• As earning seasons reporting continued, NewsCorp came out on the winning side of the ledger, with profits up 11 percent in the past quarter with the picture for broadcast turning around. "The best results we've seen in seven quarters," is how Rupert Murdoch described the broadcast numbers. The company's dark cloud in the cheer: MySpace, which is failing to meet the deliverables in its deal with Google. "With MySpace, we are in a state of transition," was how NewsCorp's CEO described the once mighty social networking site's search for a new raison d'etre. And you know how those states of transition go online...[Variety]

• Taking those numbers with others from this earnings season, The Wrap is ready to call it a "media rebound." [The Wrap]

• Just when he seemed to be getting a head of steam on a good post-Oscar win bout of paralysis and indecision, one of Hollywood's finest traditions, director Danny Boyle has cut the party short by announcing his next film. And what could be a more obvious story to tell than 127 Hours, the true tale of a hiker trapped under a boulder who eventually cuts his arm off to escape? [Variety]

• The troubled pre-season of The Tourist may now have a A list team attached. Johnny Depp is in talks to star opposite Angelina Jolie in the film. Earlier star Sam Worthington and director Florian Henckel von Donnersmarck both removed themselves from the project over "creative differences." [Variety]

• Continuing the Jackson watch, the movie has thus far brought in $125 million internationally. [The Wrap
]

• Disney has settled the lawsuit brought against it by the makers of the Luxo Jr. lamp that has become the Pixar trademark. Rather than celebrating the celebrity brought to it by its high profile association, the Swedish company that manufactures Luxo sued for trademark infringement after Pixar included copies of the lamp in special editions of the Up dvd's, saying Pixar's unauthorized use of their product would "cause devastating damage to Luxo and dilute the goodwill which Luxo has built up." [Hollywood Reporter]

1) Up — $68.2 million
One stormy night many years ago, a small car drove up to a menacing, crooked old house far in the dirty outskirts of a crumbling, decaying American city. A man emerged from the car, walked up to the door, and tentatively knocked. After a long wait—he thought about leaving, he wanted to leave, but something compelled him to stay—a strange, bent old man answered the door. "Come in out of the rain," he croaked to the weary traveler. "My master shall see you in the parlor." He led the traveler through the dimly lit, cobwebbed rooms and finally there was a roaring fire and a huge armchair. In which sat a man of indeterminate age—was he young? or old? middle-aged? The traveler couldn't quite tell. "Sit down," the ageless man purred, like three voices talking at once. And so the traveler did. "I've prepared your contract here," and suddenly appeared an old piece of parchment. "Let's see... 'Being of sound mind and body'... blah blah... 'In perpetuity forever'... yadda yadda... ahh yes, the important part. 'And the company shall reign for decades, producing the highest quality product with supernatural ease, and all will be showered with praise.' And all for the low low price of... one soul. So just sign here if you could. No, I need the full name, not just initials. Yes, that's right. John Lasseter. Right there..." And John Lasseter signed and the bargain was upheld and though Pixar reigns now, poor Lasseter will suffer a thousand eternities in hell. I mean, that's the only reasonable explanation for their mind-boggling, unbroken string of successes, right?

2) Night of the Museum: Fight for the Threequel — $25.5 million
Showing strong legs in its second time at the rodeo, Ben Stiller's comedy held up despite its strong family competition from the aforementioned devil's deal. Do you think that some poor parents had to take their kids to both of these movies this weekend? Like somewhere where it rained and there was nothing else to do? And so you shill out $40, $50 for tickets and popcorn and sugary soda and hey, actually, Up is pretty good. But then they start wailing because they're bored and what else is there to do. OK, we'll go see Drag Me to Hell you think grimly, chuckling to yourself. No, obviously it has to be that museum movie with the Zoolander guy. So, $40, $50 again and sigh... it's actually pretty silly, with all the loud jokes and funny voices and all the kids do is yell, and you suddenly think in a sad flash that back in college you would have spent a whole rainy weekend stoned, sitting on the couch watching Star Wars, or trying to make out with Mindy Kitimski from down the hall and oh well, so it goes.

3) Drag Me to Hell — $16.6 million
Strong reviews and an otherwise horror-free cinemascape helped Sam Raimi's movie to a strong third place debut. Which is good news for fans of horror/comedy everywhere, and possibly good news for the underused Alison Lohman, who shined so brightly in the underrated White Oleander and then kinda disappeared for a while. Guess all it takes to get you back on top is a creepy old gypsy lady who tries to make a demon eat you. Just ask John Lasseter.

4) Terminator Salvation — $16.1 million
Yikes. Fourth place in its second weekend is not so good for ol' Stormin' Norman Christian Bale and his McG-led army of gray people doing gray things in Gray World. Which is OK, because the movie is not so good. My big beef? Why would a collective hive mind computer system that's all run from a central place need... a keyboard? Like, why would that be there? Can't the robots just tell each other how to do things because they're all just one computer robot? And why would they design their San Francisco headquarters with like, architectural flair? Do they care about aesthetics? I thought they were just uncaring computer robots. I'm confused. So is the rest of America.

9) Ghosts of Girlfriends Past — $1.9 million
It's funny to think about who went to this movie this weekend. It's been out for five weeks. Who went? People who just got back from a long trip overseas and when their significant other picked them up and the airport and asked them "so what do you want to do?" they said... "Ohh I know, let's go see that Matthew McConaughey ghost movie." So they do and then after the movie when they're taking the long way back to the car, enjoying the night, their significant other, whose name is Mindy Katimski, squeezes his hand and says "Speaking of old relationships, did I ever tell you about my boyfriend in college? We just smoked a lot of pot and watched Star Wars all the time. It was kinda lame. Anyway, he's got a bunch of kids now. He must be so happy."

Encouraged perhaps by his giggles 'n' dick jokes success on Saturday Night Live (but probably not), movie hut Anchor Bay has picked up distribution rights to Justin Timberlake's little indie drama movie in which a son (Timbz) reconciles with his estranged dad (Jeff "BeeBo" Bridges) at his dead mom's behest. It's called The Open Road, and it's about a soul-searching road trip. Yep. It's one of those. [Variety]

Chris Hardwick, so very late of MTV's Singled Out (and current [?] of Attack of the Show), will be hosting a new show called Web Soup on G4, which is done by the people from The Soup, but is about the internet rather than television. So now you can watch a show on TV that is about the internet. Gurgle. [Variety]

Pixar, which holds the keys to a magical otherworld where everything looks like computers but only opens the door and lets us peek in every year or so, is opening up offices in Vancouver. Vancouver is a place in a country called Canada where most movies are filmed, usually movies that only refer vaguely to "a city." Everyone will be mildly happy and then it will rain and somewhere Doug Coupland will start writing a book about animation. [Variety]

Eddie Kay Thomas, the guy who likes to boff old ladies in those American Pie documentaries, has been cast in a show that sounds more horrible than that first glimpse of puckered, withery elderflesh. It's called How to Make It In America. He'll play a rich former nerd who really still wants to be cool (because that's never been done before). It also costars Bryan Greenberg, that unfortunate hunk of high school bologna from Unscripted and the overly scripted Prime. Hell. This show sounds like hell. [THR]

The likable Matthew Goode has landed a role in the Ricky Gervais/Stephen Merchant dramedy about insurance men Cemetery Junction. You'll laugh, you'll cry, you'll be thankful that Goode's not wearing a skintight nipple suit (or will you?). [THR]

Warner Brothers is hoping that Facebook will make more people want to buy Watchmen on DVD. [THR]

Ryan Seacrest and Jamie Oliver are putting together a reality show in which the Naked Chef helps whole towns not be fat. The first town? Couchville, USA. Population: Me. (I hope) [THR]

Antonio Banderas is making another movie no one will ever see. [Variety]

Chatter has surfaced in recent years — specifically, since festival pickup Crash overtook Brokeback Mountain for Best Picture in 2005 — that the studios no longer wield the alacrity to bump off leaner, smaller awards hopefuls among an evolving Academy membership. It's not quite that simple, of course; Warner Bros. nabbed two wins in three years with Million Dollar Baby and The Departed, and was on the bubble this year with The Dark Knight and Gran Torino. Paramount led the nomination count and box-office tally with The Curious Case of Benjamin Button. Universal pushed Frost/Nixon into the Best Picture running at the expense of mini-major entries including Doubt and Revolutionary Road.

But it's not an honor just to be nominated (or simply considered) for those studios' respective bosses Alan Horn, Brad Grey and Ron Meyer. And while Fox's Tom Rothman surely appreciated Searchlight's Slumdog sweep and maybe Space Chimps' appearance in the animation montage, some consideration for his $120 million epic Australia would have been nice. However, being in the Oscar business requires a fresher approach than greenlighting today for awards season two years away. The short view is the new long view, meaning that for a handful of 2009 films, the future might be now:

· The Informant and The Human Factor: Warner's close calls last year did little to conceal the embarrassment of closing its boutique Warner Independent Pictures and selling off Slumdog Millionaire to Fox Searchlight. But at least Horn and Jeff Robinov were honest: They don't have a clue how to handle small films, and this year — with Steven Soderbergh's whistleblower intrigue The Informant and Clint Eastwood's working-titled Nelson Mandela biopic — they won't have to. The latter film in particular, reuniting Eastwood with Morgan Freeman, is prime-cut Oscar bait. Worst-case scenario, they overblow the hype (see: Changeling) and foot-soldier Soderbergh moves in. Either way, at least one studio is covered for — and invested in — the '09 derby.

· Public Enemies: Focus Features has done well by its parent Universal, finding awards love for Milk and In Bruges while exceeding box-office expectations this month with Coraline. But the studio had higher hopes for Changeling and all but conceded Picture, Actor and Director categories to Frost/Nixon's front-running competitors. They could go either way with this year's awards crop, perhaps led by Michael Mann and Johnny Depp's '30s-era crime drama Public Enemies. Test screenings are mostly positive, and the principals are perennial Oscar darlings. But the midsummer release date will either defuse its chances or, in a fairly fresh studio strategy, get out way ahead of the late-year glut — kind of like Dark Knight without the billion-dollar fluke factor.

· The Green Zone: Another Uni hopeful, reteaming Matt Damon and director Paul Greengrass for a story about life inside Baghdad's occupation stronghold. Everybody knows audiences are allergic to Iraq films, but the Bourne overlap is enticing, and it doesn't need to make a fortune for the Academy to buy in. It may be an even surer thing than Public Enemies. In any case, it's cheaper — not mini-major cheaper, but definitely leaner, with more approachable talent, and perhaps that much more competitive.

· Up: Disney/Pixar will always face resistance from Academy purists, happy with the animated ghetto that contained WALL-E while bitterly maligned films like The Reader snuck into the Best Picture running. It can't last forever, though, and even if Up — another summer release with a potentially long shadow — can't amass its predecessor's plaudits, it'll bend the resistance a few degrees closer to breaking. Expect Pixar to follow its own WALL-E lead, launching this year's first "For Your Consideration" salvo by mid-fall.

· Avatar: December will welcome James Cameron's first film in 12 years, during which time the filmmaker designed Avatar's 3-D motion-capture technique essentially from scratch. It's got at least a visual effects Oscar in the trophy case, but why stop there? If The Dark Knight can cut an awards-season trail, what's a $40 million campaign on top of the couple hundred million onscreen? That is, unless it's abrogated its awards legend to Searchlight, getting out of the Australia business in favor of the Marley and Me trade. It wouldn't be the worst strategy. And if we haven't gotten over it already, we will.

The 10 nominees for Best Live-Action and Animated Short Film open theatrically today for your convenience and, if you're the gambling type, prognosticating pleasure. We got a look at them this week, arriving at these early odds that are subject to change in the unlikely event that the cast of Manon on the Asphalt is photographed in a compromising, slanty-eyed position:

BEST LIVE-ACTION SHORT

· Manon on the Asphalt: A classic case case of won't-win-but-should. The French ensemble short opens with the title character struck by a car, then riffing on pals, family and lovers as she drifts in and out of consciousness, maybe even to her death. Hang in there through the bourgeois, Babel-meets-Friends contrivances (swimming instructors and puppeteers apparently live very well in Paris), and Manon settles into a bittersweet, moving reminder to hold tight to those you love. And call your mother! Like, now. Alas, it's going up against a Holocaust movie. ODDS OF WINNING: 5 to 1

· New Boy: An adaptation of Roddy Doyle's story about a young African boy facing bullying, shyness and other torment on his first day at an Irish school. All this after watching his father get gunned down in front of him! Such adversity! Will he make it through? It's nominated for an Oscar, isn't it? ODDS OF WINNING: 10 to 1

· On the Line: A maudlin romantic tragedy about a Swiss store-cop who obsesses over a bookseller at work. Cue surveillance, stalking and the shattering coincidence that brings them together. Well-acted and directed but utterly implausible, which works for Best Picture nominees but won't cut it here. Sorry! ODDS OF WINNING: 20 to 1

· The Pig: Just your average, whimsical tale of an aging Dane whose rectal cancer scare turns into a valuable cross-cultural learning experience with his Muslim hospital roommate. Which sounds worse than it actually is, but ultimately won't score the conceptual points needed to claim the prize. ODDS OF WINNING: 100 to 1

· Toyland: A woman goes hunting for her missing son in WWII Germany, afraid that her impromptu appellation for concentration camps — "Toyland" — provoked him to tag along that morning with the doomed Jews next door. But it's not what you think! Grossly exploitive and crassly hopeful, Toyland is as close to an Oscar-bait recipe as you'll find this side of Schindler's List. On the bright side, it's only a 10th as long. ODDS OF WINNING: 2 to 3

BEST ANIMATED SHORT

· Lavatory Lovestory: A lonely Russian bathroom attendant works to unravel the secret of which mystery urinator is leaving her flowers. Is it just another one of her daydreams? Riveting, sweet and deceptively simple, we could see an upset. But the smart money isn't here. ODDS OF WINNING: 15 to 1

· La Maison en Petits Cubes: Everyone seems to worship Kunito Kato's film, which situates an old man and his home in the middle of continually rising waters. A retrieval expedition becomes necessary as he builds the home skyward brick-by-brick, launching the man diving in the deep, previously uncharted Clumsy Metaphor Sea. Boredom has never been prettier, but if it beats Pixar's Presto, it'll be to balance out WALL-E's feature win, not necessarily for its merit. ODDS OF WINNING: 5 to 1

· Oktapodi: A determined octopus chases its sweetheart down after her purchase from a seafood store. Cute if slightly crude, and thankfully short. We have no idea how it got nominated against these other four. ODDS OF WINNING: 500 to 1

· Presto: Pixar (and WALL-E in particular) is kind of a divisive subject around Defamer HQ. But at this desk, anyway, Presto is its superior film of 2008 — the wordless 10-minute battle of wits between a hungry rabbit and the magician withholding his carrot. That's it. No sweeping ecological themes, no fat people, no robot love. Just old-fashioned, rollicking cartoon violence upgraded for the 21st century. If WALL-E costs Presto a statuette, it'll have hell to pay around here Monday morning. ODDS OF WINNING: 3 to 1

· This Way Up: A darker-than-dark comic journey of father-son morticians delivering a casket to its final resting place, too Burton-esque for younger voters and too bleak for older voters. ODDS OF WINNING: 25 to 1

At each pass, he faced incredible skepticism; a rational analysis would have predicted defeat. But he persevered. His legion of admirers — and critics — are now wishing him a full recovery now that he begins a six-month medical leave from Apple. And whatever suffering his present physical condition is causing, the mental anguish of acknowledging that he is not well enough to lead his company must be its own particular pain.

Every hero's strength is usually also a flaw. With Jobs, it is his relationship with the truth. That spirit of denial is exactly what has led him to reinvent industry after industry for the past three decades. But the truth about his own declining health — at first flatly denied, then grudgingly confirmed but downplayed, and now confirmed as grave — cannot be changed simply through the power of belief.

In 2005, two years after he was first diagnosed with pancreatic cancer, Jobs waxed philosophical about death in a commencement address he delivered at Stanford University:

Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure - these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.

Therein lies the contradiction: In his health, Jobs does indeed have something to lose. And following his heart, which surely tells him to ignore the problem, in this matter is dangerous.

Jobs's track record, though, makes his defiance understandable. Having overcome so many other obstacles, why would he not think the aftereffects of cancer would prove trivial, too? Here's the career which helped feed Jobs's hubris:

1976 Jobs, a college dropout, founds Apple Computer with engineer Steve Wozniak. They introduce the Apple I, a personal computer for hobbyists.

1977 Apple introduces the Apple II, one of the first personal computers with a color display. Over the next 16 years, Apple sells more than 5 million units.

1984 Jobs, with a crew of self-described "pirates" pulled from other projects at Apple, introduces the Macintosh, a computer with a graphical user interface and a mouse.

1985 Apple's board fires Jobs. He founds Next Computer.

1986 Filmmaker George Lucas sells Pixar, then an animation-software startup, to Jobs.

1995 Pixar releases its first digitally animated feature film, Toy Story, and goes public; Jobs owns 80 percent, a stake worth nearly $600 million. (Pixar movies make regular appearances in Jobs's presentations for Apple, like this one in 1999.)

1996 Apple buys Next for $430 million; Jobs becomes an advisor to hapless CEO Gil Amelio.

1997 Having lost faith in Amelio, Jobs sells his entire stake in Apple. Amelio is forced out. Jobs becomes interim CEO.

1998 Jobs unveils the iMac.

2000 Jobs drops the "interim" bit and becomes Apple's CEO.

2001 A month after 9/11, to little notice, Jobs introduces the iPod.

2003 Apple launches the iTunes Music Store, with a little help from rock-star friends like Mick Jagger.

2005 The iPod Nano comes out, unveiled by Jobs as an aside at the launch of a now-forgotten iPod-phone combination.

2006 Disney buys Pixar; Jobs's stake is now worth $4.6 billion.

2007 Jobs unveils the iPhone.

2008 The MacBook Air and the iPhone 3G are announced. Observers notice Jobs's dramatic weight loss.

(Photos by AP and Getty Images)

1. J.J. Abrams, Roberto Orci, Alex Kurtzman and Damon Lindelof. These four guys, between them, pretty much created half the most influential works in the genre right now. On television, Abrams and Lindelof's Lost has shown how to make science fiction into watercooler-talk material. Abrams, Orci and Kurtzman's new show, Fringe, has only been on for a few months but feels like a genre classic already. Abrams is also responsible for the ground-breaking (and camera-shaking) Cloverfield.
Up next: The foursome is responsible for bringing Star Trek back from franchise purgatory. And Orci and Kurtzman have co-written Transformers 2.

2. Will Smith, star of I Am Legend and Hancock. It's hard to think of an actor who can make a project into a hit more easily than Smith, right now. Just imagine Hancock without Smith's legendary affability behind it, and you've got a mighty dud.
Up next: Sequels/prequels to both Hancock and Legend are being bandied about.

3. Jeff Robinov, president of Warner Bros. He championed the idea of giving indie director Chris Nolan the reigns of the Batman films. He's been a key figure in getting movies like Watchmen on the screen. (And he killed the Wonder Woman movie, reportedly because he doesn't think women can carry action movies. But this is the "power list," not the "people we agree with" list.)
Up next: He's in charge of the umpteenth big-screen reinvention of Superman.

4. James Cameron, director of Avatar. Cameron's 3-D space epic won't be out for another year, but it's already revolutionizing the way people think about movies. He's pioneered a whole new system of 3-D cameras, but also created new motion-capture techniques for his alien creatures. Even before the film comes out, everybody else is already playing catch-up. Meanwhile, Cameron discovered Sam Worthington, who stars in Avatar, and pimped him out as one of the leads in Terminator 4.
Up next: Avatar comes out next December.

5. Kevin Feige, President of Marvel Studios. Warner Bros. may have cornered the market on superheroes-as-serious-dramas, but Marvel owns the idea of a superhero movie universe, complete with crossovers and fan-friendly in-jokes. Between them, Iron Man and Incredible Hulk proved that the superhero punch-'em-up films can feel like pieces of a saga... and make tons of money.
Up next: Another Iron Man, plus Captain America, Avengers, Thor, Ant-Man...

6. Kanye West, rapper/singer. He helped bring a science fiction motif back to music with his Daft Punk collaborations and space-odyssey stage show. He's the reason for Beyonce's cyborg hand.
Up next: His new album, "808s and Heartbreaks," uses an "Autotune" to make his vocals sound more computery and spacey, and it's already the #1 record in the United States.

7. Christopher Nolan, director of The Dark Knight and The Prestige. The Dark Knight was the biggest movie of 2008, but it also showed that grotesque characters and people in funny costumes could be compelling and visceral.
Up next: Nobody knows. Hopefully, another Batman film, but maybe first another mindblowing non-franchise pic like Prestige.

8. Neal Stephenson, author of Anathem. We knew Stephenson's next book would be a hit, thanks to his huge following. But Anathem, with its story of a world where science and technology are separated and pure scientists live in "Maths," captured the imagination of mainstream critics. Suddenly, novels of ideas are cool again.
Up next: Nobody knows. Unless you do?

9. Andrew Stanton, director of Wall-E. Even before his lonely robot movie came out, it had already sparked a whole giant wave of science fiction animated movies. (It looks like exactly one of those movies, Monsters Vs. Aliens, will be good.) People are arguing over what was the best movie of 2008: Wall-E or Dark Knight.
Up next: He's supposed to be directing a live-action movie of John Carter of Mars.

10. Stephenie Meyer, author of Twilight and The Host. I'll be honest: I haven't read any of the Twilight books, or seen the movie. They don't sound like my cup of tea. But the Twilight movie was a huge success, one of the biggest book adaptations in ages. And Meyer's adult science fiction novel, The Host, was surprisingly good: the story of a love triangle between a woman, a man, and the symbiote that is trying to control the woman's body. The Host has been on the Times bestseller list for 29 weeks, outselling pretty much any other recent science fiction book by many orders of magnitude. I would happily go see a Host movie.
Up next: Probably more Twilight books, despite Meyer's vow to stop writing them. The Host also seems to be leading towards a sequel.

11. Guillermo Del Toro, director of Pan's Labyrinth and Hellboy 2. He's managed to bridge the gap between arthouse darling and mainstream monster-movie maker in a way almost nobody has done before. No wonder he's been tapped to take on the Hobbit movies.
Up next: Besides Hobbit, GDT is attached to 500 other movies, including Frankenstein, Jekyll, The Champions, Hellboy 3, etc. etc.

12. Bioware, maker of Mass Effect and Star Wars: Knights OF The Old Republic. With Mass Effect, BioWare helped recharge the genre of space-opera RPG, following the adventures of Commander Shepard, who encounters aliens and murderous artificial intelligences. This came on the heels of success of past games like Jade Empire and Star Wars: KTOR.
Up next: A new MMO, Star Wars: The Old Republic comes out next year.

13. Donna Langley, President of Production at Universal Pictures. When she was an independent producer, she produced The Cell, Austin Powers 2 and other science fiction films. And after she joined Universal, she shepherded Children Of Men to the screen, and she's worked hard to nail Del Toro down to make four movies for Universal, including Frankenstein — and she's been pushing the idea of a Hellboy TV series.
Up next: Her upcoming projects include Army Of Two, a scifi video-game movie.

14. Michael Chabon, author of The Yiddish Policemen's Union. Not only did his literary work of alternate history win Hugo, Nebula and Locus awards, but the Pulitzer Prize-winning author of The Adventures Of Kavalier And Clay has championed the literary worth of science fiction with his book Maps And Legends and his two anthologies of science fiction by literary authors.
Up next: Supposedly the Coen Brothers are filming Yiddish.

15. Brian Michael Bendis and Joe Quesada, Marvel Comics. It's been obvious for a while now that the competition between Marvel and DC was a lop-sided one, but maybe 2008 is the year we call it a victory once and for all. Bendis, as writer, have been responsible for series like House of M, Secret Invasion, and New Avengers. And Quesada has helped make other series, like Civil War, into sales juggernauts. DC might have Grant Morrison, Geoff Johns and Neil Gaiman writing for it, but Marvel has the readership.
Up next: Yet another big status-quo-massaging event, Dark Reign.

16. Jennifer Jackson, agent with Donald Maass and Associates. Her name comes up more often than any other agent's, when you're talking book deals. And she's the top dealmaker of 2008, according to Publisher's Marketplace, with a dozen high-profile deals in the past year. Her clients include hot writers like Elizabeth Bear, Ken Scholes, Jay Lake and Mary Robinette Kowal.
Up next: She just sold Amanda Downum's The Drowned City to Orbit Books, in a three-book deal.

17. Will Wright, Spore creator. Wright's The Sims is the best selling computer game in history, and other titles like SimCity also remain huge and groundbreaking. But his build-a-lifeform game, Spore, has sparked new levels of creativity — and debate over whether it accurately reflects evolution.
Up next: We're not sure.

18. Brian Goldner, Hasbro CEO. Who could have imagined the toy tie-in movie would become a huge force in Hollywood again? Goldner, that's who. He helped make Transformers and G.I. Joe into summer blockbuster material.
Up next: More toy movies. Says the man himself: "If you remember Stretch Armstrong, there's an opportunity to tell this great backstory of who Stretch Armstrong is, and why he's so incredible and yet funny."

19. Jeff Walker, the independent movie publicist who brought Hollywood to Comic-Con. Hard as it is to believe, Comic-Con was once a comic convention. And now it's the place where Hollywood studios unveil their latest projects and shimmy for the approval of tens of thousands of die-hard fans. Walker helped engineer that transformation.
Up next: Comic-Con keeps getting huger and more unmanageable. Are the studios going to start skipping it, like Paramount did this year?

20. Weta Workshop. The New Zealand practical effects studio came to prominence working on Peter Jackson's Lord Of The Rings movies, and now it's the go-to place for science fiction epics, including The Day The Earth Stood Still, Fantastic 4: Rise Of The Silver Surfer, X-Men 3, I, Robot and many others, along with its sister company Weta Digital.
Up next: Weta was supposedly hard at work on Justice League, but no longer. Still on the slate are a mooted Halo film, Avatar, Tintin and the Hobbit films.

A full list of winners is after the jump.

Best Picture:
"Wall-E"
Runner-up: "The Dark Knight"

Best Director:
Danny Boyle, "Slumdog Millionaire"
Runner-up: Christopher Nolan, "The Dark Knight"

Best Actor:
Sean Penn, "Milk"
Runner-up: Mickey Rourke, "The Wrestler"

Best Actress:
Sally Hawkins, "Happy-Go-Lucky"
Runner-up: Melissa Leo, "Frozen River"

Best Supporting Actor:
Heath Ledger, "The Dark Knight"
Runner-up: Eddie Marsan, "Happy-Go-Lucky"

Best Supporting Actress: Penelope Cruz, "Vicky Cristina Barcelona" and "Elegy"
Runner-up: Viola Davis, "Doubt"

Best Screenplay: Mike Leigh, "Happy-Go-Lucky"
Runner-up: Charlie Kaufman, "Synecdoche, New York"

Best Foreign-language film: "Still Life"
Runner-up: "The Class"

Best Documentary: "Man on Wire"
Runner-up: "Waltz With Bashir"

Best Animation: "Waltz With Bashir"

Best Cinematography: Yu Lik Wai, "Still Life"
Runner-up: Anthony Dod Mantle, "Slumdog Millionaire"

Best Production Design: Mark Friedberg, "Synecdoche, New York"
Runner-up: Nathan Crowley, "The Dark Knight"

Best Music/score: A.R. Rahman, "Slumdog Millionaire"
Runner-up: Alexandre Desplat, "The Curious Case of Benjamin Button"

New Generation: Steve McQueen, "Hunger"

• AWARDS WATCH '08 | "Wall-E" Woos LA Critics [IndieWire]
• 'WALL-E' cruises to top of L.A. critics' list [THR]

Here's the full list of submissions for 3 nominations: Bolt, Delgo, Dr. Seuss' Horton Hears a Who!, Dragon Hunters, Fly Me to the Moon, Igor, Kung Fu Panda, Madagascar: Escape 2 Africa, $9.99, The Sky Crawlers, Sword of the Stranger, The Tale of Despereaux, Wall-E and Waltz with Bashir.

Don't get us wrong — Wall-E deserves all the accolades it will get, and it might even do what only Beauty and the Beast did and nab a Best Picture nom as well. But with only three Best Animated Film nominations available, it seems inevitable that Ari Folman's Bashir (above) will be pushed aside, as smaller films have in years past. A nomination alongside Wall-E would mean everything for a small film like Bashir that deserves a larger audience.

Since the Academy began handing the Best Animated Feature award out in 2001, the statue has only gone to a non-Hollywood production once, when Japanese-bankrolled phenomenon Spirited Away nabbed the prize. Traditionally the nominations all go to films from major studios, with the occasional exception for a Hayao Miyazaki film or last year's Persepolis. With this highest number of submitted films in the category (yet still not enough to expand the nomination field to the more traditional five), small-budget efforts like Waltz with Bashir, the Etgar Keret adaptation $9.99, and the incredible anime The Sky Crawlers shouldn't be left off the ballot, and likely will. If the Academy holds to form, Bolt, The Tale of Desperaux and even the Madagascar sequel might step in front of a chance at the gold.

It is almost doesn't even make sense to classify kid-friendly movies with larger artistic achievements. But if you're set on this categorization, how can three spots do the diversity of achievement justice?

Bolt probably has endured more turmoil than any project Pixar's been involved with, and yet the reworked film looks promising, if a bit too reminiscent of Toy Story in some of the small details. (The film's animators were pressed to complete it in just 18 months, as opposed to the usual years.) Still, if you're going to go over old territory, that's surely the box office success you'd like to replicate. Originally written and directed by Lilo & Stitch creator Chris Sanders, Bolt was completely remade by Pixar's Brain Trust, the team of writers and directors that guide the studio.

Having been fired from Disney in his early career, Pixar CEO John Lasseter uses a far different strategy for his company, one that virtually eliminates the costly and unimportant presence of middle management. When they took over Disney Animation, they instituted that structure:

"(John) has this brilliant combination of a generalist's view and a superfocus on minutiae," says veteran animator Glen Keane, who is directing animator on the upcoming "Rapunzel" (2010). "He can go from a satellite view down to a 1-square-foot view like that," he says, snapping his fingers. "That's very rare." For Lasseter, life is a juggling act between the executive he has become and the artist he remains. "Working at Pixar is like being a trapeze artist, where you're looking across at the other guy to catch you," he noted. Like all great circus artists, he added, "you want to do something no one has ever done before."

Hitting theaters Nov. 26, Bolt will be followed in May by Up! from the Monsters, Inc team, which Lasseter describes "as an old-fashioned Disney animated film." Up! promises to do for old people what Wall-E did for robots. Here's the new preview:

This is just the beginning of the full slate of projects that Pixar plans to roll out over the next few years. None of them particularly scream Oscar like the magical Wall-E, but you can start misting your eyes about a few of them now.

First comes Toy Story 3 in summer of 2010. Initially reluctant to return to the characters for a second film, the studio will now complete a trilogy, with Buzz and Woody donated to a day-care center after Andy goes to college. It's written by the guy who penned Little Miss Sunshine. Cars 2 by Ratatouille director Brad Lewis comes the following summer.

Although the studio will take on a host of fantasy fairy-tale adaptations that should build on the success of Shrek, we're looking all the way to King of the Elves in December of 2012 from Brother Bear director Aaron Plaise. Taken from the only Philip K. Dick story that could be classified as pure fantasy, King of the Elves is about a regular dude living in the Mississippi Delta who reluctantly agrees to help some crazy-ass elves. Such a long wait. In the meantime, the short film Burn-E from the forthcoming Wall-E DVD will have to suffice.

First, let's take Wall-E. The indomitable Pixar robot has collected some of the most glowing reviews of the year and many of those critics then called it the best American film of 2008 — in fact, Wall Street Journal scribe Joe Morgenstern was already talking Wall-E up for Best Picture in July. Still, the film has several things working against it: it opened early enough in the year to have been forgotten, it made a ton of money but not as much as much as, say, Cars (thereby falling into an Oscar trap where the movie is too successful, but not so successful that it can't be ignored), and it's animated. "Younger-skewing" films like Beauty and the Beast and Babe have been nominated before, but almost offhandedly, and not in a while.

Then, there's the Bat. The Dark Knight has one big thing going for it: Heath Ledger's performance is a mortal lock for a Supporting Actor slot, which may help grease the wheels for the film to grab a Best Pic nom. Also, its box office total, second only to Oscar favorite Titanic, is so massive that The Dark Knight has remained the biggest story in the industry all year. Yes, it's still just a comic book movie (and one that had a minor Bat-lash), but what isn't in Hollywood these days?

Thus, in the race for Best Picture, we're going to give the edge to The Dark Knight. With previous contenders like Frost/Nixon and Changeling losing steam among the chattering class, The Dark Knight's chances are certainly improved, and it has the best precedent: The Fugitive, a well-reviewed action blockbuster that rode a buzzworthy supporting performance to Oscar glory. We're going to hold out hope in our hearts for Wall-E, but we fear it'll take something stronger than a laser blast from EVE to bust this robot out of the Best Animated Film ghetto.

• Studios Are Pushing Box Office Winners as Oscar Contenders [NYT]

The plans call for a master bedroom, two children's bedrooms and a living room, all connected to a two-story house on an adjoining hill, with an elevator leading up from an underground garage. County inspectors and city staff are supporting the project so far. "If the city will allow him to do it, I have every belief that he will follow through," city planner Greg Wolff told the Contra Costa Times. My advice to Docter? Don't invite the infamous tree-sitters of Berkeley over. They'd never leave.

1. Hancock - $66 million
When not delighting crowds at New Village Academy Oh-Tee Eights games as that wrestling team's mascot Elron the Iguana, Will Smith also manages to shatter records in only the way The Biggest Star in the World can. His presence in Hancock, for example, turned an ill-conceived, anti-superhero movie about an alcoholic underachiever who accidentally puts out fires with his super-upchuck abilities into something America simply had to experience for themselves: $107.3 million over 5.5 days, $66 million from the weekend alone. That works out to roughly 10 million people who surveyed the sour, puckering butt-face (above) used as the film's central marketing image, and paid to see this movie anyway. That's superstardom.

2. Wall-E - $33.417 million
Pixar's melancholy meditation on the dark (seriously dark!) places towards which our things-obsessed society is heading crossed the $100 million mark over the weekend. The film's message is so bold, however, that its makers—who have long relied on merchandising and fast food tie-ins to push the product—suddenly find themselves painted into an ideological corner. Still, Disney has come up with a P.R.-friendly solution: Disney's Sprout In A Boot ™ foundation pledges that for every square-mile of Wall-E packaging dumped into the nation's landfills, a single bean sproutling potted in an adorable hobo's boot will be donated to a worthy school, for display and educational purposes.

3. Wanted - $20.607 million
4. Get Smart - $11.125 million
5. Kung Fu Panda - $7.5 million
Summer '08s Trio of Assassin Entertainments continue their stealthy creep towards profitability and inevitable sequeldom. But only one of these three contains an army of suicide-bombing rodents, waging jihad bis saif against those who have wronged them. We'll never tell which—you'll just have to see all three to find out!

8. Kit Kittredge: An American Girl - $3.6 million
The wide-release of the Depression-era movie based on the wildly popular American Girl doll franchise managed only a disappointing eighth place. Audience feedback suggested most of the intended demo lost interest once they realized the narrative was essentially locked-in, and that they couldn't drag star Abigail Breslin into a hair salon for a braid-treatment and some tea and cucumber sandwiches whenever they felt like it.

• BOX OFFICE MOJO WEEKEND BOX OFFICE July 4-6, 2008 [Box Office Mojo]

1. Wall-E - $62.5 million
Realizing that their last vision of a dystopian future-Earth—2006's Cars, in which automobiles ruled the planet, fueled by an endlessly replenishable supply of human livestock bred in subterranean people-farms—was perhaps a little too dark a subject matter for their intended family audiences, Pixar decided to simplify this time around. The result: A nearly silent love story featuring a binoculars-on-treads that critics are hailing as a modern classic. Disney can only be overjoyed with the results: Wall-E earned the second-highest June opening of all time, and Pixar's third-highest debut, behind Finding Nemo. The only person to come away disappointed? Apple co-founder Steve Wozniak, who saw in the parable a painful metaphor for his failed attempts at winning the heart of his own Extraterrestrial Vegetation Evaluator, Kathy Griffin. Upon returning home, he instantly set upon smashing any remotely Wall-E-ish thing in his garage to pieces— which included the Segway they rode on their first date, and an early Apple prototype made from parts of a Speak n' Spell and a hand-mixer.

2. Wanted - $51.118 million

But were Wall-E the only record-breaking Box Office Miracle™ this weekend, for more mature audiences (read: 14-year-olds with patchy facial hair and highly suspicious drivers licenses issued by the State of Hawaii) flocked instead to this visually arresting, swervy-ammo shoot 'em up. Among the paradigm-upending innovations conjured up by director Timur Bekmambetov (a proud Kazakh export and delicious retribution for three years of humiliating, "In my country we have a pen outside for the animals and womens!" jokes): Angelina Jolie illuminated by fluorescent drugstore lighting, James McAvoy's transformation from turtle-faced office-nerd to action hero, and Morgan "God" Freeman getting all MF-bomb-droppin' badass again.

3. Get Smart - $20 million
If you think you might enjoy Steve Carell pretending to talk like a deaf person, then being referred to as a "retard," then doing a dance routine with an obese woman who—wait for it—actually ends up being light on her feet...then Get Smart is the movie for you!

4. Kung Fu Panda - $11.746 million
Sure, you can round-kick. But tell us this, Kung Fu Panda: Can you walk on 30-foot-high tree-stilts? We didn't think so.

5. The Incredible Hulk - $9.226 million
We've taken a cue from Incredible, and started wearing a wristwatch pulse-meter ourselves, in a similarly feeble attempt at avoiding waking up naked somewhere in the British Columbian wilderness after a particularly destructive Midori Sour bender.

• WEEKEND BOX OFFICE June 27–29, 2008 [Box Office Mojo]

WHAT'S NEW: As per tradition this June, it's another new release "duel" with an essentially foregone conclusion: The already-beloved (except among fat people and the GOP) Pixar entry Wall-E is ready to go at No. 1, with the bloody Angelina Jolie/James McAvoy destiny-caper Wanted lagging some miles behind with its R-rating. Crap-allergic audiences who stayed away from last week's openings may nudge Wall-E toward the high end of its projected $55 million opening. The same can be said of the male-skewing Wanted, which will surpass $40 million without much trouble. At least we hope so for Disney and Universal's sakes, as both films will vanish into Hancock's booze-smelling shadow in T-minus five days and counting.

Also opening: The Matthew Broderick gerund dramedy Finding Amanda; the Irish-drunks-at-a-wake comedy Red Roses and Petrol; and the 19th-century Catherine Breillat/Asia Argento clash The Last Mistress.

THE BIG LOSER: None of this weekend's new releases will underachieve that much, but The Love Guru may be the first film ever to drop 100% from its opening weekend. Get Smart won't age well, either.

THE UNDERDOG: A hybrid of stage readings, archival footage and interviews, Trumbo isn't going to blow any minds in illuminating the troubled life and times of its blacklisted novelist/screenwriter namesake Dalton Trumbo. That said, his story (adapted from son Christopher's off-Broadway play) is as concentrated an account of the blacklist's havoc as any we've seen, and the actors gathered to monologue his correspondence from the era — including Brian Dennehy, Joan Allen, Paul Giamatti and particularly David Strathairn — do well by their subject's moody talent. At the very least, Nathan Lane's stirring five-minute paean to masturbation is a YouTube hit in the making.

FOR SHUT-INS: This week's new DVD releases include Roland Emmerich's steaming pile of 10,000 BC; the dark, dark Colin Farrell hit-man comedy In Bruges; the Oscar-jilted, animated coming-of-age story Persepolis; the underrated rom-com Definitely Maybe; and the desperately awaited "Magical Musical Edition" of Xanadu — complete with soundtrack! (Razor blade sold separately.)

So what's your outlook for the weekend — lovesick robot or bullet-curving megastar? Or some other new, nifty treat altogether? Are you the one person in the country who'll dare to drop $11 on The Love Guru? Or is it an all-Xanadu weekend? Let us know — we can help!

Says outraged film critic Kyle Smith:

Wall-E...supposes that the human race of the future will become a flabby mass of peabrained idiots who are literally too fat to walk. Instead they zip around in flying wheelchairs surfing the Web, chatting on phone lines and stuffing their faces with food meant to be sucked down like milkshakes while unquestioningly taking orders from the master corporation that controls all aspects of their existence. I’m trying to think of a major Disney cartoon feature that was anywhere near as dark or cynical as this. I’m coming up blank. I’m also not sure I’ve ever seen a major corporation spend so much money to issue an insult to its customers.

The Post's Lou Lumenick weighs in, though he's careful to point out he's a fan of the film:

Many of the early early reviews, including mine, have noted this may offend Disney's target audience... it turns out that large people have been blogging angrily about "Wall-E'' since at least November. "Will general audiences (which form the bulk of Pixar’s demographic), upon seeing a fat blob 'drinking liquified food from Big-Gulp-esque cups, and forever surfing (and chatting) on chair-mounted video screens' think 'Oh, wow, so that’s what gravity does to humans!' or 'Wow, so that’s what the obesity epidemic will do to humans!' says a post at The F Word. Gripes a writer at Fatshionista: "this is so INCREDIBLY disappointing. I feel personally betrayed by Pixar right now.''

Too true! When will Pixar realize that the movie's central romance — between a square, boxy robot and a love interest shaped like a white, floating pear — promotes unreasonable body image issues? Parents of America, do not let your daughters starve yourself and sand off their sharp edges to look like EVE! Only a return trip to the overweight delights of Kung Fu Panda can save you now...

• Disney’s “Wall-E”: A $170 Million Art Film [Kyle Smith]