Tag Archives: paramount

Factory Entertainment announces a Partnership with Paramount To Produce Star Trek Collectibles

Factory Entertainment has announced that the company has entered into a multi-year agreement with Paramount parent, Viacom International Inc, to expand upon its best-selling line of movie and television collectibles for Star Trek.

Factory Entertainment’s Star Trek line will be centered primarily around its high-end prop replica business. Since 2011, the company has established itself as the leader in producing authentic, limited- edition replicas of props and gadgets from popular movie and TV properties. 

In 2022, Factory Entertainment released limited-edition replicas of several props from Star Trek: The Next Generation, including the “cricket phaser,” seen in the first few seasons, a set of medical devices used by Dr. Beverly Crusher and the “Ressikan flute” treasured by Captain Jean Luc Picard in the fan-favorite episode “The Inner Light.”  The company also released a replica of the Borg Queen’s skull seen in the motion picture Star Trek: First Contact and a set of replicas from Star Trek: The Motion Picture. In addition, Factory Entertainment introduced a number of popularly priced open-edition, reduced-scale replicas designed to appeal to collectors with more restricted budgets or space.

Factory Entertainment is well underway on the production of prop replicas and other collectibles for 2023, including, among others, items from the original Star Trek series, Star Trek: The Wrath of Khan, Star Trek: The Next Generation, Star Trek: Voyager, and Star Trek: Picard. Also in development for release in 2024 are the first prop replicas from the hugely popular Star Trek: Strange New Worlds. In addition to prop replicas, Factory Entertainment’s offerings will include studio scale starship models, high-end dioramas, barware and novelty items including Factory’s proprietary CHS keychain & pin set and Fandages collectible fashion bandages lines.

Factory Entertainment Star Trek

Avatar: The Last Airbender gets new figures from Dark Horse, Nickelodeon, and Paramount

Dark Horse Deluxe, in partnership with Nickelodeon and Paramount Consumer Products, is proud to announce a new, high-end line of figures based on the hit animated series, Avatar: The Last Airbender. These deluxe hand-painted plastic figures feature fan-favorite characters showcasing their ability to manipulate one of four elements, also known as bending. The base of each figure features the symbol of their respective bending style. The first two figures of the line are the Katara Figure and the Zuko Figure.

As the last known Waterbender in her war-ravaged Southern Water Tribe, Katara held onto hope in a hopeless world until she discovered the long-lost Avatar. Now, she’s a waterbending master who helped end the Hundred Year War and will always jump into harm’s way to fight injustice.

As a young prince of the Fire Nation, Zuko was originally the bitter enemy of Avatar Aang and his friends. After much internal struggle, he realized it was his responsibility to end the Fire Nation’s reign of terror. Now, as a lifelong friend to the Avatar and reigning Fire Lord, he strives to lead his people into a new era of peace.

The Katara Figure stands approximately 6” tall and the Zuko Figure stands at approximately 6.5” tall. They will retail for $59.99 each and are available October 26, 2022.

They are available for pre-order at your local comic shop or at Sideshow Collectibles here and here, and at Entertainment Earth here and here.

Snake Eyes: G.I. Joe Origins Gets an Action-Packed Trailer

Snake Eyes: G.I. Joe Origins stars Henry Golding as Snake Eyes, a tenacious loner who is welcomed into an ancient Japanese clan called the Arashikage after saving the life of their heir apparent. Upon arrival in Japan, the Arashikage teach Snake Eyes the ways of the ninja warrior while also providing something he’s been longing for: a home. But, when secrets from his past are revealed, Snake Eyes’ honor and allegiance will be tested – even if that means losing the trust of those closest to him.

Based on the iconic G.I. Joe character, Snake Eyes: G.I. Joe Origins also stars Andrew Koji as Storm Shadow, Úrsula Corberó as Baroness, Samara Weaving as Scarlett, Haruka Abe as Akiko, Tahehiro Hira as Kenta, and Iko Uwais as Hard Master.

Snake Eyes: G.I. Joe Origins comes to theaters July 23.

The Teenage Mutant Ninja Turtles are Heading to Theaters in August 2023

Seth Rogen announced on Twitter that a CG-animated reboot of Teenage Mutant Ninja Turtles is heading to theaters on August 11, 2023.

From Nickelodeon and Rogen’s Point Grey Pictures, Brendan O’Brien will write the reboot. Evan Goldberg and James Weaver are also producing the film. Jeff Rowe will direct the film with Paramount handling the global distribution.

Teenage Mutant Ninja Turtles began as a comic book in 1984. The characters and series were created by Kevin Eastman and Peter Laird and originally published by Mirage Studios.

Transformers is Getting an Animated Prequel


Toy Story 4‘s Josh Colley is going to show us there’s More than Meets the Eye as he’s set to direct an animated Transformers prequel for Hasbro/eOne and Paramount.

The prequel is currently set for theaters and will to an origin story. Taking place on Cybetron the film will focus on the relationship between Optimus Prime and Megatron.

The script was written by Andrew Barrer and Gabriel Ferrari. They did production work on Ant-Man and were the credited writers on Ant-Man and the Wasp.

The film is separate from any live-action films which are still being worked on. The animated film has been worked on for several years and is being pushed as animation can be done under the current pandemic environment.

(via Deadline)

Theaters Take on Premiere Video on Demand as Universal’s Trolls World is a Hit

Trolls World Tour

Things are getting testy between theaters and studios as the opening of theaters looms on the horizon and studios are rethinking releases. Due to the COVID-19 pandemic, numerous studios pulled their films choosing instead to release them video on demand or shrinking the release windows from theaters to digital.

The most high profile release so far was Universal‘s Trolls World Tour. Things escalated after a Wall Street Journal report says the film earned $95 million domestically in its first 19 days. The original film earned $153.7 million domestically for its entire run and $120.9 million after 19 days.

The National Association of Theatre Owners sent out a statement:

This performance is indicative of hundreds of millions of people isolated in their homes seeking entertainment, not a shift in consumer movie viewing preferences. It is not surprising that people under shelter-in-home ordinances for weeks on end with increasingly limited entertainment options would take advantage of the movie’s direct-to-VOD move to keep children entertained, even at a premium price.

We’ll ignore the blatant falacy of “increasingly limited entertainment options.”

They also emphasized:

Universal heavily marketed the title as a theatrical release, in theaters and elsewhere, for weeks on end. That is unlikely to recur in normal times, and those costs haven’t been disclosed. While Universal may be pleased with the PVOD results of Trolls World Tour, this outcome should not be interpreted as a sign of a ‘new normal’ for Hollywood.

We’ll also ignore the weird tangent about marketing. As marketing is marketing and there might be a stronger marketing plan to be made emphasizing its exclusiveness to video on demand.

After the success of Trolls World Tour, Universal decided to release the Judd Apatow/Pete Davidson comedy The King of Staten Island in homes June 12, skipping its original June 19 theatrical release.

Warner Bros. is skipping theaters as well with Scoob! going digital on May 15, STX is taking My Spy to Amazon, Paramount/MRC‘s The Lovebirds is going to Netflix, and Artemis Fowl is releasing on Disney+. None of these films would likely have been blockbusters and will likely play well to their niche audiences on demand.

NATO also argued that the optimum price point for movie rentals are $5-$8 with $6 being the sweet spot and transactional video has been declining since 2004 with sales and rentals of individual titles at home dropping from $24.9 billion to $9.3 billion in 2019.

What’s interesting is, that $6 rental isn’t that much different from what studios get currently. With an $10 ticket at the American box office, they’d get about 60% or $6. Overseas it can be 20% to 40% depending on the arrangement. Movies begin with fees up to 90% and the fees go down. This article from The Week has an excellent explanation. So, NATO has shown studios would potentially make the same and possibly more with video on demand.

Things have ramped up further with AMC Theatres saying they will no longer play any Universal Pictures after NBCUniversal CEO Jeff Shell promising to “open titles on premium and in theaters at the same time.”

AMC Theaters chairman-CEO Adam Aron went on the attack in a letter to Universal Filmed Entertainment Group chairman Donna Langley saying:

It is disappointing to us, but Jeff’s comments as to Universal’s unilateral actions and intentions have left us with no choice. Therefore, effectively immediately AMC will no longer play any Universal movies in any of our theaters in the United States, Europe or the Middle East.

This policy affects any and all Universal movies per se, goes into effect today and as our theaters reopen, and is not some hollow or ill-considered threat. Incidentally, this policy is not aimed solely at Universal out of pique or to be punitive in any way, it also extends to any movie maker who unilaterally abandons current windowing practices absent good faith negotiations between us, so that they as distributor and we as exhibitor both benefit and neither are hurt from such changes. Currently, with the press comment today, Universal is the only studio contemplating a wholesale change to the status quo. Hence, this immediate communication in response.

Universal’s unilateral pronouncements on this issue are unpalatable to us, as has always been the case, AMC is willing to sit down with Universal to discuss different windows strategies and different economic models between your company and ours. However, in the absence of such discussions, and an acceptable conclusion thereto, our decades of incredibly successful business activity together has sadly come to an end.

Theaters are in a tough position as they need studios more than studios need them. With months of revenue lost, they need guaranteed blockbusters like Universal’s Fast and Furious 9 which has been pushed back to April 2, 2021 and Disney’s Mulan which is currently set to open July 24, 2020. Both of which would be billion-dollar films in normal environments. With more digital services being released with “captive audiences,” studios will need theaters less and less. Disney+ has over 50 million subscribers already as an example and at $7(ish) a month, that’s over 350 million reasons a month and 4.2 billion reasons yearly.

(via Wall Street Journal, Variety, Deadline)

Around the Tubes


It was new comic book day yesterday! What’d everyone get? What’d you like? What’d you dislike? Sound off in the comments below!

The Beat – A Year of Free Comics: Adventuring and making friends in A Nice Long Walk – Free comics!

Calgary Herald – High suicide rates for Indigenous youths sparks action from Alberta government – A good use of comics to try to do some good in the world.

The Hollywood Reporter – Paramount Picks Up Comic Book Movie ‘Harbinger’ From Sony – Interesting move.


IGN – Batman #78
Blog Critics –
King of King Court
Newsarama –
Powers of X #4
The Beat –
The Red Zone: An Earthquake Story
Comics Bulletin –
Sabrina the Teenage Witch #5

Around the Tubes

Daredevil #10

It’s a new week and we have lots on tap for the week! As we roll into a new week, here’s some comic news from around the web in our morning roundup.

The Washington Post – How Pia Guerra became one of the Trump era’s most moving political cartoonists – It really is some fantastic art.

Bloody Disgusting – John Carpenter Says “Tales for a Halloween Night” TV Series Has Found New Life at Paramount – Hope this happens.

CBLDF – History of Comics Censorship, Part 1 – Some comic book history.


AIPT! – Daredevil #10
Comic Attack –
Excellence #4
Talking Comics –
Powers of X #3
Year of the Villain: Black Mask #1

Around the Tubes

We’re still rocking it at San Diego Comic-Con and we’ve got more coverage today and to come in the following weeks! While you wait, here’s some comic news from around the web.

Kotaku – Sony’s Spider-Man PS4 Is Very Nice – This does look really nice.

CBR – Comcast Drops Bid for Fox, Leaving Disney’s Acquisition Path Clear – A path that includes regulatory approval. It’s not a done deal yet.

CBR – Paramount TV President Amy Powell Fired Over Racist Remarks – No place for that.

Movie Review: Downsizing

downsizing-posterHere’s a tiny review: this movie sucks.

For a movie about downsizing, Downsizing‘s glacially paced and two and a half hour runtime leave you wondering, “What was that?” It’s not a comedy — never funny — and if a drama doesn’t really stir any feelings one way or the other.

You think you know what this movie is about? You have no idea. If you’ve seen the trailers, you know Matt Damon (and a host of other people) shrink themselves to go live in a fabulous planned community where, because you’re so small, your dollar stretches farther.

Yeah, that’s not what this is at all. The entire impetus for downsizing is to save humanity from overpopulation, climate change, scarce resources, etc. But, of course, it gets used in different ways across the world.

Despots and warlords use it as an alternative to ethnic cleansing to get rid of certain populations. And, of course, in America, we turn it into a way for a normal working guy (like Damon) to live an upper-middle class bourgeoisie lifestyle. Once there, he finds an underclass still working there to prop up the rich and goes about trying to help them?

This could’ve been a movie about classism, but it fails miserably at that. There are glimpses of attempts to make small people second class citizens, but they never go anywhere.

It could’ve been a movie about environmentalism, but it fails equally as miserably at that– turning its environmentalist characters into punchlines and doomsday culters. Speaking of punchlines, the film is also filled with too many “we’re small and things are big!” gags.

downsizing saltines

It’s not funny.

downsizing vodka

Here either.


Even Christoph Waltz can’t act his way into being amused by this “giant rose” gag.

Not since mother! earlier this year has an otherwise talented filmmaker made such an incomprehensible mess. I hate every character in this movie. I hate everything about this movie. And its two and a half hour runtime feels almost doubly as long. It’s all very sad, because with more focus, this might have been something worth watching.

Don’t waste your time or money on this.

0 out of 5

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