Hollywood
Angry Birds takes flight with a film
MUMBAI: The popular video game 'Angry Birds' will make the transition to the big screen with a film. Rovio Entertainment has announced that comedy writer Jon Vitti will write the screenplay for the upcoming animated 3D film. Additionally, veteran producer Catherine Winder is joining the production team that includes producer John Cohen and executive producer David Maisel. The movie is slated for a 1 July 2016 release and will to be distributed worldwide by Sony Pictures.
Rovio Entertainment CEO Mikael Hed said, "I'm very excited that Jon and Catherine have joined us, bringing with them their vast expertise. I'm confident we are building the right team to deliver an amazing movie experience to our fans"
Cohen said, "I'm thrilled to have Jon and Catherine joining the project. Jon is one of the funniest writers I know, and we're looking forward to working with him to bring the birds and pigs to life on the big screen. Catherine is a fantastic producer, with over 20 years of film and television experience, and I'm very excited to have her as a part of our filmmaking team"
Angry Birds is one of the world's biggest entertainment franchises, starting in 2009 with the original mobile game that remains the number one paid app of all time. Angry Birds has expanded rapidly into entertainment, publishing, and licensing to become a beloved international brand.
The upcoming movie marks Rovio's first foray into feature films, although fans have already been introduced to the Angry Birds world with the weekly 'Angry Birds' Toons animated series. Rovio launched the series in March through its Angry Birds apps, as well as on select video-on-demand channel providers, Smart TVs, connected devices, and on select TV networks around the world. Paving the way for a full-length feature film, Angry Birds Toons has been a massive success for Rovio clocking in over 150 million views from the Angry Birds apps alone within the first six weeks.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar? Â
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
