Month: August 2019

By Mildred Europa Taylor,

Scores of homeless people living in Atlanta in the U.S. will soon be able to sleep in new apartments, thanks to an initiative by the city to provide 550 homes for its homeless population.

There are currently 3,217 homeless people in Atlanta, half the number that was recorded a decade ago with the most difficult challenges being how to provide these people with the needed services and rental assistance.

Atlanta Mayor Keisha Lance Bottoms, who disclosed this on Wednesday, said about $25 million came from private donations while the United Way of Greater Atlanta partnered with the city to raise the money.

Bottoms, who was on the city council when the plan was approved in 2017, said the other half of the money came from the Homeless Opportunity Bond sale that started under the former mayor, Kasim Reed while the Ameris Bank made the final donation of $114,000.

In 2017, officials outlined the plan to raise $50 million for the new homes after they closed the city’s largest homeless shelter following reports of tuberculosis outbreaks in the 100,000-square-foot building that housed over 500 people a night.

Over the years, Atlanta has been addressing homelessness through the concept of rapid rehousing, which, according to AJC, recognizes that most homeless people are forced to the streets after a financial crisis. 

“The idea is to quickly provide a temporary home, which allows them to focus on rebuilding instead of where they will sleep,” AJC said.

“It is a miss-perception that many people have: that homelessness is represented entirely by the people they see on the streets,” said Jack Hardin, Co-Chair of the Atlanta Regional Commission on Homelessness. 

“A far larger proportion of people experiencing homelessness have incomes and function at very high levels, but live on the margins of the economics of our society and any hardship can derail.”

David Pratt, who has been in and out of the Bell Street overpass, a place home to scores of homeless people, is elated about the city’s initiative to take people off the streets.

“I think it would be nice for people to get nice housing for the people in Atlanta because they really need it,” Pratt said while stressing that people don’t want shelters but individual homes to call their own

“They want their own house. They don’t want to be their own program. They don’t want to be told what to do. That’s got a lot to do with why people are out here,” he said.

A report by 11 Alive said even though Atlanta’s homeless numbers pale in comparison to New York with 78,000 homeless, Los Angeles with about 50,000, Seattle with 12,000, and Washington with more than 6,000, the problem is still easily seen in Atlanta, especially downtown near the major hotels.

Original article was published here.

By Charles Solomon,

The charming animated short “Hair Love,” about a self-possessed African-American girl and her loving if slightly overwhelmed father, is the result of some unusual pairings. It’s an indie distributed by a major studio. And it was written by an ex-N.F.L. player who doesn’t have children and who directed in collaboration with veteran animators who do. 

On a special morning, Zuri, who has a winning smile and an exuberant mop of curls, wants to put her hair in a complex arrangement of braids, puffs and twists. Her millennial father, sporting dreads and a small tattoo, has never tried to style her locks. He watches a vlogger explain the necessary steps, then tackles a daunting array of products, combs and brushes to fulfill his daughter’s wish. 

“Hair Love,” which is showing with Sony’s “The Angry Birds Movie 2,” is the brainchild of Matthew A. Cherry, who spent three seasons as a wide receiver on various N.F.L. squads before turning to filmmaking. (His directing credits include episodes of “The Last O.G.” and other shows.) He’s not a father himself, but “I have a lot of friends who are young fathers,” he said in an interview. He added that, concerned as he was about the lack of representation in animation, “I wanted to see a young black family in the animated world.”

“Hair Love” offers the kind of inclusion audiences and others have been calling for in Hollywood. It joins a small but growing body of animated shorts in which artists from underrepresented communities tell specific stories onscreen with an honesty that makes them universal. Sanjay Patel’s Oscar-nominated “Sanjay’s Super Team” (2015) explored the conflict between an immigrant Indian father and his American-born son; Domee Shi won an Oscar for “Bao” (2018), in which a doting Chinese mother tries to keep her son from growing up.

With “Hair Love,” Cherry hoped to combat negative images. “Black fathers get one of the worst raps in terms of stereotypes — we’re deadbeats, we’re not around,” he said. “The people I know are extremely involved in their kids’ lives.”

Financed by a Kickstarter campaign that raised nearly $300,000, “Hair Love” attracted two noted African-American directors: Bruce Smith, the creator of “The Proud Family,” the award-winning 2001-5 animated show; and the veteran Pixar animator Everett Downing Jr., whose credits include “Brave” and “Up.” 

“I donated to the Kickstarter campaign the first week,” Downing said. “I felt a connection to the material.” He wound up joining the production through a Sony Pictures Animation executive who was serving as a producer of “Hair Love” in her spare time.

For Smith, the film “offered the chance to create subtleties and specificities that you normally don’t get in African-American animated characters.”

Downing added, “Bruce is a dad, I’m a dad: We’re black dads bringing that experience onto the screen. The character’s not trying to be a badass or a clown, he’s sharing a moment with his family.”

The filmmakers present the story almost entirely in mime. Zuriand her dad communicate through expressions and body language. The animation tells the story; there’s no need for words beyond that of the vlogger (voiced by Issa Rae of “Insecure”).

“Matthew’s story was very sincere, so we wanted a specificity in how the characters acted vs. the stereotypes we were trying to avoid,” Smith said. “There’s a scene where the dad sees his daughter’s tried — unsuccessfully — to style her own hair. He clasps his hands, looks forward and starts thinking, then he looks at his watch: That was Matthew Cherry in a meeting, thinking about what he wanted to do in that shot, then looking at his watch, ‘O.K., I’ve got to be somewhere.’ I told the animators, ‘You see what Matthew did? That’s what you do!’ I think those moments of spontaneity really come across in the film.”

It’s unusual for a studio to distribute an independent short, but the Sony executive, Karen Rupert Toliver, who was working on “Hair Love” as a side project, said that “to see the studio rally behind Matthew’s story and help him bring it to a wide audience on the big screen has been an inspiration.”

For Cherry, “this project has been the craziest thing I’ve ever been a part of, including playing professional football. Sony took a liking to it early on, and they’ve been really supportive from Day 1.”

He hopes to continue the story of Zuri and her dad, which has already been adapted into a children’s book. “We turned in the finished film at the very last possible minute,” he said. “Right now, we’re enjoying the response to it. When things settle down, we’ll start thinking about how we can continue the story.”

Original article was published here.

By Nellie Andreeva, Denise Petski

Viola Davis is set to portray Michelle Obama in First Ladies, a one-hour White House drama that has been put on fast-track development at Showtime with a three-script commitment. Davis will executive produce the project, which hails from writer Aaron Cooley (novels Four Seats: A Thriller of the Supreme Court, The Guns of Ridgewood), Davis and Julius Tennon’s JuVee Productions, Cathy Schulman’s Welle Entertainment (Otherhood), Jeff Gaspin’s Gaspin Media (LA’s Finest) and Brad Kaplan (The Intruder). Showtime and Lionsgate TV co-produce.

Written by Cooley, First Ladies is set in the East Wing of the White House, where many of history’s most impactful and world-changing decisions have been hidden from view, made by America’s charismatic, complex and dynamic first ladies. The series will peel back the curtain on the personal and political lives of our most enigmatic heroes, with Season 1 focusing on Eleanor Roosevelt, Betty Ford and Michelle Obama.

The idea for the series originated with Schulman, who was inspired by a spec script Cooley had written about Lady Bird Johnson. In line with the mission of Schulman’s company Welle Entertainment, which is dedicated to making female facing content, the series will look at American history presidencies through a female lens — the first ladies.

Cooley executive produces along with Davis and Tennon via their JuVee Productions, Schulman via Welle Entertainment, Gaspin via Gaspin Media and Kaplan via LINK Entertainment.

Material for First Ladies comes entirely from the public domain. Several years ago, Reese Witherspoon and Anonymous Content teamed to produce a  TV series based on Kate Andersen Brower’s bestseller First Women: The Grace & Power of America’s Modern First Ladies, with Robin Wright attached to direct and executive produce.

Davis stars in How to Get Away with Murder, which begins its sixth and final seasonthis fall on ABC. She and Tennon most recently executive produced with Steph Curry the documentary Emanuel, about the mass shooting at Emanuel AME Church on June 17, 2015. JuVee’s Davis and Tennon also are executive producing Fast Color, a TV series based on the 2018 sci-fi film, for Amazon.

Original article was published here.

By Rebecca Klar,

Former President Obama praised a North Carolina teenager for his “creative organizing” methods after the 17-year-old took advantage of the long lines at Popeyes to register people to vote on Saturday. 

“Saw this story of a young person doing great work and wanted to share it—keep it up, David! That’s some creative organizing,” Obama tweeted on Wednesday of David Ledbetter, a 17-year-old from Charlotte.

The lines at Popeyes had been unusually long after the chain’s new chicken sandwich launched an internet debate over fast food chicken sandwiches. 

Ledbetter, with the help of attorney Stephanie Sneed, who is also running for a seat on the school board, took the chance to talk to waiting customers and hand out voter registration forms and sample ballots.

“I like engaging with the community and I have aspirations with helping people and making society a better as a whole,” Ledbetter, a high school senior, told CNN. 

It was reportedly Ledbetter’s first time trying to register people to vote. 

He had previously launched an organization, Imagine This, which aims to promote “college and career readiness by serving high school students throughout the community,” according to its Instagram page.

Original article was published here.

By Maiysha Kai,

In 1955, Rosa Parks became a symbol of civil disobedience when her refusal to relinquish her seat sparked the Montgomery, Ala., bus boycott, a major turning point in the American civil rights movement. Now, Parks is being honored as the icon she is by another iconic brand, as a Barbie created in her likeness makes its debut today, Aug. 26, in conjunction with Women’s Equality Day 2019.

Per a release from the brand:

“Rosa Parks was an incredible heroine of her time. She fearlessly took a risk that would help change the status quo and pave the way for future generations. Her story is an inspiring example of bravely standing for what is right in the face of adversity.”

Debuting alongside a Barbie in tribute to pioneering astronaut Sally Ride, the two new dolls are part of Barbie’s “Inspiring Women Series,” which premiered on International Women’s Day 2018—the start of Barbie’s 60th year—with the intention “to honor historical role models who paved the way for generations of girls to dream bigger than ever before,” according to a release by parent company Mattel. The first round of dolls included likenesses of Amelia Earhart, Frida Kahlo and “Hidden Figure” Katherine Johnson; the addition of Ride and Parks presents even more opportunity for young Barbie enthusiasts to learn more about the most iconic and inspiring female figures in history through the magic of play.

From Mattel:

Barbie knows that showing girls more role models (historical and present) and telling their stories can help close the Dream Gap*. Last year, the original girl empowerment brand announced the Barbie Dream Gap Project, a multi-year global initiative to raise awareness around limiting factors that prevent girls from reaching their full potential.

For those curious about the meaning of the Dream Gap, the team at Barbie shared that “research has identified that starting at age five many girls are less likely than boys to view their own gender as smart and begin to lose confidence in their own competence. Cultural stereotypes, implicit biases, and representation in media deepen this issue.”

Created in partnership with the Rosa and Raymond Parks Institute for Self-Development, Parks’ doll features authentic clothing and accessories, as well as educational information highlighting Parks’ contributions to society. The Glow Up spoke with Anita Peek, director of the Rosa and Raymond Parks Institute for Self-Development, via email about the tremendous honor; while the woman called the “Mother of the Modern Civil Rights Movement” didn’t have children of her own, Parks demonstrated an unwavering commitment to children’s development and empowerment during her lifetime, as does the institute founded in her and her husband’s names.

“Because of the educational deprivation historically suffered by children of color, Mrs. Parks believed that education was the road to freedom,” Peek told us. “The Institute honors that mission every day with their programming and community outreach.”

Along with the unique honor of being immortalized as a Barbie, Parks will also be honored by the Library of Congress this year with a major exhibition of her written works. Peek told us the institute is excited to share Parks’ still reverberating impact with younger generations.

“[W]e hope that the Rosa Parks Barbie will spark conversations about her contributions to society and encourage future generations of girls to fearlessly stand up for what they believe in,” she said.

Original article was published here.

By Anne Branigin,

On Monday, Althea Gibson—the woman who broke the color barrier at tennis’ highest levels—received long-overdue recognition: a granite sculpture in her likeness at Arthur Ashe Stadium in Queens, N.Y.

The giant bust was unveiled on the first day of the 2019 U.S. Open, where Serena Williams, Naomi Osaka, Sloan Stephens, and Venus Williams—black women who have followed in Gibson’s formidable footsteps—will be taking the court for the first round of play.

“This is not just a player who won a ton of titles — this is someone who transcended our sport and opened a pathway for people of color,” Katrina Adams said, according to the New York Times.

As the first black U.S.T.A. president, Adams continued, “If there was no Althea, there’d be no me, because tennis would not have been so open to me. Everything she had to do was three times harder than it was for the normal person.”

Raised in Harlem, Gibson was the first black athlete to compete at the U.S. national championships in Forest Hills, before the Open era. She was also the first black player to play Wimbledon in 1951; seven years later, her finals win there made her the first black tennis champion in history.

Gibson was frequently compared to Jackie Robinson for her role in desegregating tennis, though unlike Robinson, Gibson rejected the notion of being an ambassador.

“I don’t consider myself to be a representative of my people,” she said in 1957, a year before her historic Wimbledon win. “I’m thinking of me and nobody else.”

Gibson was unconventional in other ways, forgoing the tailored dresses most women tennis players wore in the ’40s and ’50s for shorts and collared shirts. Her biography outside of the sport of tennis is downright stunning; in 1963, she became the first black golfer in the Ladies Professional Golf Association (LPGA). She also sang jazz and played the saxophone, according to a recent CNN profile.

Her talent was likely only matched by her ferocity—a trait that was very much a survival mechanism for a young Gibson. From the Times:

At age 13, Gibson dropped out of school to devote herself to street fighting, a basketball team called The Mysterious Girls and watching movies. Fearful of her father’s beatings, according to her autobiography, she lived for a while at the Society for The Prevention of Cruelty to Children.

At first she dismissed tennis as a sport for weak people.

“I really wasn’t the tennis type,” Gibson wrote in her book. “I kept wanting to fight the other player every time I started to lose a match.”

Despite her myriad accomplishments, Gibson made “virtually no money” from tennis, and spent decades living alone and in poverty before a fundraising campaign in the ’90s helped her bounce back during the final years of her life.

Still, given her role in shaping the sport, her name, image, and story aren’t as widely known as one might expect.

It’s fitting then, that young women touched by Gibson’s legacy were the ones who stood up for her and helped make the new statue possible. As the Times writes:

It was a group of female students from One Love Tennis, the organization that is restoring the Wilmington, N.C., property, that prompted Adams two years ago to take action to honor Gibson in New York.

“I had some 50 letters from those kids asking me why Althea was not recognized at the U.S. Open,” Adams said. “One of them wrote, ‘Can’t you even have a hot-dog stand in her name?’ And I’m thinking, yeah, I think we can do a little better than a hot-dog stand.”

Patrick Galbraith, USTA president and chairman of the board, noted in a statement shared with CNN that Gibson “made tennis a better place by opening doors and opening minds, doing so with grace and dignity.”

Tennis legend Billie Jean King seconded that feeling at today’s ceremony.

“Welcome home Althea Gibson,” she said. “A lot of us have waited a long time for today to happen. We’ve finally gotten over the finish line.”

Along with the new statue, created by sculptor Eric Goulder and weighing more than 18 tons, Gibson’s family is also trying to rename a segment of the West 143rd neighborhood where she grew up to “Althea Gibson Way.”

Original article was published here.

By Angela Helm,

After years, maybe decades, of family fare by the way of The Klumps, or Shrek’s donkey, genius comedian Eddie Murphy will be bringing that heat, and on the stage where he began as a 19-year-old, on a little show called Saturday Night Live.

Murphy, who spent about four seasons on SNL in the early 1980s became hands down its most famous and successful alum—which is saying a lot because the late-night laugh vehicle has sparked the careers of everyone from Tina Fey and Chevy Chase to Seth Meyers and Will Ferrell (and John Belushi, and Gilda Radner and Phil Hartman and others too many to mention).

On Monday, Saturday Night Live tweeted that the now 58-year-old father of 10 will be the host of the show’s Dec. 21 program.

The Daily Beast reports that Murphy has a unique history with SNL, in addition to outlining his upcoming projects:

Murphy, who is expected to make a long-awaited return to stand-up comedy on Netflix soon—and is starring in the new film Dolemite Is My Name for that same streaming service—last hosted the show on Dec. 15, 1984, one season after he left the show as a cast member. He also has the distinction of being the only person to host the show while he was still a cast member. When his 48 Hours co-star Nick Nolte got sick ahead of the Christmas episode in 1982, Murphy stepped in at the last minute, ending the cold open sketch that night by declaring, “Live from New York, it’s the Eddie Murphy Show!”

This looks like Murphy’s year. And hopefully, it will come a little harder than what he’s been dishing for the last 20 years.

Original article was published here.

By Nadia Neophytou

“Missy inspired a whole generation of women to find the confidence within themselves to go out and conquer the world unapologetically,” says costume designer June Ambrose.

It has been three decades since Missy Elliott first entered the music world with her all-female group Sista, recruiting neighborhood friend Timothy Mosley (a.k.a. Timbaland) as producer. Stepping out on her own with the release of her debut album “Supa Dupa Fly” in 1997, Elliott discovered her unique voice and style, transforming her into one of rap’s most prominent artists of all time. Four Grammy awards and over 30 million record sales later, Elliott will add the Michael Jackson Video Vanguard Award to her mantel come Monday’s MTV Video Music Awards.

To celebrate, MTV (in partnership with Pepsi) is a giving Elliott’s superfans the chance to throw it back and reflect on some of the 48-year-old star’s career highlights at a pop-up Museum of Missy Elliott, open on Saturday Aug. 23 and Sunday Aug. 24 in New York City. Tickets reportedly sold out in 60 seconds flat, with Elliott telling fans on Instagram to show up anyway, saying “You never know!”

Known for being hands-on involved in her costumes and outfits, Elliott has worked with costume designer June Ambrose, directors Hype Williams and Dave Myers, choreographer Hi-Hat, and make-up artists Billy B and Gloria Elias-Foeillet — all of whom created installations in the pop-up. Ambrose spoke to The Hollywood Reporter about Elliott’s style on a guided sneak-peek tour on Friday.

“Prior to 1997, I don’t believe there was any artist quite like Missy Elliott, both sonically and visually,” said Ambrose, who has worked with Elliott, from her debut solo single “The Rain” to 2015’s colorful, futuristic look for “WTF (Where They From)” to her “Throw It Back” video, out this week. “Missy’s audacity to be bold and different (and her sporty provocativeness) changed the narrative and redefined how women were viewed. Missy inspired a whole generation of women to find the confidence within themselves to go out and conquer the world unapologetically. Missy proved that one doesn’t need to fit into a box that society oftentimes attempts to put us in. That one can be both confident and unique and be able to achieve major success in the entertainment industry and beyond.”

Ambrose has witnessed Elliott’s approach to style and fashion firsthand. “Missy is a true visionary,” she says. “One thing that sticks out to me, whenever I’ve collaborated with Missy, is her ability to invent, receive and process creative inspiration from myself and others. Ultimately, her confidence, swag and conviction, her commitment to taking risks and pushing the boundaries, is what I believe makes her a true style icon.”

“Missy is so personable and warm and fuzzy and confident and shy, if that makes sense?” said Ambrose. “There’s a coyness to her. When you think about the word coy, Missy is the epitome. Clever but she still knows how to work it. Since I’ve known her, for over 22 years, she’s always been that way.”

Ambrose points to the “Lose It” music video, as an indicator of how ahead of her time Elliott has been. “We had a lot of girls dressed like boys, which is such a relevant moment as we talk about gender-bending and being gender neutral today. She was really on the pulse of that early, showing that girls can be in tank tops.”

Ambrose believes that’s part of why Elliott’s style changed hip-hop. “We were all about body image,” she says. “No matter what size you are, you can say confidently, ‘This is who I am.’ No matter what shape or size, color or gender, it doesn’t matter.”

At the pop-up, ticket holders can try on Elliott’s iconic garbage bag suit from her 1997 music video for “The Rain”; snap photos within installations from “Gossip Folks,” “Lose Control” and “Sock It 2 Me”; and hang out in the Supa Dupa Fly Lounge. There is even a manicure bar, so “If you a fly gal, get your nails done, get a pedicure, get your hair did,” as Elliott sings in “Work It.” Nail artists will help guests select customized nail art and sit at one of the “Missy” branded director’s chairs to receive the star treatment, while taking glam mirror selfies. Courtesy of mixed-reality company, VNTANA, the museum will also use immersive technology to create hologram-like images of stand-out moments from some of Elliott’s most popular music videos.

In the run-up to the VMAs, Elliott just dropped a new set of songs, the first since 2005’s “The Cookbook” and the new video for the single, “Throw It Back.” In the video, dancers jump rope with her braids and she gives new meaning to the term “snatching wigs.” Living up to her style icon title, Elliott rocks a monochromatic pink power suit, a chrome space suit, and a head-to-toe custom logo MCM x Misa Hylton look, created by her longtime stylist and MCM Global Creative Partner.

“This was so fun,” said Ambrose. “It was filled with a lot of collaborative moments, old school moments. The pom-poms that are actually red wigs was Missy’s idea. She loved the whole idea of girl’s snatching their wigs off. There’s a lot of shiny in there. I love shiny.  I did the shiny suits for Puffy, so I do love shine!  The moon suits were fun to design.”  

Hylton told THR that styling Elliott is always a shared effort. “Every moment working with Missy is amazing,” she says. “Her creativity is out of this world. She lives outside the box in everything she does and it’s never a dull moment with her.”

As for a favorite styling moment with Elliott, Hylton points to an Elle magazine cover in 2017. “There is a mistaken perception in the music industry that Missy is shy, but her reserve is more about valuing her personal space. If you saw the images, that shoot was an opportunity to showcase different facets of Missy’s personality — playful, sophisticated, yet still edgy.”

Elliott’s MTV honor comes in a year filled with recognition for her ground-breaking contributions to music. In May, the four-time Grammy Award winner was awarded with an honorary doctorate degree in music from the Berklee College of Music. In June, she became the first female rapper to be inducted into the Songwriter’s Hall of Fame.

The pop-up Museum of Missy Elliott, 632 Broadway in NYC, is open to ticket holders on Saturday, Aug. 24, from 11 a.m. to 7 p.m. and on Sunday, Aug. 25, from 11 a.m. to 6 p.m. The MTV Video Music Awards air on Monday, Aug. 26, at 8 p.m. ET.

Original article was published here.

By William Vaughan,

Grammy Award-winning musician and songwriter Raphael Saadiq is unveiling music from “Jimmy Lee,” his first new album in eight years, Aug. 23 at the El Rey Theatre. 

The Columbia Records release, a follow-up to 2011’s “Stone Rollin’,” is described as a deeply personal, musically ambitious work inspired by his brother’s struggles with addiction that explores the razor’s edge people walk as they pursue pleasure that leads to pain — a brilliantly incisive and empathetic work from a master at the peak of his art. 

Among the stand-out tracks on the self-produced album are the Prince-inspired lead single “Something Keeps Calling Me,” old-time gospel stirrer “Belongs to God,” the jazzy “Glory to The Veins,” and “Rearview” with a guest turn by Kendrick Lamar. 

Saadiq came up in the 1980s and 90s with the multi-platinum R&B group Tony! Toni! Toné! before embarking on a critically acclaimed solo career. He also has been active as a producer, co-writing career-defining hits for D’Angelo (“Untitled (How Does It Feel)”) and Solange (“Cranes in the Sky”) and working with artists like Snoop Dogg, Erykah Badu, Lady Gaga and Stevie Wonder. 

He has been named to Time magazine’s 100 Most Influential People list and in 2018, he received an Academy Award nomination (in addition to serving as the telecast’s musical director) in the category of Best Original Song for “Mighty River” from the film “Mudbound,” which he co-wrote with Mary J. Blige.   

As an additional perk to Saddiq’s many area fans, purchase a copy of “Jimmy Lee” Aug. 23 at Amoeba Music in Hollywood for tickets to an exclusive meet and greet with the artist at the store Aug. 28.

Original article was published here.

By Cydney Yeates,

The Proud Family set for epic comeback as Tommy Davidson confirms new Disney+ episodes

It’s been 14 years since the cartoon last hit our screens, but Tommy Davidson confirmed the exciting news that his character Oscar will be returning with the rest of the clan. ‘I forgot to tell you that, The Proud Family is coming back. Proud Family’s coming back,’ Tommy told Where Is the Buzz. ‘It’s on one of Disney’s streaming [services]. Yeah, Proud Family’s coming back. ‘They told me not to tell you. New episodes.’

The Proud Family follows 14-year-old Penny (voiced by Kyla Pratt), and her misadventures with her friends.

She always listens to and respects her parents Oscar and Trudy (voiced by Paula Jai Parker), but is a sucker for peer pressure and often winds up in trouble.

Disney+ is expected to launch in November later this year.

Original article was published here.