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An animated series by 41 Entertainment titled Kong: King of the Apes aired as a Netflix original in 2016. The first episode aired as a two-hour movie followed by 12 half-hour episodes. Avi Arad is executive producer of the series. The series synopsis reads "Set in 2050, Kong becomes a wanted fugitive after wreaking havoc at Alcatraz Island's Natural History and Marine Preserve. What most humans on the hunt for the formidable animal do not realize, though, is that Kong was framed by an evil genius who plans to terrorize the world with an army of enormous robotic dinosaurs. As the only beast strong enough to save humanity from the mechanical dinosaurs, Kong must rely on the help of three kids who know the truth about him."[5] Kong appears in Tarzan and Jane season 2 episode "The Return of the King". A live action series titled King Kong of Skull Island based on Joe Devito's book of the same name, which was produced with the Merian C. Cooper estate, is being developed by Stacy Title and Jonathan Penner.[6]
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DISCLAIMER: Since this article's publication, a new MonsterVerse movie has been confirmed, Godzilla vs Kong 2. Legendary has announced a March 2024 release for the Godzilla vs Kong sequel, directed once again by Adam Wingard. The as-yet-untitled movie is currently in production in Australia, and a few details have already been spilled by Legendary. The movie will likely feature more of the Hollow Earth, as the MonsterVerse hasn't yet shown too much of this unique location. Dan Stevens, who worked with Wingard on The Guest, has been signed on for an undisclosed major role. As for kaiju, MonsterVerse fan-favorite Titanus Doug, the Hollow Earth lizard, will be making a return, as will the titular Godzilla and Kong. Original article follows...
The lead-up to Donkey Kong Country's creation started in the summer of 1993. While visiting Rare as a part of a globe-travelling journey to find potential quality games in development, Tony Harman of Nintendo of America saw a Tech Demo showing an animated, computer-rendered boxer punching. Rare was experimenting with 3D animation at the time as they found the then-popular digitization technique too restrictive.[19] Impressed by the demo, Harman lobbied for Nintendo to collaborate with Rare, and, with the help of Genyo Takeda and Shigeru Miyamoto, managed to convince them. Nintendo approached Rare with the mandate to make a game that would have "better graphics than Aladdin"[20] (presumably referring to the popular 1993 Sega Genesis game, which was lauded for its impressive graphics and animation hand-drawn by Disney animators). They recommended that it should star Donkey Kong, as they thought that the character and his universe were less explored than other Nintendo properties and that thus Rare could have greater creative freedom while making the game.[19]
The article begins with setting the South African educationalcontext for a postgraduate early literacy research project in the foundationphase (ages 4-9). The research examines how philosophy with children (P4C)might be part of a solution to current problems in reading comprehension. Thesecond author reports on her P4C action research with her own children aswell as her observations of a Grade 2 classroom in a school nearJohannesburg. The research shows how the picturebook Little Beauty by AnthonyBrowne opens up a philosophical space within which children are allowed todraw on their own life experiences and prior knowledge. The project revealsthe depth of their thinking when making intra-textual connections betweenLittle Beauty and the movie King Kong. The facilitated philosophical spacealso makes it possible for the children to make complex philosophical linksbetween the emotion anger, destructive behaviour and the ethico-politicaldimensions of punishment. Central to this article are the secondauthor's critical reflections on how her literacy practices as a motherand foundation phase teacher have fundamentally changed as a result of thisproject. The article concludes with some implications for the teaching ofearly literacy in South Africa.
Drawing on her own experiences of anger, Nikita is puzzled aboutGorilla's actions and initiates the conversation by asking a question,'because when you are angry you just want to run into your room'.Subsequently she makes a tentative link with the movie Gorilla is watching.
Riya challenges her mother by asking her a second-order question:how does she know about the movie? The children are pursuing the significanceof the colour red in the picturebook and do not accept easy answers whenRanchod supports a deep reading of this text when encouraging them to answerwhy the page is red. It is a good example of responsive listening, or whatStanley calls 'listening with the brain' (9)--she responds to theirexpression of wonder about the use of this particular colour: (10) 2ff7e9595c
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