‘Black Widow’ Scarlett Johansson Lawsuit: Actress’ Agent Slams Disney For “Direct Attack On Her Character” & Leaving Talent Out Of Streaming Profit Equation - Deadline

CAA co-chairman and Scarlett Johansson’s agent Bryan Lourd issued a statement Friday in response to Disney’s harsh slam against the Black Widow actress in her breach of contact lawsuit versus the Burbank studio.

On Thursday, Disney shamed the two-time Oscar nominee by saying her lawsuit showed “callous disregard” for the pandemic — the latter of which has been the studio’s excuse for taking Black Widow day-and-date in theaters on and Disney+ Premier. Disney also outed her $20 million salary for the film, which it claims that coupled with the Disney+ monies of the MCU title “significantly enhanced her ability to earn additional compensation.”

Below is Lourd’s statement:

I want to address the Walt Disney Company’s statement that was issued in response to the lawsuit filed against them yesterday by our client Scarlett Johansson. They have shamelessly and falsely accused Ms. Johansson of being insensitive to the global COVID pandemic, in an attempt to make her appear to be someone they and I know she isn’t.

Scarlett has been Disney’s partner on nine movies, which have earned Disney and its shareholders billions. The company included her salary in their press statement in an attempt to weaponize her success as an artist and businesswoman, as if that were something she should be ashamed of.  Scarlett is extremely proud of the work that she, and all of the actors, writers, directors, producers, and the Marvel creative team have been a part of for well over a decade.

This suit was filed as a result of Disney’s decision to knowingly violate Scarlett’s contract. They have very deliberately moved the revenue stream and profits to the Disney+ side of the company leaving artistic and financial partners out of their new equation.  That’s it, pure and simple.

Disney’s direct attack on her character and all else they implied is beneath the company that many of us in the creative community have worked with successfully for decades.

Johansson’s breach of contract lawsuit (read it here) was filed in Los Angeles Superior Court yesterday, and is the first public slam by a Hollywood star against a studio that’s reaping money by crushing theatrical windows at the expense of talent in exchange for spiking its stock price for the sake of its newfound streaming service. Disney’s stock price in the wake of Disney+ has hit a 52-week high of $203.02; shares are now trading at $176.90 at the time of this report.

The actress’ contract with Disney called for a wide theatrical release, much like other MCU movies. Reports have it that Johansson lost more than $50M in Disney’s dynamic window experiment, which yielded a first-weekend global PVOD and theatrical weekend for Black Widow of $218M. Black Widow will be lucky to hit $350M worldwide at the box office, a low gross for an MCU title, which typically churns out of late over $1 billion. The National Association of Theatre Owners slammed Disney during the pic’s second weekend for moving PVOD money forward. All of this means in the end that Black Widow will make less money in its total revenue life cycle. Universal’s F9, which has respected the theatrical window, looks to do double what Black Widow does at the global box office.

“It’s no secret that Disney is releasing films like Black Widow directly onto Disney+ to increase subscribers and thereby boost the company’s stock price – and that it’s hiding behind Covid-19 as a pretext to do so,” Johansson’s attorney, John Berlinski of Kasowitz Benson Torres LLP, said in a statement Thursday. “But ignoring the contracts of the artists responsible for the success of its films in furtherance of this short-sighted strategy violates their rights and we look forward to proving as much in court. This will surely not be the last case where Hollywood talent stands up to Disney and makes it clear that, whatever the company may pretend, it has a legal obligation to honor its contracts.”

Those profiting off Black Widow the most per the lawsuit are Disney titans CEO Bob Chapek and executive chairman Bob Iger, who reaped big money tied to the success of Disney+.

“Disney’s financial disclosures make clear that the very Disney executives who orchestrated this strategy will personally benefit from their and Disney’s misconduct,” as it identifies Chapek’s equity grants “totaling 3.8 times his $2.5 million base salary” in 2021, with the “primary justification” for that award being the launch of direct-to-consumer services. The lawsuit also notes that Iger received the “overwhelming majority” of his $16.5 million compensation in the form of stock grants, with the company’s annual report citing the growth of Disney+.

Johansson has had starring credits in seven MCU movies that have amassed $10.3 billion at the global box office. Separately she had a voice-over role in Disney’s live-action version of The Jungle Book which grossed $966.6M WW, and their Searchlight acquired Oscar-nominated Jojo Rabbit which made $90.3M WW.

Ted Johnson contributed to this report.

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Amanda Knox claims 'Stillwater' is profiting off her life - CNN

Knox and her former boyfriend Raffaele Sollecito were convicted and later acquitted in an Italian court for the 2007 killing of Knox's roommate, Meredith Kercher, in Perugia, Italy, where Knox was a student.

"Stillwater" director Tom McCarthy has said Knox's case inspired the storyline.

Of the movie, Knox tweeted Thursday: "Does my name belong to me? My face? What about my life? My story? Why does my name refer to events I had no hand in? I return to these questions because others continue to profit off my name, face & story without my consent. Most recently, the film #STILLWATER"

Knox said that she "would love nothing more than for people to refer to the events in Perugia as 'The murder of Meredith Kercher by Rudy Guede,' which would place me as the peripheral figure I should have been, the innocent roommate."

Knox also invited McCarthy and Damon to join her on her podcast "Labyrinths," to discuss the events in the film.

"By fictionalizing away my innocence, my total lack of involvement, by erasing the role of the authorities in my wrongful conviction, McCarthy reinforces an image of me as a guilty and untrustworthy person," Knox said of a twist ending in the movie.

"I have not been allowed to return to the relative anonymity I had before Perugia," Knox said. "My only option is to sit idly by while others continue to distort my character, or fight to restore my good reputation that was wrongfully destroyed."

Knox, whose case was a media sensation in Italy, spent 4 years in an Italian prison before being fully exonerated.

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Ted Lasso Recap, Season 2, Episode 2, "Lavender" - NPR

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Jason Sudeikis and Juno Temple as Ted and Keeley in Ted Lasso. Apple TV+

Apple TV+

This is a recap of the second episode of season 2 of Ted Lasso. You absolutely should not read it if you don't want to be spoiled. You've been warned!

Game Highlights

Jamie Tartt has hit bottom, but is it too late for him to return to AFC Richmond? Maybe not, but the team is not warm to the idea. Elsewhere, Roy Kent finally finds something to do when coaching season is over.

Play-By-Play

If last week was a Tartt-let, this week is a Tartt-splosion, as we finally get to spend some time with Jamie Tartt, the undeniable hottie and unrelenting goober who left AFC Richmond for Manchester City, then beat his old teammates in the last game of season 1 — by finally following the wisdom of Ted Lasso.

When we last saw him in last week's premiere, Jamie was thriving on the reality show Lust Conquers All, but this week, he's getting voted off. Later asked on This Morning whether he intends to keep his promise to wait for contestant Amy, he says, "No, I was just playing the game, do you know what I mean? Find the fittest girl there, have sex with her in a toilet, ask her to marry you. Strategy." Despite the fact that Jamie has astutely described the "strat-eh-geh" of many a dating show, this answer makes him a pariah.

As it turns out, Jamie bailed on Man City to do the show, so that bridge is burned. That move, together with behaving like a pig on television, has made him radioactive. Apparently, part of his Lust strategy was also "jacuzzi sex" with Denise when he was supposed to be involved with poor Amy. And honestly, if he did have sex with Amy in a toilet, it seems like Denise got the better part of that deal. As good as Jamie is, given all this, his agent can't get him another contract. To his horror, Jamie is being passed off to a new agent who will focus on his television opportunities, like a reality show in Ibiza (she asks, "How do you feel about taking ecstasy every night for three straight weeks?").

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Jamie Tartt is back after a season of being hot instead of playing football. Apple TV+

Apple TV+

Disheartened, Jamie tracks down Keeley and admits that he wants to come back to Richmond. She directs him to Ted, and when he admits that he only did the reality show to annoy his father, Ted is sympathetic but turns him down. Unfortunately, it's too late: The team saw a picture on social media of Ted and Jamie together and assumed a return was in the offing, and they're angry. "No teammate has ever made me feel as bad about myself as Jamie did," Sam tells Ted. Ted reassures Sam that it's not happening, Sam is relieved, and the subject seems closed.

But wait! The reassured Sam tells Ted how much it means to his father that he's "in safe hands" with Ted, and that reminds Ted of Jamie's lousy father. And so, after a reminder from Dr. Sharon that Richmond might be happy and harmonious but it's also winless, Ted delivers Jamie and his little headband to practice after all. It's clear that Jamie Tartt has a lot of work to do with the team to regain their trust. A lot.

Roy finishes up his season coaching his young team and its star Kokoruda, and it's not clear what he's going to do with himself now other than cooking for Keeley from the book of Nigella. Speaking of cooking (of a sort), he comes home from the team's final game and is intrigued to find Keeley partaking of some erotica, until he discovers that said erotica is a video replay of him weeping at his retirement press conference. He's horrified, but she explains that she misses seeing him passionate about something, and adds that even Jamie is at least trying to get back to something he cares about. Roy, though hesitant, agrees to try an appearance as a sports commentator. It's no surprise to Keeley that his commentary is so blunt (and profane) that he's a hit out of the gate.

Elsewhere, Higgins has hired Dr. Sharon for the full season, and her detached professionalism continues to unnerve Ted, particularly when she doesn't want him bursting into her office with Ted-like energy asking about her favorite book, and his effort to woo her with biscuits as he did with Rebecca is not a success. Rebecca shares Ted's skepticism about therapy, taking the position that therapy is for people who don't have good friends to listen to them. But if that's the case, and if they agree that they're friends, why don't Rebecca and Ted want to open up to each other? Curious.

In the end, Dr. Sharon allows Ted to call her "Doc" and admits that her favorite book is The Prince of Tides, so maybe there's hope for this very odd couple.

Other stories to keep an eye on:

• Nate's still coming down hard on young Will, this time for using lavender fabric softener on the team's laundry, which Nate claims will throw off the players. Coach Beard says it smells like a "Parisian bedroom"; Ted goes with "my Nana's house."
• Keeley is helping Rebecca with her online dating profile, which they agree can say Rebecca is rich, but not filthy rich.
• Higgins gave Dr. Sharon his office, and he definitely doesn't want to take Caroline's in ad sales, because she's near "Laughing Liam." (If there is not a GIF of Rebecca and Higgins imitating Laughing Liam within 15 minutes of this episode becoming available, I'll be bitterly disappointed.) Ted finally assigns Higgins to share Nate's office. Nate, still not exactly an example of a graceful ascent to power, is not thrilled.

This Week In Ted

Peak Ted

"The vibrations really help out my butt."

Analytical Ted

"You two are like Frank Sinatra and Ava Gardner, you know? Or Frank Sinatra and Mia Farrow. Or Frank and ... actually, you know what? I'm starting to realize that Ol' Blue Eyes might have skewed mercurial."

Random Ted

"Most of my conspiracies revolve around the Freemasons on account of a couple different Disney cartoons I watched a bunch as a kid."

Referential Ted

The Fountainhead, Ricky Bell, Led Zeppelin, Cheers, Curb Your Enthusiasm, The Good Place, Julia Louis-Dreyfus, Bono, The Joshua Tree, Nando's Peri-Peri, Jimmy Buffett, Bernie Mac, Van Gogh, Li'l Bow Wow

Line Reading Of The Week

"Perchance to dream here."

Fashion Bonus

Keeley's ensemble of the black-and-white dress and the blue fur coat would look like a mod Muppet on a lot of people, but on her, it seems perfectly fresh and delightfully different.

Assist of the Week

Brendan Hunt as Coach Beard (doing just beautiful, deeply hilarious work this season, much of which is silent). When Nate complains about the supposedly calming lavender by saying, "You don't want calm athletes, you want killer athletes," Coach Beard comes back with, "Even after they shower?"

Stealth MVP

Jamie's agent is played by Raffaello Degruttola, who brings down the house (or at least brought down my house) with this line to a dejected Jamie: "You know you're like a son to me. Now you're like a dead son. Which means I love you even more."

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Disney's Brutal Response to Scarlett Johansson Suggests Ugly Legal Fight - Newsweek

Disney's response to Scarlett Johansson's lawsuit over Black Widow's streaming release has fans predicting an ugly legal fight between the actress and House of Mouse.

The latest Marvel blockbuster has not been performing well after a successful first weekend at the box office and Johansson is taking Disney to court over it.

In a lawsuit filed Thursday in Los Angeles Superior Court, Johansson's legal team alleges that the star's contract was breached when the studio streamed the movie at the same time as its theater release.

Johansson's attorneys say that this affected ticket sales for the movie's theatrical release, thus impacting the star's compensation which they say was tied to Black Widow's box office performance.

"Disney intentionally induced Marvel's breach of the agreement, without justification, in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel," the suit reads, per Variety.

The film premiered simultaneously on Disney+, for $30, and in theatres earlier in July.

Despite setting a box office record for releases during the pandemic, grossing $218 million in its first weekend and pulling $60 million on the streamer, ticket sales then subsequently sharply declined.

Scarlett Johansson as Natasha Romanoff in "Black Widow." Disney

The film is currently grossing $319 million globally—putting it on the path to end up being one of the lowest-grossing Marvel movies ever.

Johansson's attorney, John Berlinski of Kasowitz Benson Torres LLP, said in a statement: "It's no secret that Disney is releasing films like Black Widow directly onto Disney+ to increase subscribers and thereby boost the company's stock price—and that it's hiding behind COVID-19 as a pretext to do so.

"But ignoring the contracts of the artists responsible for the success of its films in furtherance of this short-sighted strategy violates their rights and we look forward to proving as much in court. This will surely not be the last case where Hollywood talent stands up to Disney and makes it clear that, whatever the company may pretend, it has a legal obligation to honor its contracts."

Disney responded with a brutal statement, labeling Johansson's lawsuit "distressing"— suggesting the studio has no intention of backing down.

"There is no merit whatsoever to this filing," Disney said in an uncharacteristically blunt statement. "The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic."

The Disney spokesperson continued, per Deadline: "Disney has fully complied with Ms. Johansson's contract and furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20M she has received to date."

The response from Disney has shocked many people, with some criticizing the studio on social media.

"If Disney can do this to Scarlett Johansson—a Big Name—imagine what they're able to do to creators/actors with a lot less power and money," tweeted film producer Mallory Yu. "There are implications to this breach of contract beyond ScarJo herself, or even the convenience (& safety) of home streaming."

If Disney can do this to Scarlett Johansson - a Big Name - imagine what they're able to do to creators/actors with a lot less power and money.

There are implications to this breach of contract beyond ScarJo herself, or even the convenience (& safety) of home streaming. https://t.co/J09wuO5ZfB

— Mallory Yu (@mallory_yu) July 29, 2021

She added: "As has been pointed out: media corporations like Disney have a long history of contracts that prioritize corporate profits over creator equity. Demand for streaming options isn't going away, so what effects will this case have on future/current contract negotiations?"

While another Twitter account, that focuses on legal content tweeted: "when someone says you breached a contract and you start talking about global pandemics you 100% breached that contract."

when someone says you breached a contract and you start talking about global pandemics you 100% breached that contract https://t.co/eXhc1Jz6OF

— Law Boy, Esq. (@The_Law_Boy) July 29, 2021

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Amanda Knox blasts Matt Damon flick ‘Stillwater,’ claims it’s cashing in on her wrongful conviction - Fox News

Amanda Knox lashed out at the new Matt Damon film "Stillwater" — claiming the movie profits off her real-life struggle for a wrongful murder conviction.

The 34-year-old lamented how her name continues to be associated with a killing she didn’t commit – and is now linked to a film she had no part in making.

"Does my name belong to me?" she wrote in a Thursday tweet storm. "My face? What about my life? My story? Why does my name refer to events I had no hand in? I return to these questions because others continue to profit off my name, face & story without my consent. Most recently, the film #STILLWATER"

Knox also took issue with the fictionalized character she now feels associated with because the film’s ending veers from actual events in a sinister twist.

MATT DAMON'S ‘STILLWATER’ BANKING ON THEATERS-ONLY RELEASE

Knox and Raffaele Sollecito were twice convicted and later acquitted in the 2007 killing of Knox’s roommate Meredith Kercher in Perugia, Italy. Although "Stillwater" largely fictionalizes the case, director Tom McCarthy has said Knox’s case inspired the storyline and reviews and promos of the film have noted the premises’ similarity to what happened to Knox.

The exoneree took issue with a Vanity Fair article that referred to the case as "the Amanda Knox saga."

"I want to pause right here on that phrase: ‘the Amanda Knox saga,’" Knox said. "What does that refer to? Does it refer to anything I did? No."

"It refers to the events that resulted from the murder of Meredith Kercher by a burglar named Rudy Guede," she went on.

"It refers to the shoddy police work, prosecutorial tunnel vision, and refusal to admit their mistakes that led the Italian authorities to wrongfully convict me, twice. In those four years of wrongful imprisonment and 8 years of trial, I had near-zero agency.

Amanda Knox attends a cocktail for the opening of the Innocence Project conference, in Modena, Italy, Thursday, June 13, 2019. (Associated Press)

Knox shared a headline from The Post that read "Man who killed Amanda Knox’s roommate freed on community service" as an example of how her name continues to be tied to the killing.

"I would love nothing more than for people to refer to the events in Perugia as ‘The murder of Meredith Kercher by Rudy Guede,’ which would place me as the peripheral figure I should have been, the innocent roommate," she said.

"But I know that my wrongful conviction, and subsequent trials, became the story that people obsessed over," she went on. "I know they’re going to call it the ‘Amanda Knox saga’ into the future."

She then requested that people be conscious of how they discuss the events – and recognize that it’s not her choice that the focus remains on her.

The exoneree also challenged director McCarthy and star Matt Damon to join her on her podcast "Labyrinths."

The character in "Stillwater" is shown to have a sexual relationship with her roommate, while Knox said she was "nothing but platonic friends’ with Meredith, she said. And the movie’s finale paints the character as "the tabloid conspiracy" guiltier version of Knox, she said.

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"By fictionalizing away my innocence, my total lack of involvement, by erasing the role of the authorities in my wrongful conviction, McCarthy reinforces an image of me as a guilty and untrustworthy person," she said.

"I have not been allowed to return to the relative anonymity I had before Perugia," Knox said.

"My only option is to sit idly by while others continue to distort my character, or fight to restore my good reputation that was wrongfully destroyed."

A spokesperson for Focus Features couldn’t be reached Thursday night. The Post has reached out to Damon’s publicist for comment.

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'The Green Knight' review: Dev Patel wows in a gorgeous fantasy - New York Post

As far as King Arthur films go, “The Green Knight” has a lot more in common with “Monty Python and the Holy Grail” than most newer, high-energy takes, such as Guy Ritchie’s “King Arthur: Legend of the Sword.”

Running time: 125 minutes. Rated R (violence, some sexuality and graphic nudity.) In theaters.

That’s not to say there are shrubberies, coconuts and Tim Curry, but there is almost no action in this movie. No long, swashbuckling sword fights. No fast-paced chases on horseback. The score is medieval — think lutes and harps — not modern. The journey of Sir Gawain (Dev Patel), one of the Knights of the Round Table, is a quest in the most pastoral sense. 

And damn is director David Lowery’s forrest-filled movie beautiful to look at.

Dev Patel goes on a quest to meet his maker in “The Green Knight.”

Courtesy Everett Collection

This telling of the tale sees the young Gawain desperate to become one of King Arthur’s brave soldiers. In a bold move, although we meet Arthur, Queen Guinevere and Morgan le Fay, their names are never uttered. This is the Gawain Show.

During a Christmas feast, a fearsome warrior on horseback called the Green Knight, who looks like the not-so-Jolly Green Giant, stomps in and challenges any man to a little game. If his opponent can strike him with their sword, they will meet again in a year where he will return the favor.

Gawain, wanting to be seen as brave and honorable by the king, accepts the invitation and chops off his head. A year later, he journeys to the Green Chapel to accept his fate.

It’s a simple story that could easily be told in 20 minutes. So, Lowery fleshes it out, not with monologues or layered backstory, but with breathtaking imagery.

Fog sweeping across a corpse-strewn battlefield, giants marching through mountains, the severed head of a girl becoming a fleshless skull, a sinister blindfolded woman — they all lodge themselves in your mind.

The frightening Green Knight challenges Gawain (Dev Patel) to a game.

Courtesy Everett Collection

The film seizes Lowery’s best skills as a director: his eye for innocence and nature (“Pete’s Dragon”) and how he uses slowness to deepen a story (“The Old Man and the Gun”). That said, “The Green Knight” is a bit long for what it is, but at least it’s time spent in the company of the excellent Dev Patel.

The 31-year-old actor has been segueing, quite seamlessly and brilliantly, into classical roles. His vulnerable, determined, nervous Sir Gawain comes on the hooves of his ebullient Dickensian hero in “The Personal History of David Copperfield,” which was also a joy to watch.

Patel is an actor who can do just about anything. I’m shocked Marvel hasn’t come banging down his door.

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Disney Hits Back at Scarlett Johansson's Black Widow Lawsuit: There Is No Merit Whatsoever - MovieWeb

If Scarlett Johansson's lawsuit against Disney over the studio's dual release of Black Widow in theaters and on Disney+ simultaneously hasn't caused enough fuss on its own, the corporation has fired back a scathing response, in which they branded the actress "callous" and even went to the unprecedented lengths of revealing just how much money the actress has made from the movie to make their point.

In the lawsuit filed today, Johansson made the claim that the release of the movie on Disney+ breached her contract and caused a loss of theatrical revenue that she would have received if the movie had been released only in cinemas.

RELATED: Disney Gets Sued by Scarlett Johansson Over Black Widow Disney+ Streaming Release

A spokes person for the Walt Disney Company said, "There is no merit whatsoever to this filing. The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the Covid-19 pandemic. Disney has fully complied with Ms. Johansson's contract and furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20M she has received to date."

The simultaneous release of Black Widow on Disney+ Premier Access was the biggest Disney release to use the day and date strategy, although it was not alone in doing so, with Warner Bros. allowing many of their big films such as Godzilla vs Kong streaming on HBO Max for a rental fee from the same date as the movie launched in cinemas. The necessity to allow people to rent movies at home rather than being forced to go to the theater was born from a public trepidation over returning to the confines of a cinema screen while the Covid pandemic continued to rage across the world.

The lawsuit claims that Disney used the movie to build their streaming service subscriber numbers and give its stock price a boost coming out of the pandemic, but it goes on to say that the company's move is at the expense of Scarlett Johansson whose "compensation would largely be based on box office receipts". It went on to say that the actress has been given a promise that the movie would be a theatrical release, which has been broken.

In a statement, Johansson's lawyer, John Berlinski, said , "It's no secret that Disney is releasing films like Black Widow directly onto Disney+ to increase subscribers and thereby boost the company's stock price - and that it's hiding behind Covid-19 as a pretext to do so. But ignoring the contracts of the artists responsible for the success of its films in furtherance of this short-sighted strategy violates their rights and we look forward to proving as much in court. This will surely not be the last case where Hollywood talent stands up to Disney and makes it clear that, whatever the company may pretend, it has a legal obligation to honor its contracts."

With Disney coming out fighting and going on record to disclose that actress' $20 million paycheck so far, a move that is usually unheard of in the secretive world of moviemaking, it is clear that the House of Mouse will not be taking this one lying down. This news arrives via Deadline.

Topics: Black Widow, Disney, Disney Plus

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