the first movie in the franchise, “Star Wars: A New Hope.”

More importantly, Disney will gain access to overseas markets with Fox’s interest in Sky. 21st Century Fox has been working for months to purchase the shares of Sky it does not own, but the process has so far been tamped down by British regulators, who have expressed wariness of business operations at Fox News. With that unit remaining with the Murdochs, Disney may have its own opportunity to buy Sky in whole and gain a new perch in overseas distribution.

The deal also gives Disney majority control of Hulu, as Disney also owns a 30% stake in the streaming giant. But that sets up a potential clash over the direction of the company with Comcast and Time Warner, who together own the remaining interest in Hulu. The expectation is that Disney will try to buy out those stakes, although Comcast may not be inclined to sell given that Disney intends to launch its own OTT services to compete with cable and other MVPDs.

Disney will gain ballast in the world of TV programming, by taking on the National Geographic channels, as well as the premium drama and comedy of the FX Networks outlets that have thrived under leader John Landgraf. Disney’s current portfolio of cable networks focuses largely on kids and families, not on the viewers who are buoying operations like HBO, Showtime, AMC and FX. Many of Disney’s networks take only limited advertising. While the larger group of TV networks gives the company more say at the negotiating table with distributors it means the company can tap a broader flow of advertising dollars as well.

The move is not without risk for seller and buyer. Can Fox make a go of things with an early-stage cable-sports operation; two cable networks that aim for a particular broad niche of people with the same political leaning; and a broadcast network that has flailed since the demise of the original “American Idol” in 2016? And will the new properties offset some of the operating troubles Disney has had with its two best-known properties, ESPN and ABC? ESPN remains the king of sports TV, but in recent years it has lost subscribers while under obligations to pay out millions in lucrative rights fees to the nation’s sports leagues. And ABC has struggled to gain a foothold in the ratings, despite the recent success of Shonda Rhimes-produced dramas like “Grey’s Anatomy” and ” How to Get Away With Murder.”

The Disney-Fox deal has prodded chatter that the remaining 21st Century Fox assets will be recombined with News Corp., the publishing side of the Murdoch empire that was split off from the entertainment and media side in 2013. Even as the ink is barely dry on the Disney agreement, already there’s speculation about the Murdochs considering other transactions with its remaining networks.

“The new Fox will draw upon the powerful live news and sports businesses of Fox, as well as the strength of our Broadcast network,” Rupert Murdoch said in a statement. “It is born out of an important lesson I’ve learned in my long career in media: namely, content and news relevant to viewers will always be valuable. We are excited by the possibilities of the new Fox, which is already a leader many times over.”

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