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Black Panther

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  1. Disney's streaming service will include Marvel animated series What If and a docuseries chronicling the making of the media megalith's feature film Frozen 2 in its early days. Projects for the Disney+ service also include an unscripted series about the inner workings of Pixar, a Phineas and Ferb feature-length movie and shorts featuring characters from the Toy Story franchise. They join the previously announced Monsters at Work and Star Wars: The Clone Wars. During Disney’s presentation to Wall Street analysts on Thursday, Marvel Studios chief Kevin Feige introduced What If, based on a past Marvel Comics series that featured out-of-continuity stories with unusual team-ups or alternate versions of previous tales. He said the first episode would follow the Captain America origin story, but with Peggy Carter (played by Hayley Atwell in the MCU films and on ABC's Agent Carter) receiving the super-soldier serum and Steve Rogers remaining a scrawny kid. Jennifer Lee, chief creative officer of Disney Animation (and writer-director of Frozen), said the Frozen 2 docuseries, titled Into the Unknown, will show viewers the process of making the sequel to the 2013 hit, which is due in theaters Nov. 22. She said the producers of Into the Unknown — which "might be" the title of one of the film's songs — were given unlimited access to the cast and crew of Frozen 2 and promised a "raw" and insightful look at crafting the movie. The Pixar series will be a behind-the-scenes look at the work that goes on in the studio's Emeryville, California, headquarters. The Phineas and Ferb movie, titled Candace Against the Universe, had been in development as a theatrical release for some time. It will make its debut on Disney+, following the brothers as they try to rescue their sister after she's abducted by aliens. Other animated originals include: Lamplife, a Toy Story spinoff short starring Bo Peep that follows where she was between movies; and Forky Asks a Question, in which the Toy Story 4 character tries to understand the world he's just been born into.
  2. The Simpsons are moving to a new streaming home. The longest-running primetime scripted series in U.S. TV history will join Disney+ when the service launches Nov. 12. The first 30 seasons of the animated hit will be available from day one, and the streaming service will be its exclusive SVOD home. The 20th Century Fox TV-produced series became part of Disney when the studio paid $71.3 billion for the entertainment assets of 21st Century Fox (the Fox broadcast network will continue to air new episodes through at least season 32 in 2020-21). The addition of the Simpsons library to Disney+ brings a massive 660-plus episodes for users to delve into at launch — almost 10 percent of the 7,500 TV episodes Disney+ plans to have available when it debuts. That Disney would keep The Simpsons for its streaming platform is a major reveal — the sale of a library that extensive would have been worth millions (if not billions) of dollars to the company's bottom line. It also solidifies Disney's larger plan to keep its content in-house, a move the studio first signaled when it announced that it would be removing Marvel feature films from Netflix and earmarking those titles for its streaming service. The Simpsons currently airs off-network on FXX, which cut a then-record off-net deal in 2013 for cable, VOD and non-linear rights to the iconic series. FXX and parent FX Networks also came under the Disney umbrella in the 21st Century Fox transaction. Original series from FX and FXX will stream on Hulu — now majority owned by Disney — as the latter targets adults, while Disney+ will be geared toward more family-friendly programming. As THR has reached out to Disney+ and FX Networks reps to see how (or whether) the Disney+ arrangement will affect FXX's deal and its Simpsons World app. (The FX Now app, which houses Simpsons World, is not subscription-based, and FX's original deal for the series included VOD rights. The platform is not subscription-based.) The Simpsons' former Fox Sunday companion Malcolm in the Middle (another 20th TV series) will also join Disney+ in its first year, along with other family-friendly titles from the Fox library, including The Princess Bride and The Sound of Music
  3. Ed Helms' narration is its own special effect in this entertaining Disneynature documentary. Having previously demonstrated its cinematic worthiness in March of the Penguins and those Happy Feet movies, the tuxedo-sporting member of the Spheniscidae family was a natural for inclusion in the ever-expanding Disneynature flock. But even more than those acclaimed lion, chimp and bear films that have preceded it, Penguins proves especially delightful — a coming-of-age story outfitted with an engaging anthropomorphic overlay that can make you forget you’re watching an intimately filmed documentary instead of an animated adventure. A good portion of that success can be attributed to the choice of bird in question. Rather than training their lenses on the Emperor breed, which was featured in the aforementioned 2005 Oscar winner, directors Alastair Fothergill, a Disneynature veteran, and Jeff Wilson selected the smaller, highly expressive Adelie penguins, which happen to be born character actors. The result, packaged in a compact, ADD-friendly 76 minutes, should handily tickle audiences when it waddles into theaters Wednesday ahead of Earth Day commemorations. When we first meet Steve (playfully voiced by the film’s warmly intoned narrator, Ed Helms), it’s clear he’s a bird of a slightly different feather. The easily distracted five-year-old penguin has become separated from the rest of his fellow male Adelies and has to make tracks in order to catch up to them as they take advantage of the brief Antarctic spring to make nests and find suitable life partners, in that order. Ultimately, Steve gets to where he needs to be, and while his nest-building abilities could use some work, he wins the heart of the perky yet practical Adeline as their tender mating dance is played out against the classic rock strains of REO Speedwagon’s “Can’t Fight This Feeling.” Of course, this being a Disneynature production, their domestic life is fraught with all manner of peril including circling killer whales and leopard seals, not to mention punishing katabatic winds. All have been intensely captured over a period of three years by the 16-member team that shares principal photography credits, whose use of both long lenses and penguin cams allows for extensive, immersive access to the icy habitat. After helming a number of Disneynature productions, Fothergill has obviously got the format down to a science by this point, but he and Wilson seem to employ an even lighter, nimbler touch here, going easy on the factoids while boosting the humor. Obviously having thousands of penguins help in that regard, especially a lead Adelie who has been imbued with a New York underdog sensibility by Helms that can’t help but put a smile on your face. So, too, does Harry Gregson-Williams' buoyant score, which has been further enlivened by those inspired 1980s song selections, also including Patti LaBelle’s bouncy “Stir it Up” (originally featured on the Beverly Hills Cop soundtrack) and Whitesnake’s rock ballad “Here I Go Again.” All told, it makes for a truly happy feat. Production companies: Disneynature Narrator: Ed Helms Directors: Alastair Fothergill, Jeff Wilson Screenwriter (Narration): David Fowler Producers: Alastair Fothergill, Jeff Wilson, Keith Scholey, Roy Conli Editor: Andy Netley Music: Harry Gregson-Williams Rated G, 76 minutes
  4. Marvel Studios head Kevin Feige is pulling back the curtain on the future of the Marvel Cinematic Universe following Avengers: Endgame. During a presentation for investors Thursday in Burbank, the exec touted several upcoming Marvel series for Disney+, Disney's upcoming streaming service. "These will be both new and continuing stories," said Feige. "These will be major storylines set in the MCU with ramifications that will be felt both through the other Disney+ series we'll be producing and the future on the big screen." He also revealed that WandaVision will be the title of a new series starring Paul Bettany and Elizabeth Olsen, in which they will reprise their film roles as Vision and the Scarlet Witch, respectively. "This story is definitely something unexpected and surprising, as well as something we could only do in a longform series," said Feige of the project, which has Captain Marvel screenwriter Jac Schaeffer serving as showrunner. Feige also revealed the studio would be debuting its first animated series What If, which is based off of the classic comic book series which looks at key moments in Marvel history and asks, "What if things had gone differently?" It will feature voice talent from Marvel's big-screen projects, and the first episode will ask what if Peggy Carter had taken the super soldier serum, leaving Steve Rogers as a scrawny kid who eventually joins the World War II fight thanks to a metal suit made by Tony Stark's father Howard Stark. Feige also spoke about several previously reported series, including one starring Tom Hiddleston's as Loki, while the presentation also revealed the title of Falcon & Winter Soldier, which will see Anthony Mackie and Sebastian Stan team up, with Empire's Malcolm Spellman set to pen the script. Though Feige did not mention the project, news broke Wednesday that Jeremy Renner's Hawkeye is also getting his own miniseries. Disney has not set dates for the series, but it is describing WandaVision, Loki and What If as launching during year two of Disney+. Falcon & Winter Soldier is expected for year one. The Disney+ plans come as the MCU is poised for a shake-up as it says goodbye to some of its key players with the April 26 bow of Avenger: Endgame. It also follows Netflix canceling its Marvel shows as the competing Disney+ streaming service nears its launch. The Netflix shows — such as Daredevil and Luke Cage — did not feature talent from the MCU's big-screen adventures, and though they were technically part of the MCU, they never felt like they truly affected the events of the films. Feige's comments on Thursday solidified the notion that the Disney+ shows will be marketed as essential viewing for MCU fans, rather than as the ancillary material the Netflix shows were often viewed as. "These shows will be on the same level of quality that you've come to expect [from Marvel Studios films]," said Feige. In addition to new streaming series, Disney+ will also be home to Marvel's films. Captain Marvel will be available on day one, as will films such as Iron Man, Iron Man 3 and Thor: The Dark World.Within the first year, projects such as Avengers: Endgame, Black Panther, Thor: Ragnarokand Ant-Man and The Wasp will also be available. Disney+ is set to launch Nov. 12 and will be priced at $6.99 a month, or $69.99 for a year.
  5. In the first week of availability, Avengers: Endgame sold five times as many tickets as Infinity War on Fandango. Anticipation for the culmination of the MCU's Infinity Saga has reached a fever pitch, as the film is only a couple of weeks away from hitting theaters. Disney, smartly, is running an extremely secretive marketing campaign that reveals the barest bones of the plot and may incorporate footage that's not in the final film. The strategy has only increased interest to see Endgame on opening weekend, and records are expected to fall. Due to it opening in China at the same time as most territories around the world, Endgame is poised to shatter the all-time domestic and worldwide opening weekend marks. The only real drama remaining is how much money the film will bring in during its debut. If the latest statistics are anything to go by, it's going to post numbers that were previously unthinkable. According to The Wrap, Endgame sold five times as many tickets as Infinity War on Fandango over the course of their respective first weeks. Unsurprisingly, "thousands" of screenings around the country are already sold out and some locations are opening at 4 am on April 26 to keep up with the demand. It's incredibly rare for a potential record-breaking film to exceed expectations, but that's exactly what's happening here. Even the most die-hard MCU fans couldn't have predicted Endgame would do this well in advanced ticket sales. The pre-sale figures are unprecedented, indicating Endgame is going to be a monumental cinematic event the likes of which this era has never seen. It even outpaced Star Wars: The Force Awakens in its first day. This isn't to say Endgame is going to approach the $936.6 million all-time domestic mark Episode VII set in 2015, but there's a realistic chance it crosses $300 million in a single weekend. Right now, the estimates are around $282 million domestic and $840 million worldwide, but it's difficult to get a solid read on things now. There was a time when some thought Kevin Feige's master plan of a shared universe was too ambitious to pull off, and even though the original Avengers came out just seven years ago, that feels like a very distant memory. The MCU is now the premier franchise in the movie industry, totaling a whopping $18 billion over 21 films, and several more to come on the way. It's incredible what the studio has been able to achieve over the past decade and with Endgame, they're set to reap the benefits of all their hard work. The Avengers 4 / Avengers: Endgame (2019) release date: Apr 26, 2019 Spider-Man: Far From Home (2019) release date: Jul 05, 2019
  6. AMC will serve up another helping of “Walking Dead,” launching a third series that tells the story of survivors in a world where a plague turns most of the civilized world into flesh-eating zombies. The new drama, which is as yet untitled, will stand alongside two other series in the franchise – “The Walking Dead” and “Fear the Walking Dead” – and allow the cable network to feature content from a growing “universe” of “Walking Dead” stories for the bulk of the year, according to executives from AMC Networks, the outlet’s parent company. The new series will debut on AMC in 2020. “This allows us to come to the marketplace with completely uninterrupted ‘Walking Dead’ universe content from post-Super Bowl Sunday to Thanksgiving,” says Scott Collins, president of ad sales for AMC Networks, in an interview. The new series will be built around two young female protagonists, says Sarah Barnett, the president of the company’s entertainment networks, who noted that some of the young women portrayed on the flagship series in the group in recent episodes “have resonated” strongly with audiences. She declined to elaborate, noting that Scott Gimple, chief content officer for the “Dead” franchise, was eager to keep details to a minimum. AMC is betting that a third series will have appeal at a time when ratings for some “Walking Dead” broadcasts have winnowed – a dynamic that is not atypical for a program that has been on the air since the fall of 2010, but is still concerning. “We believe in the underlying vitality of the ‘Walking Dead” universe,” says Barnett. “’Walking Dead’ itself continues to be the number-one show by some margin,” she adds. “This show just continues to be an incredible boon for us. It’s something another cable or streaming network would actually kill for.” Other than news and sports programs, episodes of “The Walking Dead” represented many of the most-watched broadcasts on cable in the current TV season. There’s good reason to keep the franchise going. “The Walking Dead” continues to be one of the most expensive programs for advertisers. A package of ads in “Dead” had an average cost of around $415,000 this season, according to media buyers. On TV, only NFL football broadcasts cost more. “Walking Dead” and “Fear the Walking Dead” attract some of the nation’s most prominent advertisers, according to ad-spendingtracker Kantar, including Apple. American Express, T-Mobile and Microsoft. A third series might help bring new ad money to the franchise as it matures. “Walking Dead” and “Fear The Walking Dead” captured $240.2 million in ad revenue in 2018, according to Kantar Media.. But that figure is down about 8.4% from the $262.1 million the two series captured in advertising in 2017. The new series will be co-created by Gimple, and Matt Negrete, who has been a writer and producer on “The Walking Dead” for the past five seasons and who will serve as showrunner. Produced by AMC Studios, the series will begin production on 10 episodes this summer in Virginia.
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