The Divergent Series... There is so much controversy surrounding this franchise and whether it’s good or bad. Many people call it a Hunger Games rip-off, others — a mediocre YA film. What matters is that Lionsgate get to make money off this series. It’s true, Insurgent made domestically almost as much as Divergent, while surpassing it worldwide with about 7 million more at $295 million, almost hitting the $300 million mark.
This week the principal photography for The Divergent Series – Allegiant: Part 1 has officially wrapped up after beginning few months back in the end of May. Ansel Elgort, who plays Tris’s brother — Caleb, took it to his Instagram to announce it by also borrowing a line from his other movie last year, called The Fault in Our Stars, but reiterates it a bit by saying the following:
“ITS A META”FOUR” #Allegiant we are WRAPPED! I know we’d all rather see theo shirtless I’m sorry.”
Here is the photo he posted on the social network:
He also posted another behind-the-scenes photo with his stunt double:
So what do you guys think? Will you be seeing this one when it hits theatres? We will be. Also, do you want the ending of the book to be changed or not? Make sure to let us know what you think in the comments, or by filling the poll.
The Divergent Series – Allegiant: Part 1 comes out on March 18, 2016.
Ramon Govea is new to the field of comics, but his first comic series Alt Control Deleteturned some heads with its interesting concept and engaging visuals. We had a chance to talk with him about his new series and some of the inspirations that he drew upon.
Graphic Policy: What is your inspiration for the series? It seems like there is some Matrix in here, as well as some Hunger Games, and maybe a bit of Avatar.
Ramon Govea: I’ve always been a science fiction fanatic. I grew up watching pretty diverse material ranging from Star Trek and The Twilight Zone to the 80’s and 90’s blockbusters like Terminator 2: Judgment Day and Robocop, so you could say that the seeds were planted much earlier. When I saw The Matrix, I was blown away by the integration of dystopian themes with some of the Ancient Greek philosophies that changed my worldview in High School.
I actually had the idea for this before I was aware of the Hunger Games franchise, but they definitely share some elements of the genre. The idea behind Alt Control Delete stemmed from the notion that since its inception, digital gaming has increasingly dominated so many aspects of global culture. I wanted to explore a world that had progressed beyond some of the common tropes of dystopian sci-fi. When I was brainstorming the world, I knew what I did not want it to be: no desert wastelands, no robots, no water crisis, and no aliens. That’s not to say all of that is off the table down the road, but I wanted to create a world that was relevant to what is happening on our planet right now – technology and social interaction seem to go hand in hand these days, and I wanted to take it a notch higher, to see what 11 looks like, so to speak, and this seemed logical.
GP: Part of the subtext of the series is that it is about an alternate way to do warfare. Do you think it is something that we will move beyond, or something that will always be with us as part of the human condition?
RG: I think war is ultimately a misplaced expression of anger and frustration. We have had values like patriotism and religious zeal instilled in us at a young age and here in the US they often motivate our collective desires for freedom of expression. On the flip side, the desire for revenge can be a potent and devastating fuel behind these same ideas. On the microcosmic scale I see competitive sports as a healthier expression of this camaraderie and unified goal, where the stakes are usually far less severe. I think at some point our species will realize that we’ve been going about things all wrong. Something is not working when millions of people are unnecessarily dying every year because of war. I think the survival of our species is dependent on a shift in perspective.
GP: The story is broken into two segments, the somewhat drab dystopian-like real world and the fantastical video game world. Were there any specific games that you drew from to help design the video game world?
RG: I’ve played a lot of video games in my lifetime, so there are a ton of games that I have drawn inspiration from for the series. In the first issue we introduced a classic team deathmatch that takes a surprising twist, but there’s a lot of Halo influence there with some fantasy elements thrown in. In future issues we’ll see puzzle games, racing games and some more war games.
GP: This is set in the far enough future, but the main characters are still using gaming slang. Do you think it is with us to stay?
RG: It’s funny, because just the other day I was remembering how often I got scolded as a kid for using the phrase “my bad” and the other day I think I heard someone say it in a TED talk. Without giving too much of the story away, I will say that the evolution of language has fascinated me for a long time. I was reading at an early age, so for “fun” my parents would have me read from the dictionary for guests for amusement. Eventually, I enjoyed Spelling Bees in grade school. So, somewhere along the way etymology became a cool thing in my book, and I think since gamer culture is such a massive influence on young kids right now, gamer slang is bound to live on.
GP: The main character is Tess, a female player that is pretty good at what she does. Do you see a connection about the future of games and comics and women taking a bigger role in both?
RG: Absolutely. It’s inevitable. I think there’s a huge evolution of consciousness happening right now and women around the world are regaining their power in this patriarchal global culture. It goes beyond just comics and games, but pretty soon we’ll see more and more women at the forefront of these industries too. I hope that by focusing on a female protagonist and collaborating with a woman on this book, my production editor was Heather Antos, who has since been hired at Marvel, I can contribute to this evolution.
GP: Part of Tess’ in game design has her donning a costume that incorporates fishnets, a fairly common feature in women’s clothing in comics. Why do you think they remain so popular?
RG: Funny you mention that, there’s a particular look that I wanted Tess to have in this game world, because this story will actually explore the exploitation of the female body in comics and games. It speaks to a larger issue. As much as I absolutely adore this genre, I am sick of seeing homogenized dystopian futures where women are one dimensional and there is a multi-cultural drought. The fishnets were a design that was pitched by the artist, Eddie Nuñez, and because I have this larger theme I want to explore, I thought it was perfect.
GP: Dystopian futures seem to be a common theme for comics in recent years. What do you make of the renewed focus on broken futures?
RG: It just speaks to a generation of people who recognize that many of our systems are just that. We live in a world where you have obesity on one end of the spectrum and people dying of starvation on the other. There are severe gaps in resource and wealth distribution and a huge opportunity for improvement in education around the world. Oppression, in varied forms, is still a huge problem in many countries, so films like Elysium, District 9, Divergent, and The Hunger Games are so relevant. People want real freedom.
GP: Can you give us an idea about where the series is headed?
RG: At the core, this is a story about a woman who is tired of her confined lot in life. We’ll follow her and explore a few different parts of the city. It’s a mix of noir inspired thrills, action, and mystery set in a place that’s just familiar enough to get your bearings. Tess is getting ready to go through a gauntlet that will challenge her perspectives. It will be a fun and hopefully unpredictable ride, but I really hope to bury some deeper philosophical ideas into the story and lay the groundwork for the next chapter of the saga when we finally learn the true meaning of the title of the book. This arc is hopefully just the beginning.
As we reported earlier today The Hunger Games: Mockingjay – Part 1 topped the weekend box-office. The film had a primarily female audience.
When it came to demographics Mockingjay—Part 1 played closer to the Hunger Games core audience than Catching Fire with 60% of the crowd female compared with 57% for Catching Fire, and 52% of the Mockingjay crowd under 25 versus an even split for the previous Hunger games film.
Below is how the Facebook data breaks down.
When you combine all of the terms, not including characters, you get an audience that’s just shy of 67% female. The movie has been reported as having 60% female audience, so again the Facebook data is off, but not by a huge amount. Where the data continues to struggle is with age. 52% have been reported as under the age of 25, while Facebook returns that number at just 41%.
In another report, we’ll add characters from the books to see how that might affect the above data.
It’s not a surprise, but The Hunger Games: Mockingjay Part 1 topped the box-office with an estimated $123 million. That put Big Hero 6 in a solid second, as that film is estimated to earn a little over $20 million.
In its three weeks at the box off Big Hero 6 has earned around $135.7 million domestically. The film faces tougher competition this coming week as another animated film hits theaters.
When it came to demographics Mockingjay—Part 1 played closer to the Hunger Games core audience than Catching Fire with 60% of the crowd female compared with 57% for Catching Fire, and 52% of the Mockingjay crowd under 25 versus an even split for the previous Hunger games film. We’ll see how all the films compare to each other later today when it comes to their demographics.
Here’s where everyone stands currently when it comes to “comic” movies in 2014.
1. Guardians of the Galaxy – $331 million
2. Captain America: The Winter Soldier – $259.8 million
4. Transformers: Age of Extinction – $245.4 million
6. X-Men: Days of Future Past – $233.9 million
7. Dawn of the Planet of the Apes – $208.5 million
8. The Amazing Spider-Man 2 – $202.9 million
9. Godzilla – $200.7 million
11. Teenage Mutant Ninja Turtles – $191.2 million
16. Big Hero 6 – $135.7 million
23. Mr. Peabody & Sherman $111.5 million
24. 300: Rise of An Empire – $106.6 million
27. Edge of Tomorrow – $100.2 million
37. Hercules – $72.7 million
46. Robocop – $58.6 million
106. Frank Miller’s Sin City: A Dame to Kill For – $13.8 million
124. Snowpiercer – $4.6 million
283. We Are the Best! – $180,590
1. Transformers: Age of Extinction – $1.087.4 billion
2. Guardians of the Galaxy– $770.6 million
4. X-Men: Days of Future Past – $746 million
5. Captain America: The Winter Soldier – $714.1 million
6. The Amazing Spider-Man 2 – $709 million
7. Dawn of the Planet of the Apes – $708.2 million
9. Godzilla – $525 million
11. Teenage Mutant Ninja Turtles – $477.2 million
15. Edge of Tomorrow – $369.2 million
19. 300: Rise of An Empire – $331.1 million
24. Mr. Peabody & Sherman – $272.9 million
27. Hercules – $243.4 million
28. Robocop – $242.7 million
35. Big Hero 6 – $185.2 million
57. Snowpiercer – $86.8 million
94. Frank Miller’s Sin City: A Dame to Kill For – $39.4 million
265. We Are the Best! – $181,000
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Time check everybody! Yes this is indeed 2014. We’re one year away from the day Marty McFly went to the future. Despite the absence of hover boards and flying cars there is one thing in modern times that puzzles me to no end.
There are still woman who are paid less than men for doing the same job. There is no acceptable reason for this. Gender equality is an issue that crosses over many industries and the business of creating comics is no exception. Some of you may wonder why a man wants to discuss this issue. I mean, it doesn’t affect me, right? Well that is wrong. It affects all of us because we could be robbed of awesome stories from very talented people just because of their gender and there is nothing I love more than awesome stories.
At nearly every comics company, both large and small there has been a historical dominance of men both in writing and artistic contributions. Behind the scenes, there has been a bit more of a balance with editorial staff but only in the last 10-20 years or so. Before that time, comics were created, driven and marketed by men.
Last week I talked about how female characters are portrayed and treated by the industry plus the fact that they almost always play second fiddle to their male counterparts. This also seems to be the case for the ‘story behind the stories’. In recent years we have seen an influx of female creators and once again, on the surface it might appear that things are changing. In particular, there are now a number of female artists who get relatively high profile gigs, and some are of the most talented and respected people in comics today. We have the likes of Sara Pichelli, Amanda Connor, Rebekah Isaacs, Nicola Scott and many others. All are great talents who do fantastic work on their respective properties.
Yet they remain significantly outnumbered by male artists working in the industry. You might think that the immediate and obvious problem could be a lack of female artists but I know that is simply not the case. Over the past number of years Image has put out an anthology comprised of entirely female creators and GrayHaven Comics have published three. Having seen nearly every volume of the Gathering that GrayHaven has produced in its five year history, I can say with confidence that each of the All Women’s anthologies are extremely high quality and feature amazing stories by a full cast of female creators.
In my own comics career I’ve worked frequently with female artists and am very proud to share my ‘Sparks’ property with one of the finest female artists in comics today, Kell Smith. It is clear that the talent is out there and like all of us wanting to make an impact in the industry, they are hungry to accomplish more.
Unfortunately, there doesn’t seem to be much change where writers are concerned. It is true that at the recent New York Comicon, Marvel announced a number of female creators on new titles, but they were all featuring female leads. I’ve even heard from a number of sources that DC comics may have a policy that they only want female writers to pitch to books with female leads.
Why? I’m not sure. If there was a similar policy regarding male writers only writing male characters we would have been robbed of such great runs like Rucka’s Wonder Woman, Alias, the current Wonder Woman book and even the long running fan favorite Spider-Girl. There are a number of incredibly talented female writers in the industry right now and if men can write female led titles, shouldn’t they be granted a chance to write a male-led title at the top of the publishing line? More often than not, even when women write a male-led book it is not a main title or else is a title that features a group of men and women. As I try to think of a female writer that has a really high profile gig on a male-led title the only one I could recall was Gail Simone’s brief run on Action Comics back in 2005 and 2006.
Arguably, Gail Simone is the biggest female name in comics writing at the moment. She has had a long career at DC comics, redefining the Birds Of Prey, the Secret Six and many other fan favorites but she has only had one stint on a top tier male-led title which despite a lot of critical acclaim lasted only eight issues. Is there anyone out there that wouldn’t jump at the chance to read Gail’s work on a title like Amazing Spider-Man or Superman or the Avengers?
There are more female writers out there who deserve higher prominence. Some you’ve heard of, and sadly, many that you haven’t. If the companies perhaps think the market wouldn’t accept a female writer on a main title then perhaps they should look at the success of Harry Potter or the Hunger Games. Talent is talent and I think we deserve to read the stories that could be told if the current gender imbalance was even a little different.
As I said last week, things are changing – but very slowly. If there’s a talented group of comic creators being ignored then the industry is essentially trying to make quality comics with one hand behind its back.
I’m not sure about you, but I’d love to see what comics could become with both arms in full use.
Next: Gathering Stories
Many thanks to Mary Sheridan, a super talented female creator in her own right for helping me put this together!
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
THE HUNGER GAMES “DISTRICT 12” UP FOR AUCTION! ACQUISITION CHRONICLED ON Syfy’s HIT SHOW HOLLYWOOD TREASURE THE EPISODE WILL AIR TUESDAY, JUNE 5, 10 PM PDT ON Syfy
LOS ANGELES, MAY 21 – Profiles in History run by Joe Maddalena, announced today that it has acquired the Henry River Mill Village property, known to all as “District 12” from the box office blockbuster The Hunger Games. The property will be auctioned off via sealed bid through Profiles in History with a bidding deadline of July 31, 2012. The property is valued in excess of 1.2 million dollars.
This unique acquisition as Joe Maddalena has said, “Is a once in a lifetime opportunity,” and will be shown on Syfy’s hit show Hollywood Treasure on Tuesday, June 5, 2012 at 10PM PDT. Viewers will be able to watch Joe and his team visiting “District 12,” meeting with the owner and watch as Joe is able to get the owner to entrust him to sell this ‘collectors dream’. The new season of Hollywood Treasure premieres this Tuesday, May 22 on Syfy at 10PM PDT.
“District 12” is in reality the Henry River Mill Village, a 1920s, 72-acre abandoned mill town located in North Carolina. The property exists exactly as it is seen in the film, from the bakery owned by Peeta Mellark’s family to the house where Katniss Everdeen and her sister Prim lived. It is all there. Production came into the town and shot directly on site and didn’t need to change a thing.
ABOUT PROFILES IN HISTORY
Founded in 1985 by Joseph Maddalena, Profiles in History is the nation’s leading dealer in guaranteed-authentic original historical autographs, letters, documents, vintage signed photographs and manuscripts. Born into a family of antiques dealers in Rhode Island, Joseph “Joe” Maddalena learned early on how to turn his passion of collecting historical autographs into a career. Needing to support himself, Joe turned to his hobby of buying and selling historical documents as a potential way to earn revenue. On weekends he scoured old Hollywood bookstores for letters and rare books. Upon graduation from Pepperdine, Joe pursued his passion to become a full-time dealer of historical documents, and opened his first office in 1985. A lifetime member of the Manuscript Society, Joe is widely recognized as the nation’s leading authority on entertainment memorabilia and historical documents. Profiles in History has established itself as the world’s largest auctioneer of original Hollywood memorabilia, having held some of the most prestigious and successful auctions of Hollywood memorabilia and owning virtually every Guinness Book record prices for original screen-used memorabilia. With an extensive network of dealers, collectors, and institutions, Profiles in History is proud to play an important role in the preservation of motion picture history. Prior Profiles in History Hollywood auctions highlights include the “Cowardly Lion” costume from The Wizard of Oz ($805,000); Steve McQueen’s “Michael Delaney” racing suit from Le Mans ($960,000); a Panavision motion picture camera used by George Lucas to film Star Wars ($624,000); a full-scale model T-800 Endoskeleton from Terminator 2: Judgment Day ($488,750); Marilyn Monroe’s platinum & diamond wedding band from her marriage to Joe DiMaggio ($504,000); Marilyn Monroe’s “Diamonds” dress from Gentlemen Prefer Blondes ($356,500); a King Kong 1933 six-sheet movie poster ($345,000); Luke Skywalker’s light saber from Star Wars ($240,000); Margaret Hamilton’s “Wicked Witch” hat from The Wizard Of Oz ($230,000); and The Invisible Man 1933 one-sheet movie poster ($230,000). From the history-making Debbie Reynolds Auction in June 2011, Profiles in History sold the Marilyn Monroe “Subway” Dress from The Seven Year Itch for $5.52M, the Marilyn Monroe signature red-sequined showgirl gown from Gentlemen Prefer Blondes for $1.44M and the Audrey Hepburn Ascot Dress from My Fair Lady for $4.44M. In February, 2012, Profiles in History arranged the sale of a pair of Judy Garland screen-used Ruby Slippers from The Wizard of Oz to the Academy of Motion Picture Arts & Sciences. In addition, Joe Maddalena is the star of Syfy’s hit show, Hollywood Treasure. With already 24 episodes aired, Hollywood Treasure is gearing up for an exciting return on May 22, 2012 at 10pm (ET/PT) taking viewers into the fascinating world of showbiz and pop culture memorabilia.
Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies.