Disney has filed a motion to settle a lawsuit filed by “Black Widow” star Scarlett Johansson in private.
The motion was filed in Los Angeles Superior Court on Friday afternoon by Disney attorney Daniel Petrocelli. In documents obtained by USA TODAY, Petrocelli argues that the contract between Disney and Periwinkle Entertainment Inc., the company representing Johansson, includes an agreement to resolve any disputes through “binding arbitration” in New York City.
Disney’s request for arbitration is the company’s first filing in the case since Johansson filed a lawsuit on July 29, alleging his contract with Marvel was breached when “Black Widow” was released on streaming service Disney+ at the same time as it was in theaters.
In Friday’s filing, Disney argued that the complaint filed by Johansson and Periwinkle Entertainment was “inappropriate.”
“Nothing in the Agreement requires that a ‘broad theatrical release’ also be an ‘exclusive’ theatrical release,” Petrocelli wrote.
Petrocelli cited box office numbers, noting that the combined opening weekend revenue from ticket sales in theaters and Disney + Premiere Access receipts totaled more than $135 million. It surpassed other Marvel Cinematic Universe films released before the pandemic, including “Thor: The Dark World,” “Ant-Man and the Wasp” and “Guardians of the Galaxy,” Petrocelli wrote.
“Disney is now, predictably, seeking to conceal its guilt in secret arbitration,” Johansson’s attorney John Berlinski told USA TODAY in a statement. “Why is Disney so afraid to file this case in public?” her fear is like the movie Kaamelott
Berlinski and his team “hope” to present evidence to prove Disney’s alleged wrongdoing, he said.
The Conjuring 3
Following the release of The Conjuring in 2013, the proper series has earned three entries, but the overall franchise has expanded in exciting ways, earning spinoffs, sequels, and prequels. The most recent film, The Conjuring: The Devil Made Me Do It, introduced fans to Eugenie Bondurant’s “The Occultist” character, with the actor herself thinking the character’s journey could be continued in another film, even if there aren’t currently any confirmed plans for such a movie. The Conjuring: The Devil Made Me Do It is out now on Digital HD and hits 4K Ultra HD Blu-ray, Blu-ray, and DVD on August 24th.
“I think it’s perfectly natural for The Occultist to continue on in The Conjuring universe,” Bondurant shared with ComicBook.com about a possible spinoff. “I do. I mean, that’s my personal point of view. But I can’t say that I will … Things remain to be seen.”
The Conjuring: The Devil Made Me Do It reveals a chilling story of terror, murder, and unknown evil that shocked even experienced real-life paranormal investigators Ed and Lorraine Warren. One of the most sensational cases from their files, it starts with a fight for the soul of a young boy, then takes them beyond anything they’d ever seen before, to mark the first time in U.S. history that a murder suspect would claim demonic possession as a defense.
Even if there aren’t official plans for a spinoff, fans can turn to DC Comics, who have released three issues of the series The Conjuring: The Lover, which serves as a prequel for the Occultist.
The Conjuring: The Lover expands the tragic story of Jessica, a college freshman returning to campus after winter break, bringing with her the anxieties of last semester’s poor grades, the awkwardness of facing a boy she wishes she’d never slept with, and an undeniably unnerving feeling of being watched. Jessica soon comes to realize that something evil has made her its target, and it will not rest until it has her in its unholy grip. But why did this sinister presence set its sights on a seemingly normal college freshman?
This terrifying series will also feature backup stories that further explore the mysteries of the dreaded artifact room of Ed and Lorraine Warren from The Conjuring Universe. Issue #1 contains a bloodcurdling story exploring the frightening origin of one of the items from the Warrens’ haunted artifact room, written by comics superstar and Dark Nights: Death Metal mastermind Scott Snyder, with art by Denys Cowan (Hardware, The Question: The Deaths of Vic Sage). In issue #2, writer Che Grayson (Bitch Planet: Triple Feature) and artist Juan Ferreyra (Green Arrow) double down on the fear with another tale of a cursed item from the artifact room.
Candyman director Nia DaCosta, Monkeypaw Productions, and Universal Pictures have launched #TellEveryone, a social media initiative connected to the film.
According to Variety, this hashtag focuses on the social justice elements of the Candyman story and stars Candyman stars Yahya Abdul-Mateen II, Teyonah Parris, and Colman Domingo. The film is set to debut in theaters Friday, August 27.
Bernard Rose’s 1992 Candyman film centers on Helen Lyle (Virginia Madsen), an academic researching the impoverished Cabrini Green apartment building and the mysterious origin of the Candyman urban legend. The new film sort of serves as a sequel but this time set in the art world where Anthony McCoy (Abdul-Mateen II) revives the Candyman legend through his artwork and his mysterious past connection to the character.
The Candyman movie website serves as a hub for conversation about social topics such as police brutality, discrimination, and slavery in context with the film and hashtags #TellEveryone and #Candyman. The site splash page features a video recording of an intimate and candid conversation titled The Impact of Black Horror. Hosted by Domingo, he is joined by Dr. Wendy Ashley (Professor and the Associate Chair of the California State University at Northridge’s Masters of Social Work program), Lorenzo Lewis (founder of The Confess Project), Tananarive Due (UCLA professor of Black horror and Afrofuturism), and Yolo Akili Robinson (founder and executive director of the Black Emotional and Mental Health Collective).
Due, who is one of the most influential academics regarding the state of Black horror as we know it, explains how the new film dives deeper into trauma at the heart of the Candyman legend. “Really what was fueling a lot of the fear around him was fear of Black masculinity, Black men, fear of the urban jungle,” Due said. “I mean, Cabrini-Green itself is a ‘monster,’ really some of the worst stereotypes around Blackness. So it was very, very important for Nia DaCosta and Monkeypaw to come and reframe a story about Black trauma through a Black lens, not through the white lens.”