Latest news with #DisneyPixar
Yahoo
13-05-2025
- Entertainment
- Yahoo
MPs call to halt depictions of cropped-ear dogs
An MP has called on film, television and media outlets to stop depicting dogs with cropped ears, following a dramatic rise in the number of reported cases in recent years. Veterinary surgeon Dr Neil Hudson, who is also the Conservative MP for Epping, Essex, has written an open letter to those in the industry which has been signed by 21 of his Conservative colleagues in Westminster. Dr Hudson described ear cropping - made illegal in the UK in 2006 but still permitted in other countries - as "a horrific, cruel and clinically unnecessary practice". The RSPCA said reports of "cruel and unnecessary ear cropping on dogs" had increased by 2,000% in a decade. Dr Hudson, who also serves as shadow parliamentary under secretary for Defra, continued: "This painful procedure, performed solely for 'aesthetic' purposes, involves the removal or alteration of a dog's ears, often without proper veterinary care or pain relief." He said this, coupled with the lack of import regulations on equipment to crop a dog's ears, may be causing the influx of mutilated dogs. The RSPCA said ear cropping "doesn't benefit the dog in any way and can actually be detrimental to their health, behaviour and welfare". "We urge people to not buy into the trend - the only way to stop this is by not fuelling the demand for a cropped-eared dog," said David Bowles, the charity's head of public affairs. A bill that addresses the problem of low-welfare animal imports dogs, cats and ferrets into the United Kingdom is currently being progressed through parliament. Dr Hudson continued: "The inclusion of cropped ears in media can inadvertently normalise this cruelty, misleading audiences into viewing mutilation as acceptable." He said popular Hollywood films such as Disney Pixar's Up, from 2009, and Warner Bros' DC League of Super-Pets in 2022, both featured dogs with clipped ears. He pointed to a more recent example in the US, with the 2025 Best in Show winner at Westminster Kennel Club also having cropped ears. The letter referenced the Cinematograph Films (Animals) Act 1937, which prohibits the use of animals subjected to cruelty during production. The Westminster Kennel Club, Warner Brothers, Disney Pixar, and DC Entertainment have all been approached for comment by the BBC. Follow Essex news on BBC Sounds, Facebook, Instagram and X. More than 1,000 dogs reported with ear cropping Puppies mutilated to follow social media trend Man jailed after cruelly cropping puppies' ears RSPCA - Dog Cropping
Yahoo
12-05-2025
- Automotive
- Yahoo
Social Rundown: 'Lightning' McQueen car and 14th century artifact
WICHITA FALLS (KFDX/KJTL) — Welcome back to the Social Rundown, where you can learn about the online trends happening globally and in Texoma, too! Want to get the latest tea or news on what's trending on social media? Tune in daily! 'Lightning' McQueen from Cars One father wanted to make his son's dreams come true, as young Oliver wanted his dad to paint his car like Lightning McQueen from the Disney Pixar movie Cars. Todd Kreisman fulfilled his son's wish, and 'Lightning' came about. Oliver was so happy about the car, and his father, Todd, loved seeing his son happy. But like the saying 'all good things come to an end', the father and son duo were rear-ended one day and the story of 'Lighning' ended. Todd and Oliver are fine, but laid 'Lightning' to rest. 14th-century Buddha returns home A 14th-century Korean Buddhist statue stolen from a Japanese temple more than 12 years ago returned home on Monday following a years-long legal battle between Japan and South Korea over its ownership. This statue dates back to the 1300s and was presumably stolen 200 years after that in 1527, so I can understand how this is a big deal. It was one of two stolen from the Kannon-ji temple in Japan. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Daily Mirror
05-05-2025
- Entertainment
- Daily Mirror
Finding Nemo fans baffled after learning disturbing truth about clownfish
Finding Nemo is a true classic, beloved by families across the world. However, a scientific version of what would have actually happened to Marlin and Nemo likely wouldn't have gone down too well at the Box Office Of all the Disney Pixar movies, Finding Nemo has to rank among the most beloved. To this day, viewers can't help but be charmed by the timeless tale of a determined clownfish father scouring the ocean for his lost son, which begins with a truly heartbreaking scene. However, had the filmmakers opted to stick to some of the messier, more graphic aspects of clownfish life, Finding Nemo may not have been suitable for wholesome family film nights. If you've yet to tune into the 2003 animated classic, look away now to avoid spoilers and perhaps log into Disney+ sharpish. As most readers will undoubtedly know, however, Finding Nemo kicks off with proud clownfish parents Marlin (voiced by Albert Brooks) and Coral (Elizabeth Perkins) surveying their many eggs, happily picking out names. In a matter of moments, the joyful scene descends into horror, as a ravenous barracuda attacks the family's anemone home, picking off Coral and every single one of the unhatched eggs except one - a baby Marlin named Nemo. Given his trauma, overprotective Marlin is naturally an anxious parent and endeavours to shield Nemo from the dangers of the Great Barrier Reef, much to the young clownfish's frustration. But when Nemo is captured by a scuba diver, Marlin proves himself as a great adventurer as he seeks to bring him home, learning plenty of valuable lessons along the way. It's a heartwarming story that resonates all too well with many human parents, but a scientifically accurate version could well have seen cinema goers running for the exits... READ MORE: Mum finds creepy hidden room in home after son noticed attic 'didn't add up' According to a fascinating study published in the National Library of Medicine, once the dominant female or queen, ie Coral in this film, dies, the surrounding males, in this case Marlin, will see a drop in their cortisol levels. Indeed, this dip can be so significant that the dominant male can actually transition to a female, becoming the new queen. After that, they will pick the next male in line with whom they can welcome a new batch of baby clownfish. So far, so interesting - until you consider the potential ramifications of this. Indeed, had this transition occurred within the context of Finding Nemo, Marlin - or the newly crowned Queen Marlina - may well have chosen to reproduce with their surviving son, Nemo. This bizarre phenomenon has been detailed in a video shared to Reddit, with the caption, "Now you won't see Finding Nemo in the same light again." A number of shocked users simply couldn't believe their ears, with one person commenting: "My childhood just went down the drain with this video." Another agreed: "Damn, Finding Nemo really spared us some trauma huh." A third shuddered: "I'm going to unlearn that. Marlin and Nemo don't need that kind of gossip spread."
Yahoo
04-05-2025
- Entertainment
- Yahoo
Why Anya Taylor-Joy's Mad Max prequel lost $120m – and why it doesn't matter
Hollywood box office reports can be a disconcerting read for anyone who thinks they understand basic maths. This week, the film industry website Deadline offered up a belter. Furiosa: A Mad Max Saga, which cost $168 million to produce and which made $211m across cinemas, DVD and streaming, somehow still managed to lose $119.6m. The unfortunate (and, on the face of it, inexplicable) figures were revealed in Deadline's annual Most Valuable Blockbuster tournament, which ranks the profitability of the highest-profile theatrical releases in the last calendar year. The biggest winner of 2023 was Disney Pixar's Inside Out 2, which took $650m after all bills were paid, followed by Disney Animation's Moana 2 with $415m and Disney Marvel's Deadpool & Wolverine with $400m. In this era of perpetual industry-wide crisis, one particular studio clearly isn't going to have the bailiffs at the door for a bit. But the Furiosa numbers are especially depressing: by Deadline's calculations, only Joker: Folie à Deux, with its vast production costs and negligible US takings, fared worse. Per the data, Furiosa sunk into the red because Warner Bros' outlay on the project – one blockbuster budget, plus a $108m ad campaign to support it – assumed another Fury Road-sized success would result. But both in the US and internationally, turnout was barely half of what it had been for that now-canonised 2015 predecessor – despite comparably strong reviews and an identical B+ CinemaScore, a stat that reveals the extent to which films meet their opening-night crowd's expectations. So why did the revving legions of Fury Road heads steer clear? The answer – or rather answers – lie in the wider circumstances around the film's release, as well as key creative choices which may have benefitted the film itself (which, to be clear, was one of last year's very best) but only served to dissuade potential viewers from riding eternal, shiny and chrome, or just taking the bus, to their local multiplex. May 2024 was, it transpired, a dreadful time to launch a new movie. America's Memorial Day holiday, the long weekend ending on the last Monday in May, has long been considered a prime site to pitch early summer blockbusters: this year's line-up includes the latest Mission: Impossible and Lilo & Stitch, while Fury Road itself took the slot in 2015. But last year's Memorial Day takings were the feeblest in 26 years, thanks to a thinner release schedule due to the 2023 strikes and a growing awareness that studios were bundling their output onto streaming faster than ever. (Action-comedy The Fall Guy appeared on premium VOD services that very weekend, less than three weeks after opening in cinemas.) Additionally, the majority of premium large format screens – Imax, 4K, Dolby Atmos and the like – had been block-booked by Sony for the early June release of Bad Boys: Ride or Die, which gave George Miller's film less than two weeks to be seen in the best possible light. Against that backdrop, Furiosa had to work far harder than its predecessor to quickly pull a crowd. But its stars, Anya Taylor-Joy and Chris Hemsworth, weren't the tried-and-true draws that Fury Road's Tom Hardy and Charlize Theron had been nine years earlier, while the film's prequel status meant it had no Max to offer audiences – nor the version of Furiosa they'd come to know last time around. Perhaps most damaging of all, the series' signature we-shot-this-for-real sales pitch had been fatally undermined by an early trailer, whose gaudy palette and unfinished visual effects suggested the whole thing would be an airless CG-drenched trifle, rather than the dust-blown action folk-epic Miller had actually made. Does its commercial failure matter? It certainly seems to have done for the 80-year-old Miller, whose proposed final Mad Max film, another prequel subtitled The Wasteland, hasn't been talked about much since Furiosa's release. And at a tough time for ambitious directors with strong pop sensibilities who aren't called Christopher Nolan, it may make studios even more reluctant to back projects that sit outside the ever-tightening circle of approved IPs. But as far as the film itself goes, Furiosa remains as electrifying as it always obviously was. Far from a money-grubbing trundle back down Fury Road, it's one of the current decade's greatest and most unique blockbusters; an adrenalised collection of legends and lays with their roots coiled deep round silent cinema and ancient myth. Its centrepiece chase, with Tom Burke's dusky Praetorian Jack at the wheel of a war rig and Taylor-Joy's Furiosa clinging to its undercarriage, is the equal of any of Fury Road's mobile battles – the truck is besieged from all sides, including above, by paragliding bandits propelled by industrial fans and lobbing dynamite tipped spears. The plot surrounding it isn't nearly as streamlined as its predecessor's, but comes out in a whispery, Eddaic tumble. It's like listening to campfire stories hauled back through time from beyond the apocalypse, as Chris Hemsworth's Dementus leads multiple raids against the Immortan and his clan, while watching the girl he once made an orphan grow into the only warrior capable of facing him down. Miller's command of early cinema technique makes the whole thing an effortless watch. Yes, it's frenzied in places, but Buster Keaton comedies were too – and like those silent classics, Miller's mayhem has a grace that's missing from almost every other film made today on this scale. Its streaming availability shifts from month to month and place to place, but in the UK it's currently available to watch on NOW and Sky. If you missed it, have a look this weekend, then apply a vigorous kick to your former self's behind for not catching it on the big screen. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
02-05-2025
- Entertainment
- Telegraph
Why Anya Taylor Joy's Mad Max prequel lost $120m – and why it doesn't matter
Hollywood box office reports can be a disconcerting read for anyone who thinks they understand basic maths. This week, the film industry website Deadline offered up a belter. Furiosa: A Mad Max Saga, which cost $168 million to produce and which made $211m across cinemas, DVD and streaming, somehow still managed to lose $119.6m. The unfortunate (and, on the face of it, inexplicable) figures were revealed in Deadline's annual Most Valuable Blockbuster tournament, which ranks the profitability of the highest profile theatrical releases in the last calendar year. The biggest winner of 2023 was Disney Pixar's Inside Out 2, which took $650m after all bills were paid, followed by Disney Animation's Moana 2 with $415m and Disney Marvel's Deadpool & Wolverine with $400m. In this era of perpetual industry-wide crisis, one particular studio clearly isn't going to have the bailiffs at the door for a bit. But the Furiosa numbers are especially depressing: by Deadline's calculations, only Joker: Folie Deux, with its vast production costs and negligible US takings, fared worse. Per the data, Furiosa sunk into the red because Warner Bros' outlay on the project – one blockbuster budget, plus a $108m ad campaign to support it – assumed another Fury Road-sized success would result. But both in the US and internationally, turnout was barely half of what it had been for that now-canonised 2015 predecessor – despite comparably strong reviews and an identical B+ CinemaScore, a stat that reveals the extent to which films meet their opening-night crowd's expectations. So why did the revving legions of Fury Road heads steer clear? The answer – or rather answers – lie in the wider circumstances around the film's release, as well as key creative choices which may have benefitted the film itself (which, to be clear, was one of last year's very best) but only served to dissuade potential viewers from riding eternal, shiny and chrome, or just taking the bus, to their local multiplex. May 2024 was, it transpired, a dreadful time to launch a new movie. America's Memorial Day holiday, the long weekend ending on the last Monday in May, has long been considered a prime site to pitch early summer blockbusters: this year's line-up includes the latest Mission: Impossible and Lilo & Stitch, while Fury Road itself took the slot in 2015. But last year's Memorial Day takings were the feeblest in 26 years, thanks to a thinner release schedule due to the 2023 strikes and a growing awareness that studios were bundling their output onto streaming faster than ever. (Action-comedy The Fall Guy appeared on premium VOD services that very weekend, less than three weeks after opening in cinemas.) Additionally, the majority of premium large format screens – Imax, 4K, Dolby Atmos and the like – had been block-booked by Sony for the early June release of Bad Boys: Ride or Die, which gave George Miller 's film less than two weeks to be seen in the best possible light. Against that backdrop, Furiosa had to work far harder than its predecessor to quickly pull a crowd. But its stars, Anya Taylor-Joy and Chris Hemsworth, weren't the tried-and-true draws that Fury Road's Tom Hardy and Charlize Theron had been nine years earlier, while the film's prequel status meant it had no Max to offer audiences – nor the version of Furiosa they'd come to know last time around. Perhaps most damaging of all, the series' signature we-shot-this-for-real sales pitch had been fatally undermined by an early trailer, whose gaudy palette and unfinished visual effects suggested the whole thing would be an airless CG-drenched trifle, rather than the dustblown action folk-epic Miller had actually made. Does its commercial failure matter? It certainly seems to have done for the 80-year-old Miller, whose proposed final Mad Max film, another prequel subtitled The Wasteland, hasn't been talked about much since Furiosa's release. And at a tough time for ambitious directors with strong pop sensibilities who aren't called Christopher Nolan, it may make studios even more reluctant to back projects that sit outside the ever-tightening circle of approved IPs. But as far as the film itself goes, Furiosa remains as electrifying as it always obviously was: far from a money-grubbing trundle back down Fury Road, it's one of the current decade's great blockbusters; an adrenalised collection of apocalyptic legends and lays with their roots coiled deep round silent cinema and ancient myth. Its streaming availability shifts from month to month and place to place, but in the UK it's currently available to watch on NOW and Sky. If you missed it, have a look this weekend, then apply a vigorous kick to your former self's behind for not catching it on the big screen.
