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‘Weapons' Horror Film Launches Fortnite Tie-In Event From Warner Bros. After ‘Sinners' Success (EXCLUSIVE)

‘Weapons' Horror Film Launches Fortnite Tie-In Event From Warner Bros. After ‘Sinners' Success (EXCLUSIVE)

Yahooa day ago
Horror film 'Weapons' is stocking up on promotional ammo ahead of its Aug. 8 release with multiple integrations launching today in Fortnite.
Available at 9 a.m. PT/12 p.m. ET, elements from the Zach Cregger-directed movie that fuse the 'unsettling tension of the film with gameplay' will appear across Fortnite's 'Troll Bed Wars,' 'Warrior Tycoon,' 'Easy Parkour' and 'Drive City' modes.
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An original horror effort, 'Weapons' revolves around a town's reaction to the disappearance of an entire classroom's worth of students who ran from from their homes in the wee hours and vanished into the night, triggering a wave of frantic finger-pointing and accusations ensnaring the students' teacher played by Julia Garner.
Developed by creative agency and production studio Sawhorse, the film's integration on Fortnite also includes the '2:17 AM' event occurring at the designated time in the UTC time zone, which Sawhorse describes as 'an eerie timestamp' that connects players to the film's central mystery. Across the four available Fortnite modes, players will find in-game clues, creepy environments and time-based challenges to complete.
'This bold collaboration is a showcase of how studios like Warner Bros. are innovating beyond traditional trailers,' Nic Hill, co-founder and head of interactive at Sawhorse, said.
Sawhorse last worked with Warners on 'Sinners: Survive the Night,' a Fortnite survival game ahead of the film's April release. 'Sinners' raised eyebrows with its hefty $90 million budget before it hit theaters, but the Ryan Coogler spectacle won audiences over and raked in $366 million worldwide.
The new integration is an example of how the flexibility offered by Fortnite maker Epic Games' Unreal Engine for Fortnite product makes it easy for creators and partner studios alike to quickly design and execute promotional campaigns of all sorts making them an integral part of studios' strategy for high-profile films and shows in the attention economy, where box office remains an unpredictable beast. Even Paul Thomas Anderson's Leonardo DiCaprio-led 'One Battle After Another' has a Fortnite event in the works, as announced Thursday.
Also starring Josh Brolin, 'Weapons' arrives next month on a more modest production budget than 'Sinners,' reportedly costing $38 million in a package that included $10 million total for Cregger to write, direct and produce after a frenetic bidding war. Still, that's a sizable upgrade from Cregger's 2022 sneak summer hit 'Barbarian,' which made close to $50 million on just a $4 million budget via 20th Century.
Horror films are rarely the same financial gamble as studio tentpoles, but 'M3GAN 2.0' underperformed in June, demonstrating how the enthusiasm for films like 'Sinners' and 'Final Destination: Bloodlines' this year hasn't elevated the genre across the board. However, both of those films added to an undeniable hot streak for Warners that kicked off with 'A Minecraft Movie' in April and continued with 'Superman' earlier this month.
Sawhorse marketing partner Chartis also worked on the film's Fortnite integrations.
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How a 'crush' on Loni Anderson helped a gay boy navigate his teenage years
How a 'crush' on Loni Anderson helped a gay boy navigate his teenage years

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How a 'crush' on Loni Anderson helped a gay boy navigate his teenage years

When I was in grade school in the 1970s, every morning started the same way: My mom made breakfast while my brother, my sister, and I sat around our small kitchen table. We circled around the radio, which was always tuned to Pittsburgh's KDKA-AM 1020, the first radio station in the country. Keep up with the latest in + news and politics. The morning DJ was Jack Bogut. Because of Jack, I thought it would be great to be a radio announcer. I also wanted to be president of the United States and host The Tonight Show. But by the time I reached sixth or seventh grade, I came to my senses and figured maybe it would be easier just to become the next Jack Bogut. So I vividly remember when WKRP in Cincinnati debuted on CBS in 1978. Back then, television was limited to three networks, CBS, NBC, ABC, and maybe four if you counted PBS. And color TVs were still something only wealthier families had. Somehow, shortly before my father died the previous year, we got a color television. I don't know how he paid for it, but it meant that when WKRP came on, I saw it in full color. And when Loni Anderson appeared on-screen as Jennifer Marlowe, she was vividly colorful and dazzling. Sadly, Anderson passed away Sunday at the age of 79. Anderson as Marlowe was beautifully blond, with ruby-red lipstick and the kind of glamour that leapt off the screen. She immediately became the magnetic center of that fictional Cincinnati radio station. Her character Jennifer was clearly supposed to lean into the stereotype of the 'sexy secretary,' but even as a kid, I could tell she wasn't a joke. She had a presence. She was surrounded by men, all of whom, in their own way, recognized her vibrant beauty but one by one would be challenged by her intellect. There was the shameless sales manager Herb, tongue-tied station boss Arthur, the suave program director Andy, and nerdy newsman Les Nessman. I didn't have to Google any of those names, by the way. I can even remember their real names and still know the theme song of the show. I loved that program so much, even in reruns; therefore, feel free to hit me with all the trivia you like. Especially about Jennifer Marlowe. Or Anderson. I fell in love with Anderson, or at least, I thought I did. Because every guy in my seventh and eighth grade class talked about her like she was their dream girl, so I talked about her that way too. But the truth was, I also had a serious crush on Andy. And I was confused. But publicly, it was all about Anderson. I went to Catholic grade school, where being in love with a boy was out of the question. Every man I knew was married to a woman, and every boy I knew had a girlfriend. Well, except for the priest who sexually abused me in 1978. That abuse, along with the pressure to be straight, completely upended my understanding of love and desire. So when I said I had a crush on Anderson, I didn't know whether I was trying to fit in or if I genuinely did. Looking back now, I realize that, yes, I had a thing for her, but in a very specific way. She was safe. She was sincere. She let me feel love without shame. As WKRP progressed, so did Jennifer. Her character grew into someone self-assured, self-aware, and deeply kind. I remember one episode where Les Nessman, awkward, balding, and thoroughly uncool, took Jennifer as his date to the Silver Sow Awards. Yes, I've never forgotten the name of that award that sticks out in my head. Even then, I suspected Les might be coded as gay or whatever that was, because he was nerdy and wimpy, and stereotypes had already been hammered into my young brain. But he wasn't. What that storyline did show was Jennifer's real depth. She made Les feel special, not as a joke, not out of pity but out of genuine generosity. That moment stuck with me. It was the kind of kindness I rarely saw in the real world, and it made me love her even more. The show eventually ended, and I grew up. I came out. And I slowly realized I didn't need a pretend girlfriend or to talk about having crushes on famous women. But I always thought of Anderson fondly. When she married Burt Reynolds, I paid attention. When they divorced, I took her side. I remember that divorce process was bitter and long, and I think Anderson got burned by that. And so I think she sort of disappeared from the headlines — and my radar. That is until 2017, when I read about her starring in a web series called My Sister Is So Gay. But for some reason, I never watched it, maybe because 'web series' had such a negative connotation. And because, well, quite frankly, I didn't need to be in love with Anderson anymore. Still, I thought it was great that she took on a project that celebrated queer identity. She had long embraced equal rights. In an interview about My Sister Is So Gay, she said, 'I always say my political party is equal rights,' and talked about loving and accepting her gay children in the show. When I was thumbing through the internet after her death, I came across something special. She once delivered a quiet but powerful bit of dialogue on WKRP when a character was thought to be gay: 'So what if he is? He comes to work. He does his job. He's a fine person. His sex life is his own business.' It might sound simple now, but in the late 1970s, that was radical compassion. And I completely forgot about the fact that she said this or conveniently forgot that she did. I didn't need to be reminded about something I wasn't sure I was. When the news alert popped up on Sunday that Anderson had died, my heart broke a little. As you get older, the people who shaped your world start to leave it. Each time, a small part of the younger you breaks off. Anderson's passing brought me back to a time that was both simpler and painfully confusing. From where I stand now, it's hard to say exactly what I felt for her. Was it desire? Admiration? A desperate need to be like everyone else? Maybe it was all of that. Or maybe it was the first form of affection I could understand. What I know for sure is my feelings for Anderson were real. They were innocent, sweet, and necessary at a time when I needed sincerity more than anything. She made it feel OK to believe I could belong somewhere. And for one little boy sitting too close to a color television in 1978, that was more than enough. Voices is dedicated to featuring a wide range of inspiring personal stories and impactful opinions from the LGBTQ+ community and its allies. Visit to learn more about submission guidelines. Views expressed in Voices stories are those of the guest writers, columnists, and editors, and do not directly represent the views of The Advocate or our parent company, equalpride. This article originally appeared on Advocate: How a 'crush' on Loni Anderson helped a gay boy navigate his teenage years Solve the daily Crossword

Disney earnings: 2 things that could change this analyst's rating
Disney earnings: 2 things that could change this analyst's rating

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Disney earnings: 2 things that could change this analyst's rating

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Sean ‘Diddy' Combs is denied release on bond to await sentencing
Sean ‘Diddy' Combs is denied release on bond to await sentencing

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Sean ‘Diddy' Combs is denied release on bond to await sentencing

NEW YORK (AP) — Sean 'Diddy' Combs can't go home from jail to await sentencing on his prostitution-related conviction, a judge said Monday, denying the rap and style mogul's latest bid for bail. Combs has been behind bars since his September arrest. He faced federal charges of coercing girlfriends into having drug-fueled sex marathons with male sex workers while he watched and filmed them. He was acquitted last month of the top charges — racketeering and sex trafficking — while being convicted of two counts of a prostitution-related offense. In denying Combs' $50 million bond proposal, Judge Arun Subramanian said the hip hop impresario had failed to prove that he did not pose a risk of flight or danger, adding that the record did not show an 'exceptional circumstance' that would justify his release after a conviction that otherwise requires detention. Combs' arguments 'might have traction in a case that didn't involve evidence of violence, coercion, or subjugation in connection with the acts of prostitution at issue, but the record here contains evidence of all three,' the judge wrote. Messages seeking comment were sent to prosecutors and one of Combs' lawyers. The conviction carries the potential for up to 10 years in prison. But there are complicated federal guidelines for calculating sentences in any given case, and prosecutors and Combs' lawyers disagree substantially on how the guidelines come out for his case. The guidelines aren't mandatory, and Subramanian will have wide latitude in deciding Combs' punishment. The Bad Boy Records founder, now 55, was for decades a protean figure in pop culture. A Grammy-winning hip hop artist and entrepreneur with a flair for finding and launching big talents, he presided over a business empire that ranged from fashion to reality TV. Prosecutors claimed he used his fame, wealth and violence to force and manipulate two now-ex-girlfriends into days-long, drugged-up sexual performances he called 'freak-offs' or 'hotel nights.' His lawyers argued that the government tried to criminalize consensual, if unconventional, sexual tastes that played out in complicated relationships. The defense acknowledged that Combs had violent outbursts but said nothing he did came amounted to the crimes with which he was charged. Since the verdict, his lawyers have repeatedly renewed their efforts to get him out on bail until his sentencing, set for October. They have argued that the acquittals undercut the rationale for holding him, and they have pointed to other people who were released before sentencing on similar convictions. Defense lawyer Marc Agnifilo suggested in a court filing that Combs was the United States' 'only person in jail for hiring adult male escorts for him and his girlfriend.' The defense's most recent proposal included the $50 million bond, plus travel restrictions, and expressed openness to adding on house arrest at his Miami home, electronic monitoring, private security guards and other requirements. Prosecutors opposed releasing Combs. They wrote that his 'extensive history of violence — and his continued attempt to minimize his recent violent conduct — demonstrates his dangerousness and that he is not amendable to supervision.' ___ Associated Press writer Jake Offenhartz contributed from Los Angeles.

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