Los Angeles, Calif. – The previously postponed Kenny Loggins with Jim Messina Sittin’ In concerts at the Hollywood Bowl has now been scheduled to Thursday, September 22 and Saturday, September 24.
Tickets for Friday, July 15th will be honored at the Thursday, September 22nd concert. Tickets for Saturday, July 16th will be honored at the Saturday, September 24th concert.
Your tickets are valid for the new date with no action needed on your part. For other ticket options, including exchange, account credit, donation, or refund, please contact Audience Services at email@example.com.
If you were unable to make it to the July dates, and September works better for you, tickets will be back on sale for both nights at the Bowl!
50 years after their Hollywood Bowl debut, Loggins & Messina take their final bow. It was 50 years ago when Loggins & Messina played the Hollywood Bowl supporting their debut album Sittin’ In. Now, the duo reunites for two very special nights, celebrating the golden sound of the ‘70s with songs like “Danny’s Song” and “House at Pooh Corner.” Kenny Loggins closes the show with his greatest hits!
Celebrate National Roller Coaster Day with the most coasters on the planet at Six Flags Magic Mountain, the Thrill Capital of the World!
With a world-record 20 coasters, including the new WONDER WOMAN™ Flight of Courage and coaster legends like Twisted Colossus and X2 , plus pint-sized coasters like Canyon Blaster and Road Runner Express – there’s something for thrill-seekers of all ages!
Own your own roller coaster
Bring National Roller Coaster Day home with a Nanocoaster! Display a mini version of your favorite Six Flags coaster or collect them all and start your own pint-sized park. Get one at the Six Flags Merch store!
Hollywood, Calif. –Daniel Dover has established a career built on ingenuity, versatility, and his relentless attitude, which always kept him at the vanguard of his numerous mediums of choice. Whether it’s his wit and humor, technical prowess, or anything in between, Dover has plenty of rabbits in his hat to make his artistic undertakings successful. Dover has been compared to many famous street and visual artists; Banksy, Ron English, Tristan Eaton, and Basquiat, just to name a few. His eclectic styles say a lot about his creative journey, from exhibiting in his hometown of Tel Aviv, across Europe, and all the way to his current home in New York City, which he adores for all that it has to offer. Needless to say, he knows what it takes to make it in America.
When asked where he gets his inspiration from, Dover says, “It usually comes from weird interactions I see around me – the more awkward, the better. I try not to take myself too seriously, so I let my humor lead the way”. Daniel Dover’s sense of humor, much like his personality, is very sincere, direct, and self-aware, all qualities that can be seen throughout his long list of projects. He doesn’t want the accolades that come with being famous, to him it’s all about the work.
Part conceptual, part theory, Daniel Dover’s art comes from deep within his psyche. His most recent labor of love is his animated show, ‘Bernard & Ralph – and The Beach-House Gang’, which he created, produced, and published under the pen name ‘Ginz-Burg’. The show follows a group of dysfunctional animals, each representing various mental and social disorders, as they attempt to get their lives back on track while living together in a communal halfway house. Although the show deals with rather sensitive topics, such as depression, social isolation, and other mental issues, its humorous tone and quirky characters make these themes approachable for the viewer. This setting also provides a positive environment in which to engage with these subjects and examine them in a different light, ultimately offering an opportunity for catharsis.
Daniel Dover is continuing to produce ‘Bernard & Ralph – and The Beach-House Gang’ as a series of cartoon shorts, as well as actively working towards opportunities to turn it into a longer-form show. Dover is also developing several other cartoon show concepts, while also continuing to communicate with studios, as he’s always itching to bring his innovative arsenal of characters to life on a variety of platforms.
Daniel Dover’s current work in animation is a direct extension of the attitudes he embodied when he started his artistic career. In 2007, his street art series of gas-masked characters began to surface around Tel Aviv. Within the next two years, he became identified with a wide range of urban interventions, and his street art images grew increasingly diverse. One such artistic undertaking was his conception and painting of the animated escalators inside the entrance of Tel Aviv’s City Hall. Dover’s playful piece hit the internet and immediately went viral, and has also remained in commission to this day.
After moving to New York, Dover shifted his focus to animation projects, while still exhibiting his artwork in many various forms, with shows in Tel-Aviv, around Europe, and New York City. No matter the place, format, or subject, everything adds up to one prolific artist, willing to go the distance and do what it takes to bring his artwork to the forefront of his field. Whether it’s using spray paint, ink, ready-made sculpture or other media, Daniel Dover is a master of creating a visually sharp statement that projects a fragile truth about complex human and social systems. His work has been reviewed in many prestigious publications; Huffington Post, The LA Times, European Pressphoto Agency, The Guardian, and many more.
With such a wide range of exciting projects, it’s hard to know when and where Daniel Dover’s art will turn up next. This self-proclaimed workaholic has reinvented himself time and time again, and plans on providing his followers with many more surprises in the near future. His star sparkles proudly, and those in the know are collecting. Whether he’s painting art on the escalators at City Hall, curating a plastic zoo, or animating lovable eccentric characters, Daniel Dover’s art has no limits.
Daniel Dover Q & A:
What is it that you love about your job?
DD: Everything. I love coming up with silly ideas and seeing how far I can go with them. Since it’s hard for anyone to take these seriously, it is then my responsibility to somehow implement and produce them, just so I can prove they really work.
What are your first memories of any Visual Artists that you loved?
DD: My first memories are a little vague, but when I first moved to the maternity ward after being born – I think there was a lovely Monet reproduction hanging in the hallway. It looked a bit too spotty so I couldn’t make out all the details, probably on account of my eyesight still readjusting to the outside world. After that, mostly renaissance paintings; super detailed stories in one frame, high contrast lighting and darkness, free anatomy lessons – and best of all, lots of blood and violence. How can you go wrong with that? It’s the full package.
Why did you want to become a Visual Artist/Animator?
DD: It simply seemed like the best and quickest way to get attention. Also, I had a knack for good depth perception on account of being half-blind in one eye (it’s fine now).
If you were not an animator – what business would you be in?
DD: Sound engineering always attracted me a lot, as it’s also ridiculously laborious work and usually goes unrewarded for the most part, so the switch would come pretty naturally I suppose. Also, I really like playing with lots of buttons and switchboards.
What is your favorite cartoon?
DD: The Ren & Stimpy Show. It used to air just before bedtime when I was growing up, best nightmares ever.
Who are your favorite artists?
DD: Norman Rockwell, Edward Sorel, Ralph Steadman, Friedensreich Hundertwasser, Egon Schiele, and like a few billion others.
Who are your favorite animators?
DD: Tex Avery, Chuck Jones, and Max Fleischer.
What is your favorite type of animation?
DD: Traditional 2D animation, preferably on celluloid or wrinkly paper.
What advice would you give someone just starting out in the business?
Was there something pivotal in your life that changed the trajectory of your career?
DD: In my first year at kindergarten we were told to illustrate the story of a traditional holiday that was coming up. I continued to draw well after most kids had already exhausted their concentration, and when my mom came to pick me up, the teacher pulled her aside and said she was worried. Apparently, I was spending too much time on the task, and for some reason, I was drawing proportional characters with fingers instead of simple stick figures, which deeply concerned her. It felt nice to freak someone out using only pencil and paper, and I guess that’s when I knew what I wanted to do when I grew up.
How does being an Artist in New York City differ from anywhere else?
DD: Aside from the constant stream of inspiration coming from every direction, I find the hectic nature of the city really helps to keep one motivated, often to madness and obscene amounts of work hours, but still very productive nonetheless. Also, the paint is cheaper and the commissions are higher. It really is a win-win.
Do you have any favorite artists in New York?
DD: Edward Sorel, and Bill Plympton
Do you have any favorite artists in Israel?
DD: The New Barbizon Collective, and Maya Bloch.
What is a typical work day for you?
DD: Pretty much never-ending. My daily schedule varies by project. I try to keep a healthy routine of around 10 to12 hour workdays for the most part. During the mid-to-final stretch of a project, it usually deteriorates pretty quickly into 14 to 17-hour workdays. I also happen to like coffee a lot.
How do you see your career going in the next 5 years?
DD: I want to keep producing ‘Bernard & Ralph – and The Beach- House Gang’ as cartoon shorts, in hopes of turning it into a longer-form show given the opportunity. I would also like to keep developing several other cartoon show concepts I’ve been working on lately, ranging from bizarre adult cartoons to more traditional psychedelic stuff for kids.
What’s the funniest thing that happened to you while you were in your creative process?
DD: I think almost everything that happens is funny to me during the creative process. That’s just basically what it is, having fun with silly ideas, and then finding a way to implement them in a relevant and meaningful way, which is sometimes less funny, but still kind of necessary.
What is the most joyous time you have had so far in your career?
DD: Generally every time period where I was working non-stop. One of my favorites was definitely during the time I used to do street art around Tel-Aviv. It was kind of refreshing to get out of the studio for a while and breathe some fresh spray paint, and also fun since I got to hang out with friends and do a lot of physical exercise.
What’s your favorite thing about living in New York?
DD: Walking around the city streets and picking up funny ideas from weird and crazy sights along the way. I kind of like the weather too.
What’s your favorite color palette?
DD: I really like pop-y, desaturated palettes, like pastel pink, faded yellow, and sea-foam green. I just find it fits well with almost everything.
How does new technology affect you as an artist/animator?
DD: It doesn’t really; I still like traditional techniques for the most part. I already spent all this time learning them, might as well put them to use.
What’s your process as an artist?
DD: Neatly chaotic. When working on my own projects, the process does usually start with a silly idea or a joke. At certain times it’s immediately clear how to implement it as a visual image or the basis for a more comprehensive project. If not, I’ll tend to keep it as a note in my folders, in case it comes in handy for a different silly idea or future project.
What’s your process as an animator?
DD: Basically the same, but much more laborious. The joke really needs to be funny in order for me to get motivated enough to animate it. If it is, I work in a pretty traditional way; writing the story (if there is one), sketching out the shots and key poses in thumbnails, creating a preliminary soundtrack plus voices, and then hopefully not losing hope before I start fully animating the whole thing.
Where do you get the inspiration for your artwork?
DD: The issue for me is more about how to focus and decide on which inspirational whim I want to follow. There are endless sources really, varying from other visual artists, music, film, cartoons, or just weird human interactions all around.
Do you ever collaborate on any of your projects?
DD: I do try to keep a healthy diet of some collaborative work every now and then, as it gets a little tedious only working by myself all the time. Occasionally it’s fun to only do the design work if someone has a great concept that I connect with, and can find some way to contribute to.
How do you find your work?
DD: When it comes to my own projects, I usually just start doing them, and then hopefully find what to do with them along the way. In the freelance aspect, it’s usually word of mouth or someone who liked an older project and reached out.
What is your work ethic like?
DD: I really love what I do, so I dedicate myself to my work in a ridiculously unbalanced fashion, which is just the way I like it. I only wish I could do just a little bit more.
How did you get your start as an artist?
DD: After college, I was studying traditional animation by myself for a few months and wanted to take a short break before completely losing my mind indoors. I thought it would be a fun change to quickly do a little street art project I had previously planned, and things kind of took off from there.
Do you have a mentor in the business?
DD: I’ve had a few mentors over the years, mostly in regards to feedback about concepts and ideas for their implementation and production.
What kind of skill set does it take to be a visual artist?
DD: In my opinion; an original sense of aesthetics, good depth of field perception, and knowing how to tell a story or describe a certain feeling, whether in one frame or a bunch of them running fast (not too fast though, 24fps is just fine).
What kind of skills does it take to be an animator?
DD: Mostly dedication and keeping track of the frame count. Self- flagellation and tendencies for extreme isolation can also be valuable assets.
What influence did your siblings have on you?
DD: As the youngest of three brothers, I pretty much learned everything about culture and comedy from my siblings, tasteless as it was. When I started drawing more inspiration from other sources around me, I would still run it by them for quality control purposes and then try to gather feedback, a very merciless process I continue to this day.
Why did you want to move to the US?
DD: I always wanted to live in New York. When I first visited as a child and saw the Warner Brothers store on 57th street, it was kind of a done deal for me. Also, great jazz clubs.
What cities have you traveled to?
DD: I spent a lot of time traveling around Europe before moving to New York, so quite a bunch. Lucerne is probably the prettiest place I’ve ever visited, but it does get quite boring after 6:45 pm.
Define your style.
DD: All over the place, yet somehow still consistent and repetitive.
What would you say influenced you the most in your career trajectory?
DD: Definitely watching too many cartoons. In the first 15 to 18 years of my life, it seemed like a waste of time to the outside observer, but I finally proved them wrong.
How do you find your drive?
DD: During long midnight conversations with my guilty conscience.
What are your health regimes?
DD: Surprisingly strict. After losing function of my hand during a grueling period of overworking myself, I really had no choice but to start taking care of my body in a more responsible way. It’s quite awful and time-consuming, but seeing as I need my hand to complete most work, it’s unfortunately kind of necessary.
What kind of research do you do before a project?
DD: Endless. In most cases I like to use as much reference as possible and delve as deeply as I can into the world I’m about to visualize. Daydreaming comes in very handy during such periods of work.
Are you a good role model to others on your team?
DD: Yes, the best. Since I mostly work alone, it is up to me to push myself as hard as humanly possible. I think that’s a pretty good role model for myself if I may say so.
What types of meetings do you take before you start a project?
DD: In cases of freelance work, briefings, and brainstorming; and as much as possible. I like to gather as much information as I can to fully immerse myself in a project. Kind of like method actors but with less drama and weight-transformations.
Are you very hands-on?
DD: Extremely so, I’m ambidextrous. I even tried to animate an entire episode once using my feet, though it came out kind of wobbly, and also my pencils smelled a bit funny later.
Are you involved with a project from the very start?
DD: That is definitely the ideal case for me, as I like to work on development from the very first stages whenever possible. If it’s an interesting project that’s already in progress, I would certainly need to feel like I can actually contribute something meaningful, and hopefully not just be a session player.
What types of material do you use to make an art piece?
DD: I like to use a very wide variety of mediums, as I find the concept dictates the form in many cases. Pencils and paper will always be my go-to, with ink and watercolors coming in second place.
How long does it take you typically to complete an art piece?
DD: Hopefully around 3 to 14 days. Anything after that usually becomes muddy and incomprehensible.
How long does it take you to complete a project?
DD: It very much depends on the nature of the project, ideally around 8 to 12 weeks. The last one took 8 to 9 months, so it’s not exactly a precise science.
What has been your favorite project that you have worked on?
DD: ‘Bernard & Ralph – and The Beach-House Gang’. While also by far the most grueling one, it was a decade-long dream to produce, so I took great joy in every miserable moment.
Are you proud of your work?
DD: Almost always, at least somewhat, but it really depends. A buffer time period usually helps. I’ll often be dismayed by technical stuff I could and should have probably done better, but as far as subject matters and ideas go, I’m pretty content.
What museums do you like to go to in New York?
DD: The Metropolitan Museum is always hours of endless fun, but the Museum of Natural history gets the win because they have bigger dinosaurs.
Commemorate what would have been the 100th birthday of actor and singer Doris Day with a book signing of Doris Day: Images of a Hollywood Icon, followed by a screening of Day’s film Pillow Talk.
Los Angeles, Calif. – Doris Day and Rock Hudson joined forces onscreen for the first time in this classic widescreen romantic comedy that helped establish the stars as an iconic pair and earned Day her only Best Actress nomination.
Day plays Jan, an interior decorator who does not realize her new beau, a Texas rancher (Hudson), is actually the womanizing composer she’s unwillingly sharing a party line with. The witty script (by Stanley Shapiro and Maurice Richlin, with story by Russell Rouse and Clarence Greene) won an Oscar for Writing (Story and Screenplay – written directly for the screen) in a field of such eclectic and impressive nominees as The 400 Blows, North by Northwest, and Wild Strawberries. Additional nominations went to the colorful art direction, Frank De Vol’s peppy score, and the priceless Supporting Actress-nominated performance by the great Thelma Ritter.
Doris Day celebration continues with a book signing of DORIS DAY: IMAGES OF A HOLLYWOOD ICON (Hermes Press, 2022) on August 13, signed in-person by longtime Day associates and co-editors Jim Pierson and Lea Price, and special guest Jackie Joseph!
DIRECTOR: Michael Gordon. WRITTEN BY: Stanley Shapiro, Maurice Richlin. CAST: Rock Hudson, Doris Day, Tony Randall, Thelma Ritter. 1959. 110 min. USA. English. Color. Scope. 35mm.
Academy Museum film programming generously funded by the Richard Roth Foundation.
Los Angeles, Calif. – This August, the Academy Museum of Motion Pictures opens the exhibition Regeneration: Black Cinema 1898–1971, an in-depth look at Black participation and influence in American filmmaking, from the dawn of cinema in the late 19th century to the civil rights movements of the 1960s and their aftermath into the early ‘70s. The opening of the exhibition is complemented by Regeneration: An Introduction, a film series that highlights the groundbreaking pioneers and films explored in the galleries.
All screenings take place in our beautiful Ted Mann Theater (TMT) and David Geffen Theater (DGT). Regeneration: An Introduction kicks off with the world theatrical premiere of a “lost” film newly preserved by the Academy Film Archive. Additional brand-new Academy Film Archive-restorations will screen throughout the run of the exhibition. Select screenings include introductions, Q&As, and/or special guests, so please check our website for updates, download our digital film guide, or follow us @academymuseumscreenings on Instagram.
Fanny’s dinner service continues! Fanny’s restaurant is open Tuesday through Saturday 5:30pm to 10pm. For more information about Fanny’s and to book a dinner reservation, please visit the website here.
Technicolor Summer: Doris Day Matinees August 5–19
In celebration of what would have been Doris Day’s centennial year, the Academy Museum is proud to present a matinee series of some of the singer and screen legend’s best-loved films. The series comprises seven titles, including Pillow Talk (1959), which scored Day her sole Oscar® nomination for Best Actress.
The Academy Museum is honored to present a film series to accompany the landmark exhibition Regeneration: Black Cinema 1898–1971 that will cover the same 70+ year span as the exhibition, from cinema’s infancy in the 1890s to the early 1970s. The film series offers a closer look at the films highlighted in Regeneration, which explores the achievements and challenges of African Americans in the film industry. The series kicks off with the world premiere of Reform School (1939), a newly restored race film (movies made with all-Black casts that were distributed almost exclusively to Black audiences throughout the segregated United States) previously thought to be lost.
Family Matinees Ongoing
Every Saturday, the Academy Museum screens films for families of all ages. All movies in this series are rated G or PG, unless otherwise noted. The final Family Matinee of every month is an accommodative screening where we offer open captioning, keep the theater dimly lit, and maintain a lower volume for neurodivergent viewers. This August, we will screen movies chosen by Academy Museum staff. In September, we honor the centennial of the birth of screen legend Judy Garland.
The Academy Museum’s 2021–2022 programming is made possible by the support of our generous partners, including:
Museum film programming generously funded by the Richard Roth Foundation. Participant in support of programs that engage diverse audiences in the intersection of art and activism. Ruderman Family Foundation in support of Academy Museum inclusion initiatives and programming. Cinecittà in support of an annual programming series of Italian Cinema. Gigi Pritzker Pucker and the Pritzker Foundation in generous support of social impact programs. Alfred P. Sloan Foundation in support of Academy Museum programs focused on science and technology in film and the science and technology of film. Donors to our fund in support of AAPI programming, including Esther S. M. Chui-Chao, Julia and Ken Gouw, and Dr. Peter Lam Kin Ngok of Media Asia Group Holdings Limited. The generous support of Televisa Foundation-Univision in celebration of Mexican Cinema. Jacob Andreou and Carly Steel in support of Halloween film screenings.
Regeneration is co-curated by Doris Berger, Vice President of Curatorial Affairs at the Academy Museum, and Rhea Combs, Director of Curatorial Affairs at the Smithsonian’s National Portrait Gallery, with the Academy Museum’s J. Raúl Guzmán, Assistant Curator as well as Manouchka Kelly Labouba and Emily Rauber Rodriguez, Research Assistants. Regeneration is made possible in part by major grants from the National Endowment for the Humanities. Technology solutions generously provided by Christie®. Lead support provided by Campari®. Generous support provided by the National Endowment for the Arts, J.P. Morgan Private Bank, the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, and Octavia Spencer. Support also provided by Sybil Robson Orr, Daniel Allen Sims and Althea R. Miller-Sims, Lyndon J. Barrois Sr. and Janine Sherman Barrois, Chaz Hammel-Smith Ebert and Rogerebert.com, Morgan Freeman, Lori McCreary and Revelations Entertainment, Max and Kahlia Konan, Emma Koss, Alana Mayo, Mary Parent and Javier Chapa, Nina Shaw and Wallace Little, and Yeardley Smith. Exhibition programs are made possible in part by California Humanities, a non-profit partner of the National Endowment for the Humanities. Academy Film Archive restorations are funded in part by grants from the National Endowment for the Arts and the Capital Group Companies Charitable Foundation. Academy Museum Digital Engagement Platform sponsored by Bloomberg Philanthropies. Regeneration received the 2018 Sotheby’s Prize for curatorial excellence and for facilitating an exhibition that explores overlooked or underrepresented areas of art history.
Los Angeles, Calif. – John Mayer will be live-streaming his intimate ‘Rise For The River’ performances in Livingston, MT on nugs.net on August 8th, featuring both Bobby Weir & John Mayer and August 21st with John Mayer. A very limited amount of exclusive ‘Rise For The River’ merch will be available to purchase or bundle with livestream donations. *Event specific T-Shirt design for 8/21 to be announced.
Both streams will benefit the Park County Community Foundation and all proceeds will go directly to support a county greatly impacted by flooding and the resulting closure of the Yellowstone Park entrance that the local economy relies on.
“The Weeknd: After Hours Nightmare” Will Terrify Guests in an Unprecedented Experienceat Universal Orlando Resort Beginning September 2,and at Universal Studios Hollywood Beginning September 8. All Event Tickets are Now on Sale for Universal Orlando Resort and Universal Studios Hollywood Click Here to Purchase. Click Here for a Glimpse into the Macabre Mind of The Weeknd.
Universal City, Calif., Orlando, Fla. – For the first time ever, multi award-winning artist The Weeknd joins forces with Universal Studios’ Halloween Horror Nights to inspire all-new, terrifying haunted houses based on his record-breaking “After Hours” album. Beginning September 2 at Universal Orlando Resort and on September 8 at Universal Studios Hollywood, guests will spiral into the twisted mind of this mysterious artist to experience “The Weeknd: After Hours Nightmare.”
Global phenomenon, The Weeknd, is renowned for his groundbreaking music that blends daring, provocative lyrics with innovative sounds and ominous undertones. “After Hours” is The Weeknd’s fourth consecutive number one album and has spawned multiple chart-topping hits, including “Too Late,” “Heartless,” “In Your Eyes” and the wildly popular single “Blinding Lights” – which is ranked as the #1 Greatest Hot 100 Hit of All Time by Billboard. This fall, select tracks from the riveting album are being reimagined as a horror movie soundtrack for the outrageously haunting experience at Halloween Horror Nights.
The dark undercurrent behind The Weeknd’s enigmatic persona will permeate the all-new Halloween Horror Nights haunted houses on both coasts. With the eerie sounds of “After Hours” reverberating throughout the experience, guests will step into a surreal living nightmare filled with grotesque characters and themes inspired by The Weeknd’s music and short films. As they’re stalked by slashers, bandaged maniacs, gruesome toad-like creatures and other unfathomable horrors from the mind of the artist, guests will be challenged to survive the night while trapped within the terrifying, unexpected world of “The Weeknd: After Hours Nightmare” – a place that only exists in The Weeknd’s vivid imagination and from which one may never escape.
“I always wanted my own Halloween Horror Nights haunted house as Halloween has always been significant to my music, so this is a total dream come to life. I feel like my music videos have served as a launching pad for a collaboration like this, and I cannot wait for people to experience this madness!” said Abel ‘The Weeknd’ Tesfaye.
“We are thrilled to take guests inside of the mind of The Weeknd, who is a Halloween Horror Nights fan himself,” said John Murdy, Executive Producer of Halloween Horror Nights at Universal Studios Hollywood. “This is an unprecedented haunted house that is going to shatter the expectations of our guests and immerse them in an unforgettable experience that is equally unexpected and terrifying,” added Charles Gray, Senior Show Director for Entertainment Creative Development at Universal Orlando Resort.
All tickets are on sale now for Halloween Horror Nights at Universal Orlando Resort, which begins Friday, September 2 – including online savings on single-night tickets and a variety of Frequent Fear Pass options that allow guests to experience the horror on multiple nights. Guests can also stay close to the screams with vacation packages that include hotel accommodations, one-night admission to the event, tickets to all three Universal Orlando theme parks, and benefits exclusive to Universal Orlando hotel guests, such as Early Park Admission to the theme parks during the day and access to a dedicated Halloween Horror Nights entry gate at night. Plus, guests can take their visit to the next level with upgrades such as the guided R.I.P. Tour, Express Pass, the daytime, lights-on Behind the Screams: Unmasking the Horror Tour and Scareactor Dining – where guests can fuel up for the fear with a themed dinner buffet and special photo ops with scareactors on select nights. Annual passholder discounts on select products are also now available, and Florida residents can save on vacation packages when they stay two nights or longer. For more information on all offers and ticket products, click here.
Halloween Horror Nights at Universal Studios Hollywood begins on Thursday, September 8, and all tickets to the terrifying event are now on sale. Tickets purchased online or at the Universal Studios Hollywood front gate provide guests with Early Event Admission to select houses, beginning at 6pm each night of Halloween Horror Nights (subject to change). Universal Studios Hollywood offers a variety of Halloween Horror Nights ticket options, including General Admission, Universal Express, After 2pm Day/Night, the premium R.I.P. Tour and popular passes, Frequent Fear and Ultimate Fear, which allow guests to experience the scares again and again. Click here for more information about each ticket type and for terms and conditions.
Both events will run select nights through Monday, October 31, and more details and haunted houses will be revealed soon. For more information and to purchase tickets, visit www.HalloweenHorrorNights.com.
Santa Clarita, Calif. – The City of Santa Clarita’s fiscal year recently ended, and the film office saw record numbers in all categories when the final figures were tallied. The Santa Clarita Film Office issued 627 permits, leading to 1,729 film days, that generated $43.9 million in estimated economic impact to our local community from July 1, 2021, through June 30, 2022. Prior to the pandemic, the best fiscal year recorded was 2017/2018, with 560 permits issued, 1,377 film days recorded and an estimated $33 million in economic impact. The figures for 2021/2022 represent an 11 percent increase in permits, a 25 percent increase in film days and a 30 percent increase in the estimated economic impact when compared to fiscal year 2017/18.
Aside from the previous two years, which were affected by the pandemic, this is the seventh consecutive fiscal year the Santa Clarita Film Office has recorded more than 500 permits, over 1,300 film days and $30 million or more in estimated economic impact generated from location filming alone. Not included in the reported numbers are the film days and economic benefit from filming that takes place on certified sound stages, which do not require a film permit.
Many factors have contributed to the continued success and appeal of filming in Santa Clarita, including the City’s Film Incentive Program, Movie Ranch Overlay Zone, low-cost permit fees and expedited permit processing, along with the California Film and Television Tax Credit Program. The Santa Clarita Valley is also located within the entertainment industry’s coveted “Thirty Mile Zone” and offers thousands of film-friendly locations that can double as almost anywhere in the world.
Last year, countless television shows took advantage of all the Santa Clarita Valley had to offer, and more than half of the film days reported in 2017 were attributed to TV production alone. Locally based shows included “The Afterparty,” “Cesar Milan: Better Human, Better Dog,” “CSI: Vegas,” “Good Trouble,” “Holey Moley,” “NCIS,” “Mayans M.C.,” “The Old Man” “Promised Land,” “S.W.A.T.,” “Westworld” and “Wipeout.
Other shows that were filmed on location in Santa Clarita this past year include “9-1-1,” “9-1-1: Lonestar,” “American Horror Stories,” “Dead to Me,” “The Dropout,” “Euphoria,” “Hacks,” “Hell’s Kitchen,” “Impeachment: American Crime Story,” “Obi-Wan Kenobi,” “The Offer,” “Pam & Tommy,” “The Patient,” “Perry Mason,” “The Rookie,” “Rutherford Falls,” “SEAL Team,” “The Terminal List” and “This Is Us.”
Numerous feature films were shot in Santa Clarita in the last year, including “Don’t Worry Darling” and “Kimi,” which were filmed at local sound stages. “9 Bullets,” “Amsterdam,” “Breaking,” “Dog,” “Jackass Forever,” “King Richard,” “North of The 10,” “Purple Hearts,” “Wildflower” and more were filmed on location around town. In addition, many music videos, a lot of online content and plenty of commercials were created right here in the Santa Clarita Valley.
For more information about filming in Santa Clarita, please visit FilmSantaClarita.com or contact the Film Office at (661) 284-1425. For an insider’s view of filming in Santa Clarita, follow the Santa Clarita Film Office on Instagram (@FilmSantaClarita).
Los Angeles, Calif. – The Academy of Motion Picture Arts and Sciences has promoted Jenny Galante to Executive Vice President, Revenue and Business Development, Academy CEO Bill Kramer announced today. Galante will report directly to Kramer.
In this newly created position, Galante will drive global revenue growth for the Academy across platforms, including special events, Academy member initiatives, international programs, digital platforms, the Academy Screening Room, talent development and inclusion programs, and the Academy Museum, Margaret Herrick Library, Science and Technology Council, and Academy Film Archive. In addition, Galante will continue to oversee the Academy’s strategic brand partnerships and lead in the development of integrated marketing opportunities for Oscars® sponsors and advertisers.
“We are embarking on a new chapter of evolution and growth at the Academy, and this newly created position and department will play a key role in our advancement. Developing a healthy, diversified, and sustainable base of support is critical to the achievement of our mission,” said Kramer. “Jenny is an innovative, results-driven leader who will build upon her fundraising and revenue development successes to help define our future.”
“We are embarking on a new chapter of evolution and growth at the Academy.” – Academy CEO Bill Kramer
Galante joined the Academy staff in 2013 and most recently held the position of Senior Vice President, Business Development. Prior to joining the Academy, Galante managed corporate sponsorships for the Sundance Film Festival and Sundance Institute’s year-round artist programs and special events.
ABOUT THE ACADEMY The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the Academy Museum of Motion Pictures
Valencia, Calif. – WONDER WOMAN Flight of Courage – The World’s Tallest, Longest Single-Rail Coaster took flight today at Six Flags Magic Mountain, with its History-Making Record 20th Coaster.
Six Flags Magic Mountain, the “Thrill Capital of the World,” in partnership with Warner Bros. Themed Entertainment, makes history with the debut of WONDER WOMAN™ Flight of Courage, the world’s tallest, longest single-rail coaster, and a never-before-achieved milestone as the park’s record 20th coaster—the most at any theme park on the planet. Unlike any other ride experience at Six Flags Magic Mountain, WONDER WOMAN Flight of Courage propels riders single file on a nearly two-minute journey up a towering 13-story, 87-degree first drop and soaring at speeds up to 58 miles-per-hour over 3,300 feet of track.
Inspired by the power of WONDER WOMAN herself, the record-breaking coaster features five intense elements, including three dramatic inversions, through a series of dives, banks, rolls and turns. WONDER WOMAN Flight of Courage opened to the public on July 16, 2022.
“Wonder Woman Flight of Courage is unlike any other coaster at our park and delivers a unique and thrilling experience for our guests. Today we’re making history with the debut of our record 20th coaster, the most at any theme park in the world.” – Six Flags Magic Mountain Park President Don McCoy
WONDER WOMAN Flight of Courage is located in the newly themed DC UNIVERSE™ area of the park, an immersive, six-acre DC inspired land featuring an all-new themed portal entrance. The reimagined area is also home to the popular BATMAN™ The Ride and the renamed TEEN TITANS™ Turbo Spin. A new retail store, uniquely designed for guests as they exit both WONDER WOMAN Flight of Courage and BATMAN The Ride, features exclusive ride merchandise for both coasters, as well as other DC-branded merchandise.
“Today we’re making history with the debut of our record 20th coaster, the most at any theme park in the world. We are extremely proud to be the first theme park to accomplish this unprecedented and amazing feat as we add yet another world-class coaster to our iconic lineup,” said Six Flags Magic Mountain Park President Don McCoy. “Wonder Woman Flight of Courage is unlike any other coaster at our park and delivers a unique and thrilling experience for our guests. The expansion of DC Universe, one of our park’s most popular themed areas, highlights our dedication to creating new, immersive experiences and rides for thrill seekers of all ages,” he added.
Key features of WONDER WOMAN Flight of Courage include: • Four sleek trains of 12 passengers each sitting one rider per row along the monorail track; • 3,300 feet of single-rail, I-beam track; • Tension-building ascent up a towering, 131-foot lift hill; • Reaching speeds up to 58 mph; • Intense elements including a steep, 87-degree first drop and overbanked cutback; • Three dramatic inversions including a 180-degree stall, raven dive and zero-gravity roll; and • A themed entrance portal and queue inspired by the hidden island of Themyscira. Riders must meet the 48-inch height requirement. For more information about WONDER WOMAN Flight of Courage, please visit www.sixflags.com/magicmountain. About Six Flags Magic Mountain Six Flags Magic Mountain, known as the Thrill Capital of the World, is home to more than 100 rides, shows, and attractions, including world-class roller coasters like Twisted Colossus, Tatsu, Full Throttle, and X2. Like us on Facebook @sixflagsmagicmountain Follow us on TikTok @sfmagicmountain Follow us on Instagram @sixflagsmagicmountain Follow us on Twitter @sfmagicmountain About Six Flags Entertainment Corporation Six Flags Entertainment Corporation is the world’s largest regional theme park company and the largest operator of waterparks in North America, with 27 parks across the United States, Mexico, and Canada. For 60 years, Six Flags has entertained millions of families with worldclass coasters, themed rides, thrilling waterparks and unique attractions. Six Flags is committed to creating an inclusive environment that fully embraces the diversity of our team members and guests. For more information, visit www.sixflags.com.
About Warner Bros. Themed Entertainment Warner Bros. Themed Entertainment (WBTE), part of Warner Bros. Discovery Global Brands and Experiences, is a worldwide leader in the creation, development, and licensing of locationbased entertainment, live events, exhibits, and theme park experiences based on Warner Bros.’ iconic characters, stories, and brands. WBTE is home to the groundbreaking global locations of The Wizarding World of Harry Potter, Warner Bros. World Abu Dhabi, WB Movie World Australia, and countless other experiences inspired by DC, Looney Tunes, Scooby, Game of Thrones, Friends, and more. With best-in class partners, WBTE allows fans worldwide to physically immerse themselves inside their favorite brands and franchises.
About DC DC creates iconic characters, enduring stories, and immersive experiences that inspire and entertain audiences of every generation around the world and is one of the world’s largest publishers of comics and graphic novels. As a creative division, DC is charged with strategically integrating its stories and characters across film, television, consumer products, home entertainment, interactive games, DC UNIVERSE INFINITE digital subscription service and community engagement portal. For more information visit dccomics.com and dcuniverseinfinite.com.