Tag Archives: Movie

In a blow to the future of live cinema – Regal shutting down all U.S. 536 theaters

Struggling cinemas may not survive the impact of the pandemic

On Thursday, October 8th, Regal Cinemas­— the second largest movie theater chain in America­—will be shutting its doors to audiences. This occurs as British parent company Cineworld deems the market far too unstable for its theaters to continue operating through the pandemic.

Read More: ‘Wonder Woman 1984’ showcases New Trailer during the virtual DC FanDome event

Cineworld owns 536 theaters in the United States and 127 in the UK. All of them will be closed indefinitely by the end of the week. According to the New York Times, these closures will impact 40,000 employees in the U.S. and over 5,000 in Europe. 

Many theaters have been holding on for dear life since COVID-19 arrived this year. Most were forced to shut their doors in April and have only reopened within the past couple months— notably for the release of Christopher Nolan’s “Tenet.”

While “Tenet” should have been a blockbuster hit, though, the $200 million budget film only managed to earn $300 million at the box office. Evidently, even if the theaters are open, audiences are still tepid about returning to the cinema.

Read More: Covid-19 Documentary Exposes still more inside details of Trump’s failure to contain the Pandemic

Simultaneously, “Tenet’s” underperformance showed studios that they remain better off waiting to releasing their films or moving them onto other platforms. Unfortunately, this means a shortage of product for the theaters.

The dominos are falling with Bond as the last straw

Non-coincidentally then, Cineworld decided to close up just days after MGM delayed the release of its 25th James Bond movie, “No Time To Die.” This is the second time the film has been pushed back, as it was originally billed for this Spring, but was delayed until November, and now won’t see the screen until next April.

In fact, almost all of the 2020 blockbusters have seen perpetual delays. Warner Brother’s “Wonder Woman: 1984” was supposed to come out earlier this year, but is now aiming for a Christmas release. Likewise, Marvel’s “Black Widow” was meant to be a summer sensation, but now sits on the backburner until 2021. Meanwhile, Disney’s “Mulan” went straight to the company’s streaming site, for the premium price of $30 on top of the monthly subscription fee.

Clearly, “No Time To Die” was simply the straw that broke the camel’s back for Cineworld.

According to The Hollywood Reporter, Cineworld had already lost $1.6 billion in the first half of 2020. Now, on top of moviegoer’s concerns about COVID, there is not enough exciting content to get people into the cinema.

Perhaps people would risk going to the movies to see a new James Bond, Marvel, or DC film, but with these releases being continually postponed, staying open becomes a major and unrewarding gamble for theater owners.

Part of the struggle may also be tied to a reticence to consider theaters amongst other indoor businesses that warrant reopening. New York City and Los Angeles, for example, provide a huge portion of domestic audiences, but their respective government officials have been nervous about letting people return to the cinema. Without such hubs being operational, ticket prices will inevitably fall short of expectations.

As of right now, there is no telling when Regal Cinemas might reopen, or if other theater chains will follow in its footsteps. All of that depends heavily on how the country and its leaders deal with the coronavirus.

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Coronavirus causes James Bond “No Time to Die” Postponement: many more Industries to be Impacted

https://movietrailers.apple.com/movies/mgm/no-time-to-die/no-time-to-die-trailer-1_h1080p.mov

OFFICIAL TRAILER FOR “No TIME TO DIE”

Official Movie Release and Premiere Timing Reconsidered

The 25th James Bond movie and the last one to star Daniel Craig “No Time to Die” has officially been delayed. The premiere in London was originally set for March 31st and worldwide release April 10th, yet due to the increasing global outbreaks of COVID-19, the movie and production company gave word that the film will now be released in November of this year.

The official word is said to be the result of an open letter written by a popular Bond fan website named MI6-HQ that addressed EON, MGM, and Universal about the health concerns relating to the movie release. (see link for full letter):

“With the Coronavirus reaching pandemic status, it is time to put public health above marketing release schedules and the cost of canceling publicity events.

Major events around the world have already been canceled or postponed due to health risks. Leading tech companies have banned travel for hundreds of thousands of employees, including Amazon and Google. All before the US and UK outbreaks expand.”

quote from  MI6 Staff / www.mi6-hq.com

Two days after the letter was written, @007 the official Twitter page for the Bond movie took to social media to make the announcement of the delay. All in all this seems a wise decision as the public attendance of large numbers of people for any venue is in question due to the outbreak and the danger associated with close contact in enclosed spaces.

The entire film industry, concert and music industry and even live sports face a potentially huge challenge if this situation worsens. At this stage both the spread of the virus and the extent of quarantine measures that could become mandatory in the U.S. are unclear.

In Asia, not only mainland China but also Korea and Japan can be seen as initial examples of what could be in store for us in North America. In Europe, most notably Italy and in Iran things have already progressed beyond what we have seen thus far in the U.S.

Ultimately the question remains whether the spread of the infection can be contained, and yet, it is precisely measures such as the postponement of large public events that could be seen as part of the prophylactic response, and could help to prevent the kind of tragedy that China has already experienced.

Trend in Cancellations and Postponements Rising as Concerns of Infection Increase

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The list of events being cancelled due to fears of an increase in Coronavirus cases and even a possible eventual quarantine situation arising in the U.S. is getting longer daily. Some recent examples include the South by Southwest festival (also known as SWSX), scheduled to kick off on March 13th in Austin TX and yet is considering a cancellation after both Facebook and Twitter indicated that they would not send employees to the sow this year. The huge festival’s organizers must reconsider, it seems, after a petition online has been signed by over 40,000 people calling for the cancellation of the event. In some countries there is a ban on public gatherings altogether, naturally in China but even in Switzerland where there is a ban in place on any gathering that expects attendees in excess of 1000.

The effects on vast swaths of commerce, such as the $2.5 trillion trade show industry are looming large and could have a ripple effect throughout the economy as a whole. The Mobile World Congress, now known as MWC, originally scheduled for February 24-27, 2020 in Barcelona, Spain, for example, which is the world’s largest trade show for the Mobile Phone Industry has just been cancelled, and each of these kinds of large gatherings will mean a directly correlated drop in hotel, travel and restaurant revenue in the cities affected. To date more than 24 trade shows and conferences have been cancelled or postponed worldwide due to the concerns about the spread of the coronavirus.


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After “Toy Story 4” Grabs Oscar for Best Animated Feature, Pixar is still Lightyears ahead

Photo / Pixar

Disney’s Slate Continues to Outperform Commercially, if not always Critically

Although the first animated feature film debuted way back in 1939 with “Snow White and the Seven Dwarves,” the Best Animated Feature category at the Academy Awards has only existed for nineteen years, arriving in 2001 when DreamWorks’ “Shrek” won the inaugural prize.

Although “Shrek” may have taken home that initial award—beating out fellow nominees “Monsters Inc.” and “Jimmy Neutron: Boy Genius”—DreamWorks would not be the animation studio to rein supreme over the category in the coming years. In the nineteen years that the category has taken place, Disney’s Pixar has won ten times, making it the unrivaled champion of the Best Animated Feature title.

In fact, almost every time Pixar releases a movie, it gets a nomination, and almost every time it gets a nomination, it wins. Only three times has a Pixar movie been in the runnings, but lost to one of its competitors. Following “Monsters Inc’s” initial loss to “Shrek,” “Cars” lost to “Happy Feet” in 2006 and “Incredibles 2” lost to “Spider-Man: Into The Spider-Verse” just last year—albeit, the studio won Best Animated short with yesteryear’s “Bao.”

Many were happy to see “Spider-Verse” win in 2019. The movie was original and its animation was captivating, far from the predictable family narratives and re-hashed 3D style of Pixar that audiences have become all too familiar with over the past twenty-six years. Furthermore, with Disney being a conglomerate juggernaut in modern Hollywood, there is something cathartic about seeing an underdog beat them out—in addition to the ten Pixar wins, Walt Disney Animation studios have also won three of the nineteen Best Animated Feature titles, leaving the House-of-Mouse with all but six of the total trophies for the category.

With “Spider-Verse” winning last year, some assumed that Pixar might be losing its power, and when “Toy Story 4” lost to the commercially unsuccessful, but critically acclaimed “Missing Link” at the 2020 Golden Globes, many were optimistically foreseeing another Pixar defeat at the upcoming Oscars—making it Disney’s first consecutive defeat in the category since 2006.

Overrated or Just still too Big to Ignore, Toy Story’s Success is Undeniable

“Toy Story 4” is by no means a bad movie, and it grossed over a billion dollars at the Box Office, but many movie goers grow weary of Pixar’s cash-out sequels. Likewise, the fourth installment in the “Toy Story” series feels a bit unnecessary, especially considering how excellently “Toy Story 3” seemed to conclude the saga in 2010. Also, it is hardly a stretch of the imagination to think that Disney insisted on a fourth film just to sell more Woody and Buzz toys to a younger generation.

Moreover, the Animated Feature category was filled with some suburb competition this year. “Missing Link” was a visual masterpiece from unsung stop-motion animation company Laika. “How To Train Your Dragon: The Hidden World” was a wonderful conclusion to DreamWorks’ heartfelt fantasy trilogy—all three of the films losing to Disney titles in previous years’ Oscars. Then, Netflix’s “Klaus” was an aesthetic stunner, and Jérémy Clapin’s “I Lost My Body” was a mature meditation on the human condition and the first animated movie to win the esteemed Nespresso Grand Prize at the Cannes Film Festival.

In short, the competition was stacked for Best Animated Feature and while the winner was anything but a sure thing, the divisive “Toy Story 4” hardly felt like anyone’s first pick. Thus, when actress Mindy Kaling presented the award partway through the evening, few expected and many were disappointed when she announced the Pixar title as the victor.

When director Josh Cooley and producers Mark Nielsen and Jonas Rivera took the stage, their acceptance speech was sincere. All involved in “Toy Story 4” seemed grateful for the prize, but audiences cannot help but feel like some of the other titles deserved it more.

Everything New is Old Again

In a year of Oscar firsts and progressive wins—from “Parasite” being the first foreign film to earn Best Picture, to the animated short “Hair Love” and the documentary “American Factory” winning with stories that celebrate multiculturalism—the Best Animated Feature category seemed a little regressive, championing the default, blockbuster Pixar nominee over some truly innovative pieces of cinema.

At least Pixar claims that it is done with sequels now and that the studio will be returning to original stories from here on out. 2020 promises the releases of “Onward” and “Soul” from Pixar, a couple movies with no connection to any previous intellectual properties. When they inevitably get nominated at the 2021 Academy Awards, let’s hope that they deserve their opportunity for hardware, and that the Academy keeps up its progressive tendencies when deciding on animated movies going forward.


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Following its Biggest Year Yet, what does Disney have in store for 2020 and Beyond?

Simba from “Lion King”

In Spite of the Oscar Drought, 2019 was an Unmitigated Success

2019 was Disney’s year. Countless blockbuster releases including “Avengers: Endgame,” “Star Wars: The Rise of Skywalker,” “Captain Marvel,” “Aladdin,” “The Lion King,” “Spider-Man: Far From Home,” “Toy Story 4,” and more (not to mention the launch of Disney+ and the opening of “Star Wars: Galaxy’s Edge” at Disney World) made 2019 the Walt Disney Company’s most lucrative year by a landslide.

As Disney enters 2020, however, the entertainment conglomerate seems to be pumping the breaks, or at least shifting gears. So far this year, there is yet to be a major theatrical release from Disney, and its highly anticipated films such as Pixar’s “Onward,” the live action “Mulan” or Marvel’s “Black Widow” will not come out until March 6th, March 27th, and May 1st respectively.

So what is Disney doing in the meantime? Is CEO Bob Iger just counting his paychecks from last year, or is the company plotting something new? Or are they scrambling for new ideas now that Marvel has concluded its eleven year Infinity Saga and Star Wars is on a filmic hiatus according to Lucasfilm President Kathleen Kennedy?

The answer lies somewhere in the margins between everything above. It is unlikely that the company will top its 2019 earnings in 2020 and it is also unlikely that they will have the same dominance over the box office.

However, it seems as if Disney is turning its attention away from the big screen this year and onto its other entertainment mediums. For example, even though the company has not yet released a major movie for 2020, it has been doing immense marketing for the new “Star Wars: Rise of the Resistance” ride at Disney World and Disneyland theme parks.

“Rise of the Resistance” is a narrative, interactive attraction at the parks’ Star Wars themed Galaxy’s Edge. The attraction opened at Orlando’s Disney World in December and has since been expanding to the company’s other parks around the globe. Attendance and spending at the parks has gone up since the ride debuted, likely making it Disney’s most profitable draw of 2020 thus far.

“The Child” a.k.a. Baby Yoda

Full-on Entry into Streaming Wars and an Impressive Initial Push

Likewise, with Disney+ coming out in late 2019 and receiving an immense number of subscribers in just its few months of existence, the novel online streaming site will certainly be one of Disney’s biggest priorities for 2020. Production has already begun for Season 2 of “The Mandalorian”—the service’s most popular original show, set in the Star Wars universe—and a number of additional original programs are set to come out this year including Marvel’s “WandaVision” series and a late final season of Disney Channel/Cartoon Network’s “Star Wars: The Clone Wars.” Given the copious number of streaming services set to come out in 2020, Disney will have to put its best foot forward to keep Disney+ above the competition.

What consumers often forget about Disney, especially after a year like 2019, is that the company is far more than a just film production enterprise. The Walt Disney Company encompasses amusement parks, books, radio, music, television, comics, and much, much more. While Disney might seem like it is slowing down based on its movie catalogue for 2020, the business is still running strong thanks to its many other sectors.

Furthermore, Disney owns more than just Marvel, Lucasfilm, and Pixar. 20th Century Fox, ESPN, Blue Sky Studios, Searchlight Pictures, Hulu, National Geographic and over a dozen more labels also fall under its corporate umbrella. Therefore, the studio will presumably continue profiting from the box office in 2020, even if it’s signature logo is not always plastered on the content.

Nevertheless, Disney still does have a handful of movies in the works for 2020. In addition to the aforementioned “Onward,” “Mulan,” and “Black Widow,” Disney will come out with “Call of the Wild” on February 21st, a Harrison Ford starring retelling of Jack London’s classic canine-centered novel. It will then team up with Pixar again to release “Soul” on June 19th, the animated comedy from the director of “Inside Out” and “Up.” We can also look forward to the releases of “Artemis Fowl” on May 29th, “Jungle Cruise” on July 24th, and “The One and Only Ivan” on August 14th before Disney comes out with more highly anticipated titles towards the end of the year such as Marvel’s “The Eternals” in November and Stephen Spielberg’s “West Side Story” remake in December.

Once again, 2019 was Disney’s year, but that does not mean that its momentum will stop in 2020. The 2010s marked the company’s acquisition of Lucasfilm and Fox as well as its game-changing capitalization on Marvel. What Disney has in store for the next decade is unknown, but it is likely to be just as magical—and highly profitable—as always.


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The Rhythm Section, Starring Blake Lively as a Unique Lead in Offbeat Action Pic

https://movietrailers.apple.com/movies/paramount/the-rhythm-section/the-rhythm-section-trailer-1_h1080p.mov
Official trailer for “The Rhythm Section”

Chameleon-like Transformation for Lively

Blake Lively is often referred to as one of the most beautiful women in Hollywood, but if anyone thinks that the former “Gossip Girl” actress is just a pretty face, her new movie “The Rhythm Section” is bound to challenge that shortsighted assumption.

Lively is hardly recognizable in “The Rhythm Section,” sporting shorter hair, a number of disguises, and a lot of makeup to make her appear like an “average” woman rather than a head-turning dame. However, as it should be with any actor or actress, it is the performance that matters, not the looks—leave praise for the latter to the hair and makeup department.

In the film, Lively plays Stephanie Patrick, a woman who loses her family to a plane crash. After learning that the crash was no accident, but an orchestrated event, she goes on a vengeful quest to violently punish those responsible. It is a long way from “Gossip Girl” or “Sisterhood of the Traveling Pants,” and is a rare example of Lively taking the leading role in a blockbuster movie.

The movie comes in part from Eon Productions, one of the companies that produces the James Bond films. Thus, “The Rhythm Section” is presumably in good hands. Unfortunately, unless it is adapted from a Hunger Games book or attached to a DC, Marvel, or Star Wars franchise, female led action movies do not have a great track record for success. Even when backed by experienced producers and offering star-studded casts, movies like “Columbiana,” “SALT,” “Lucy,” or this year’s “Charlie’s Angels” all missed their critical or commercial marks.

This is likely due to the fact that the American action genre is deeply rooted in masculinity, emerging from the James Bond suaveness of the 1960s and becoming manlier throughout the 1980s with Rambos, Terminators, and John McClanes filling the screen with muscles. Developing a strong female action hero is thus a novel thing that runs somewhat contrary to the genre’s conventional iconography. Even the action movies that do employ female leads often sexualize them or contrarily place them into the overused woman-who-is-too-good-for-womanly-things archetype.

Emancipated Production Concept?

It is almost as if Hollywood is afraid of mixing femininity and action. “The Rhythm Section,” however, may test that notion, for Blake Lively’s character is a mother seeking revenge after losing her children. From Arnold Schwarzenegger in “Commando” to Liam Neeson in “Taken,” the vengeful or savior parent role is often allocated to the father figure. Perhaps “The Rhythm Section” will finally offer audiences a much needed touch of maternal badassery.

It also helps that Reed Morano directs the film. Known for her work on Hulu’s “The Handmaid’s Tale,” Morano has been quite effective at blending feminist themes and action-packed content on the small screen. Hopefully, she can carry this same affinity over to a feature film.

Jude Law and Sterling K Brown support Lively’s performance in “The Rhythm Section.” The movie is an adaptation of Mark Burnell’s 1999 novel of the same title—the first of four books he wrote about Stephanie Patrick. Burnell also wrote the screenplay for the film, and if it is a hit, there could be future sequel adaptations in store for Lively and the team. The movie comes out on January 31st.


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“The Assistant”: both Drama and Thriller aims to bring the #MeToo Movement to the Big Screen

https://movietrailers.apple.com/movies/independent/the-assistant/the-assistant-trailer-1_h1080p.mov
Official trailer for “The Assistant”

Hollywood take on Social Media Zeitgeist

Whenever a political movement on the side of justice takes place, Hollywood usually hops on it and renders it the plot of a movie in due time. In the worst of circumstances, this model is exploitative and undermines the actual movement. In the best of circumstances, however, this same model can teach lessons, champion real world heroes, and inform larger audiences of unsung stories.

Sometimes, those topics can hit close to home for filmmakers, though. Particularly, the #MeToo movement and the women who unveiled the systemic sexual harassment in the entertainment industry is a rich, dignified story that deserves a quality retelling. One would think, however, that Hollywood wouldn’t want to produce such a film because of how many entertainment industry executives were tangled up in a number of sordid cases. That would be the unsettling assumption, but lo and behold, Annapurna Pictures and director Jay Roach made “Bombshell” this past year, a critical and commercial hit of a film that shares the fresh, true story of real women who took down Fox News executive Roger Ailes for sexual transgressions.

The success of “Bombshell” may have paved the way for a new (perhaps overdue) breed of films that take on the workplace sexual harassment and misogyny. Already, we are getting a second one.

“The Assistant” comes out on January 31st, and upon viewing the trailer, it explores many unsavory aspects of workplace misconduct. Written and directed by Australian filmmaker Kitty Green, an eerie drama that dances along the lines of horror, it had its debut at the Telluride Film Festival in August, where Bleeker Street acquired it for this oncoming wider distribution.

Ozark Standout in Leading Role

Julia Garner of “Ozark” stars as the titular character, a recent college grad and aspiring movie producer who lands her first industry job as an assistant to an entertainment tycoon. As she goes through the day-to-day woes of working as an assistant—long hours, uncomfortable interactions, and covering for her darkly mysterious boss—it slowly becomes more apparent that something suspicious is going on behind closed doors.

Her boss is bringing young women into his office and asks the assistant to lie about it when his wife calls. There are mistakes in the bookkeeping that she is told to ignore. Corruption, misinformation, and borderline criminal activity bleed through every pore of the business’ higher-ups, and to make matters worse, it seems as if the boss is also engaging in inappropriate sexual activity.

The assistant works to uncover the truth and make it public. In doing so, she risks her job (and possibly her entire career) in a highly competitive industry. More than that, she also risks her safety, for damaging the reputations of powerful people does not come without consequences.

The movie is a raw portrayal on an unfortunately commonplace situation. Having the story take place in an entertainment mogul’s office will draw parallels to the current Weinstien trial. Barring the possibility of a supernatural twist at the end, the sad reality is that “The Assistant” is not based on one true story, but on thousands of true stories both told and untold, remembered and forgotten. It is a thriller that many have lived through, and many have taken to the grave. At last, it gets representation.


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NBC’s “Peacock” to Escalate Streaming Wars with varied Price and Experience options

Logo Collage / Lynxotic

Massive Library May be included and Increase Streaming Compitition

NBCUniversal and Comcast will be making their debut into the media market’s ongoing streaming war on July 15th, 2020. On that Wednesday in the midst of the summer, the globally renowned entertainment conglomerate will launch “Peacock,” the ultimate online service for all things Comcast.

Just to set the record straight, NBCUniversal owns far more than just the Nightly News and old horror movies. DreamWorks, Illumination, Focus Features, G4TV, USA Network, and Syfy amongst others all fall under the company’s corporate umbrella. Thus, there is a lot of reason behind consolidating all of its content to one streaming service, especially when competitors Disney, WarnerMedia, and CBS are all starting to do it.

Comcast first announced that it would be starting its own streaming service over a year ago in January 2019, and it released the name “Peacock” (based on NBC’s colorful feathered symbol) on September 17th. At that time, NBCUniversal also stated that the website would be launched in April 2020 and that it will eventually be the sole place to stream NBC favorites “The Office” and “Parks & Recreation.”

Obviously, the launch date has been pushed back since then. Nevertheless, the announcement that “The Office” and “Parks & Rec” will be barred from other streaming services is a big blow for the competition. Netlflix, for one, will certainly suffer from the loss of these shows, as “The Office” in particular has been one of the most popular programs in its catalogue for years. With shows like “The Office” and “Parks & Rec” (and “Saturday Night Live” and “Brooklyn Nine-Nine”) having such vast, dedicated fan bases, one can imagine customers subscribing to Peacock just for the access to specific programs.

Peacock will also have movies from Universal Pictures and its subsidiaries, and a slew of original content from veteran NBC and USA showrunners such as Mike Schur of “The Good Place” and Sam Eslami of “Mr. Robot.” Hopping on Hollywood’s current nostalgic bandwagon, Schur will be creating a reboot of 1980s sitcom “Punky Brewster” for the service and Eslami will be leading a revival of “Battlestar Galactica.”

From “Free” to $10 per Month with Comcast Customer Link

When it comes to pricing, Comcast is offering Peacock at three different tiers. The least expensive tier costs absolutely nothing. This version of the platform will be called “Peacock Free” and it will have limited, ad-supported content. The next level up will again be ad-supported, but it will have access to the service’s full library. This will be free for Comcast customers and cost $5/month for everyone else.

The final tier will be called “Peacock Premium.” It will cost $10/month and will run ad-free. Like the second tier, it will have access to the service’s complete catalogue plus live sports, including Premiere League soccer, which is a television rarity in the United States.

At $10/month, even Peacock’s priciest option is relatively cheap compared with the competition. While it costs more than Disney+’s generous $7/month fee, it remains thriftier than Netflix and Amazon Prime’s standard $12/month plans and HBOMax’s forthcoming $15/month price tag.

Still, Comcast is willing to offer even better Peacock deals for their loyal customers. Comcast and Cox cable users can get Peacock Premium for free with ads, or for half price without ads. Those who subscribe to Comcast Xfinity X1 or Flex will be also able to get Premium early—in April.

As opposed to Netflix that began its business in streaming or Disney and Warner that are only now starting to transition, NBCUniversal is evidently trying to keep its foot in conventional television with Peacock. The deals that Comcast is making with its cable subscribers are direct incentives to stifle the cord-cutting phenomenon while still keeping up with the times.

With Netflix getting copious nominations this awards season, Apple TV coming in hot with “The Morning Show,” Disney+ estimating to earn $2.2 billion in 2020, and HBOMax coming out it May, the streaming wars are in full swing. Throw Hulu, Amazon Prime, Quibi, and multiple other platforms into the mix and one can clearly see that the competition is quite fierce. The media sphere is changing, and NBCUniversal is straddling the line between the old and the new. We’ll just have to wait until July to see where Peacock stands and how it plays out.


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Oscar Nominations Revealed: Joker” Dominates, Johansson Gets Double Noms – Academy has a Diversity Problem (still)

https://movietrailers.apple.com/movies/wb/joker/joker-trailer-2_h1080p.mov
Joker official trailer

ScarJo and Joker cast shadows over the hope for new faces

On the morning after a Critics Choice Movie Awards ceremony that heavily paralleled the Golden Globes—“Once Upon A Time… In Hollywood” won best picture, Joaquin Phoenix won best actor, Renèe Zellweger best actress, Brad Pitt best supporting actor, Laura Dern best supporting actress, etc., the Academy of Motion Picture Arts & Sciences released their nominations for the 92nd Oscars, the pinnacle of the awards season that will take place in early February as per tradition at the famed Dolby Theater on Hollywood Boulevard.

Renée Zellweger as “Judy”

The Oscar Nominations for 2020 offer the usual suspects in most categories. Like the Critics Choice Awards’ Broadcast Film Critics Association and the Golden Globes’ Foreign Hollywood Press, the Academy is big on yesteryear’s work from Tarantino, Mendez, and Scorsese. Likewise, they favor performances from Phoenix, Pitt, and Zellweger.

That being said, there are still a few head turners on this year’s nomination list, from the names included, to the names left out, to the handful of names that dominated.

First off, it should really be no surprise at this point in the awards season that Netflix got a lot of love for its 2019 filmography.

The Academy nominated both Martin Scorsese’s “The Irishman” and Noah Baumbach’s “Marriage Story” for best picture and Fernando Meirelles’ “The Two Popes” appeared in several categories as well.

This bodes well for the streaming service that clearly spent the year trying to produce and promote prestigious original content.

If one film dominated the list, however, it was Todd Phillips’ “Joker,” which garnered eleven nominations including best picture, best director, and best actor.

This is significant as not every year does a movie based on a comic book character lead the race, especially not when that comic book character is a controversy-inducing villain brought to the screen by the director of “The Hangover.”

Nevertheless, “Joker” stood out amongst the competition. In terms of noms, the film was narrowly followed by “The Irishman,” “Once Upon A Time… In Hollywood,” and “1917,” all fellow best picture contenders that received ten nominations each.

Moreover, while there weren’t really any surprises on the best actor or best actress fronts, Scarlett Johansson managed to snag both best actress and best supporting actress nominations for her respective roles in “Marriage Story” and “Jojo Rabbit.”

Snubs and Overlooked Talent that was Coincidentally Diverse Abounded

Adam Sandler went unsung for his groundbreaking performance in “Uncut Gems,” and critic favorites Awkwafina from “The Farewell” and Jennifer Lopez from “Hustlers” were similarly snubbed, not receiving any accolades from the Academy despite earning praise elsewhere.

This brings us to the biggest elephant in the room, which has been a persistent topic for the past few Academy Awards—how diverse are this year’s nominees?

The noticeably whitewashed 2016 Oscars sparked this long overdue conversation about diversity in the Awards. Since then, the Academy has been seemingly more inclusive, nominating and honoring racially-charged films like “Moonlight,” “Get Out,” “BlackKklansman,” and, “Black Panther”, feminist features like “Lady Bird” and “Roma,” and queer narratives like “Call Me By Your Name” and “The Favourite.”

This year, however, despite all of the progress over the past couple of several telecasts, the Academy seems to have relapsed into yet another celebration of a white male dominated Hollywood. The only big 2020 nominees that deviate from this norm are Greta Gerwig’s female-centric “Little Women” and Bong Joon-ho’s Korean “Parasite.”

Both of these films were nominated for best picture and Bong Joon-ho was nominated for best director.

The rest of the nominations in these categories are filled with the work of white men. Characteristically, the films are overwhelmingly white as well—from the Western European World War I narrative in “1917,” to the Nazi-Germany satire in “Jojo Rabbit” to a movie literally titled “The Irishman,” there is not a whole lot of diversity going on.

Likewise, many of these movies also sideline female characters to subordinate roles such as wives, mothers, and girlfriends to the male leads.

While these skewed nominations may be mere products of their not being as many women or minority filmmakers in the industry, that very underrepresentation is a testimony to Hollywood’s systemic gender and racial inequality both in front of and behind the camera.

Thus, when the red carpet rolls out on February 9th, we can expect to see a lot of talent on it, but probably not as much color as we’d prefer.

Following the success of last year’s hostless ceremony, the Academy also recently announced that the event will again not have a host. Hence, there will be no central figure on stage to comically quell (or egregiously highlight) the Academy’s systematic issues regarding representation.

Still, if the Golden Globes were any indicator, we will probably still hear a lot of social commentary through the acceptance speeches.

In total, the Academy has taken a big step back this year, not showing the level of diversity that the public might desire or expect.

However, the Academy Awards are only the opinions of a handful of aged industry professionals. Just because they don’t recognize certain talent does not mean that there won’t be eventual recognition, at the latest once the demographics change in the voting block (cold comfort till then).

Academy Awards, Oscars, Joker, Scarlett Johansson, Whitewashed Hollywood, Netflix, Bong Joon-ho, Todd Phillips, Awkwafina, Jennifer Lopez, Movie,


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77th Golden Globes Recap: Ricky Gervais hits a nerve, On Stage Activism & Netflix goes Unsung

’Big Winners Mostly Among the Predicted with a few Notable Exceptions

With the 77th Golden Globes concluded, Hollywood’s 2020 awards season is officially underway, celebrating the best and brightest that the film and television industries had to offer in the past year.

The Golden Globes took place on Sunday, January 5th at the famous Beverly Hilton hotel in Beverly Hills, California. The ceremony began at 5:00 PM Hollywood time, when stars from around the world took their seats to eagerly await the Hollywood Foreign Press Association’s picks for 2019’s best film, show, actor, actress, and so on… as well as the obligatory drama and awkward moments that come with any award show.

The event started far from subtly, as host Ricky Gervais took the stage. A notoriously raw British comedian, Gervais did not shy away from controversy in his opening monologue. He poked fun at just about every industry professional in the room, humorously calling out individuals for their leftist stances on political issues while engaging in an exploitative business led by capitalist juggernauts like Apple, Amazon, and Disney. Add in a Jeffrey Epstein suicide joke, a comparison between Joe Pesci and Baby Yoda, and a shot at Felicity Huffman’s prison sentence, and the night was off to a deliciously cringey start.

Despite his forewarning jests, through, Gervais did not manage to silence the award winners in their acceptance speeches. With few exceptions, it seemed as if each recipient used his or her stage time to make a statement regarding the world’s current turbulent condition.

Upon receiving the award for Best Actress in a Miniseries or TV film, “Fosse/Verdon” star Michelle Williams spoke out for a woman’s right to choose; While accepting his Best Director title for “1917,” Sam Mendes made a sly remark about war that was indubitably tied to President Trump’s recent actions in Iran; Actor Jared Harris also touched on the cost of political lies when getting the Best Limited Series award for the ever-so-relevant “Chernobyl.”

Undoubtedly (and unsurprisingly), however, the social issue most addressed on the stage was climate change. Nobody addressed this topic more profoundly than Joaquin Phoenix, who upon winning Best Actor in a Drama Motion Picture for his performance in “Joker,” took to the stage with peculiar reticence before immediately thanking the HFP for making the event plant-based. He then proceeded to get on Gervais’ level by dropping several f-bombs in calling out Hollywood hypocrisy. The speech was jarring, yet well received, as the actor delivered the message with far more sincerity than Gervais did at the night’s beginning.

Climate change was on many people’s mind throughout the night, especially in light of the ongoing bushfire epidemic in Australia. Russell Crowe even missed winning best actor in a Limited Series or TV Movie for his performance in “The Loudest Voice,” because he was Down Under protecting his house and family from the catastrophic infernos. In absentia, Jennifer Anniston read the New Zeland-born (yet Australian-raised) actor’s acceptance speech, where he definitively articulated the link between the country’s present forest fires and the planet’s continuing climate crisis.

Ellen DeGeneres also started out her speech expressing her concern and love for Australia. DeGeneres was honored with winning the Carol Burnett Award for achievement in television. After her touching words for Australia, the comedian-actress-talk show host shared her humble rise to stardom and her thoughts on the power of television, all with a characteristically stellar mix of endearing humor and unmistakable earnestness.

Later in the evening, actor Tom Hanks won the second special award of the night—the Cecil B. DeMille lifetime achievement award. Hanks gave a deeply impassioned speech and even got choked up while thanking his family. He touched on the duty of an actor to think creatively, know ones part, and “show up on time.”

This brings us to the meat of the event—the actual winners. While the drama, activism, and jokes all make for good television, the Golden Globes are ultimately there to recognize yesteryear’s outstanding works in the entertainment industry.

First off, we obviously had a number of expected outcomes. On the TV side, Brian Cox and Olivia Coleman won best series actor and actress for their respective work in “Succession” and “The Crown.” “Succession” also won Best TV Drama Series while “Fleabag” won in the Comedy category.

As for movies, we saw the anticipated Brad Pitt win Best Supporting Actor for his role in Quentin Tarantino “Once Upon A Time… In Hollywood.” Tarantino himself also won Best Original Screenplay and the film as a whole won Best Film in the Musical or Comedy category. Similarly predictable, the Korean “Parasite” won Best Foreign Language Film, Hildur Guðnadóttir won best original score for “Joker,” and Renée Zellweger won Best Drama Actress for “Judy.”

1917 is Stealth Favorite and Takes Top Drama

The upsets, however, came about in some other fields. As aforementioned, Sam Mendes won Best Director for “1917,” and the movie went on to win Best Film in the Drama category. Neither award was anticipated for Mendes. On the directorial front, he faced competition from the likes of Tarantino and Scorsese. Likewise, for best picture, he went up against bona fide critical hits such as “The Irishman,” “Joker,” and “Marriage Story.” “1917” is yet to get a wide release, however, which may be the reason many people did not foresee its success.

Another upset occurred in the Best Musical/Comedy Actor category, where Taron Egerton won the title for portraying Elton John in “Rocketman.” The thirty-year-old actor beat out stars such as Leonardo DiCaprio, Eddie Murphy, and Daniel Craig. Furthermore, in the Animated Film category, Laika Entertainment’s “Missing Link” beat DreamWorks’ “How To Train Your Dragon: The Hidden World” along with Disney’s triple-threat nominees “The Lion King,” “Toy Story 4,” and “Forzen II.” “Missing Link” performed abysmally in the theaters and director Chris Butler was utterly baffled during his acceptance speech. Evidently, big studios and box office figures do not always correlate with talent or translate to critical success.

That being said, the films that had no box office earnings whatsoever (i.e. the copious direct-to-streaming nominees this year) did far worse than expected at the 77th Golden Globes. Going into the night, Netflix had more film nominations than any other production company. Noah Baumbach’s “Marriage Story” led the race with six nominations, trailed only by Scorsese’s “The Irishman” with five—both of which were Netflix originals.

It seemed as if the Globes was going to be a game-changing event for the streaming world as well as a defining moment for Netflix to rebrand itself as the “prestigious” streaming platform amongst the competition. Maybe just getting the nominations was enough for Netflix to earn this reputation. However, the company walked away with just one film award—Laura Dern for Best Supporting Actress in “Marriage Story.” For all the hype that Netflix’s “The Irishman,” “Dolemite Is My Name,” and “The Two Popes” went in with, they all left empty handed.

Contrary to expectations, perhaps the Hollywood Foreign Press was not quite ready to hold direct-to-streaming titles in the same regards as traditional theatrical releases. Maybe the Academy of Motion Picture Arts & Sciences will think otherwise, as they announce the Oscar nominees on January 13th—if nothing else, maybe they’ll at least select a host with a touch more compassion.


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Five Movies in Theaters: Holiday Film Choices

Now that the final days leading up to 2020 are here, it’s a great time to check out what films are currently available in theaters…

Bombshell

photo-link to Bombshell article and trailer

Uncut Gems

photo-link to Uncut Gems article and trailer

Richard Jewell

photo-link to Richard Jewell article and trailer

Rise of Skywalker

photo-link to Rise of Skywalker article and trailer

Spies in Disguise

photo-link to Spies in Disguise article and trailer

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“Spies In Disguise”: Will Smith and Tom Holland get crazy Cartoony in New Disney Release

https://movietrailers.apple.com/movies/fox/spies-in-disguise/spies-in-disguise-trailer-2_h1080p.mov
Official trailer for “Spies in disguise”

Blue Sky Studios has made a mix of movies over the years. Being the animation subsidiary of 20th Century Fox, Blue Sky hasn’t become a household name quite like Pixar, DreamWorks, Illumination, or even Sony. The studio found initial success with “Ice Age” in 2002, which sparked a five movie, fourteen-year franchise that still remains very popular overseas. In between these Pleistocene Epoch-themed successes, they have also produced movies such as “Robots,” “Rio,” “The Peanuts Movie,” and “Ferdinand.”

There is nothing wrong with any of these movies. Some of them even managed to fare well at the box office. Critically, however, none of them have really made an enormous splash, and they tend to fall behind films made by Blue Sky’s competitors.

As of this past March, though, 20th Century Fox has been under Walt Disney Studios’ control, making Blue Sky a Disney property. Therefore, Blue Sky’s next project will be the studio’s first to be released under Disney’s watch.

That next release is titled “Spies In Disguise,” and despite getting its release date perpetually pushed back since January, the film will finally hit theaters on December 25th.

Although “Spies In Disguise” will be Blue Sky’s first release under Disney, the project entered into development back in 2017—long before the Fox acquisition. Likewise, production predominantly took place in 2018. Thus, Disney really didn’t have much oversight in the making of the movie.

The film is partially based off of a 2009 animated short titled “Pigeon: Impossible,” directed by Lucas Martell. This feature adaptation will be the directorial debuts for Nick Bruno and Troy Quane, both of whom have worked in the animation and art departments on previous Blue Sky productions. Meanwhile, Brad Copeland (“Ferdinand”) and Lloyd Taylor (“The Wild”) wrote the screenplay.

The first personnel that Blue Sky signed onto the project, however, were actually the two star voice actors: Will Smith and Tom Holland, both recognizable faces with fairly familiar voices (especially the former). The studio casted these two as the leads way back in 2017 during development.

In the film, Will Smith plays superspy Lance Serling, a suave hero who continually saves the world from destruction—the cartoon character design even looks a little like Smith. Holland, on the other hand, plays Walter Beckett, Serling’s tech officer who invents gadgets to aid the spy on his missions. The plot takes off when Serling ingests Beckett’s latest creation—a “biodynamic concealment”—which zanily turns him into a talking pigeon.

Humbled by this change in species, Serling must team up with the nerdy Beckett to save the world from archvillain Tristan McFord, who is voiced by Ben Mendelsohn. Along the way, the two protagonists learn the perks of being a pigeon when it comes to spying, creating many quirky, action-packed, and humorous instances in the process.

There is no telling what critics might say about “Spies in Disguise.” The animation looks good (it is computer animated with sharp edges and caricature-esque figures in a similar style to “The Incredibles”). Simultaneously, the casting is on point and the story seems funny enough. However, with “Frozen II” still being in theaters and family-friendly sensational blockbusters like “Star Wars: Rise of Skywalker” also coming out in December, “Spies In Disguise” will have a lot to compete with, and will most likely fall to the wayside for most moviegoers.


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4 New Trailers: Birds of Prey, Black Widow, No Time to Die and Richard Jewell

https://video-lynxotic.akamaized.net/rev-1-Dom_Trailer_2_BDPRY_No_Slate_720p.mov
Official Trailer for “Birds Of Prey”

You ever hear the one about the cop, the songbird, the psycho and the mafia princess? “Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)” is a twisted tale told by Harley herself, as only Harley can tell it. When Gotham’s most nefariously narcissistic villain, Roman Sionis, and his zealous right-hand, Zsasz, put a target on a young girl named Cass, the city is turned upside down looking for her. Harley, Huntress, Black Canary and Renee Montoya’s paths collide, and the unlikely foursome have no choice but to team up to take Roman down.

In the Warner Bros. Pictures film, Margot Robbie (“I, Tonya”) returns as Harley Quinn, alongside Mary Elizabeth Winstead (“10 Cloverfield Lane,” TV’s “Fargo”) as Huntress; Jurnee Smollett-Bell (HBO’s “True Blood”) as Black Canary; Rosie Perez (“Fearless,” “Pitch Perfect 2”) as Renee Montoya; Chris Messina (“Argo,” TV’s “Sharp Objects”) as Victor Zsasz; and Ewan McGregor (upcoming “Doctor Sleep,” the “Trainspotting” films) as Roman Sionis. Newcomer Ella Jay Basco also stars as Cassandra “Cass” Cain in her feature film debut. Directed by Cathy Yan (“Dead Pigs”) from a script by Christina Hodson (“Bumblebee”), the film is based on characters from DC. Robbie also produced, alongside Bryan Unkeless and Sue Kroll.

https://movietrailers.apple.com/movies/marvel/black-widow/black-widow-trailer-1_h1080p.mov
Official Trailer for “Black Widow”

Black Widow is an upcoming American superhero film based on the Marvel Comics character of the same name. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is intended to be the twenty-fourth film in the Marvel Cinematic Universe (MCU). The film is directed by Cate Shortland, written by Jac Schaeffer and Ned Benson, and stars Scarlett Johansson as Natasha Romanoff / Black Widow, alongside David Harbour, Florence Pugh, O-T Fagbenle, and Rachel Weisz. Set after the events of Captain America: Civil War (2016), the film sees Romanoff on the run and forced to confront her past.

https://movietrailers.apple.com/movies/mgm/no-time-to-die/no-time-to-die-trailer-1_h1080p.mov
Official Trailer for “Time To DIe”

The latest (number 25) in the James Bond franchise, “No Time To Die” features Daniel Craig in his fifth outing as the MI6 agent James Bond. Ralph Fiennes, Naomie Harris, Ben Whishaw, Rory Kinnear, Jeffrey Wright, Léa Seydoux, and Christoph Waltz reprise their roles from previous films, with Rami Malek, Ana de Armas and Lashana Lynch joining the cast. 

Development of the film began and confirmed in 2016. It will be the first film in the series to be internationally distributed by Universal Pictures, acquiring the rights following the expiration of Columbia Pictures‘ contract after Spectre. In the United States, United Artists Releasing holds the rights. Universal will also release the film on home media domestically.

https://movietrailers.apple.com/movies/wb/richard-jewell/richard-jewell-trailer-1_h1080p.mov
Official trailer for “richard jewell”

Directed by Clint Eastwood and based on true events, “Richard Jewell” is a story of what happens when what is reported as fact obscures the truth. “There is a bomb in Centennial Park. You have thirty minutes.” The world is first introduced to Richard Jewell as the security guard who reports finding the device at the 1996 Atlanta bombing—his report making him a hero whose swift actions save countless lives.

But within days, the law enforcement wannabe becomes the FBI’s number one suspect, vilified by press and public alike, his life ripped apart.

Reaching out to independent, anti-establishment attorney Watson Bryant, Jewell staunchly professes his innocence. But Bryant finds he is out of his depth as he fights the combined powers of the FBI, GBI and APD to clear his client’s name, while keeping Richard from trusting the very people trying to destroy him.

https://movietrailers.apple.com/movies/wb/richard-jewell/richard-jewell-clip-press-conference_h1080p.mov
Bonus Clip “Richard Jewell PRess Conference”

The film stars Oscar winners Sam Rockwell (“Three Billboards Outside Ebbing, Missouri”) as Watson Bryant and Kathy Bates (“Misery,” TV’s “American Horror Story”) as Richard’s mom, Bobi; Jon Hamm (“Baby Driver”) as the lead FBI investigator; Olivia Wilde (“Life Itself”) as Atlanta Journal-Constitution reporter Kathy Scruggs; and Paul Walter Hauser (“I, Tonya”) stars as Richard Jewell.
Oscar winner Eastwood directed from a screenplay by Oscar nominee Billy Ray (“Captain Phillips”), based on the Vanity Fair article “American Nightmare—The Ballad of Richard Jewell” by Marie Brenner.


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5 Trailers of Oscar Contenders: Check out the films that Insiders are Predicting to Win

https://movietrailers.apple.com/movies/universal/1917/1917-trailer-2_h1080p.mov
Official Trailer for “1917”

1917

Oscar buzz and predictions are building ahead of the Golden Globes, which are traditionally used as a gauge of what will most likely be among the Oscar nominations. The Globes are slated for January 6th, 2020 and the Oscar’s, a.k.a. 91st Academy Awards telecast is on Sunday, 24 February.

Some of the films that are getting the most buzz and are favored to be in the running can be seen by peeking at the trailers (with links to our in depth articles) below:

https://movietrailers.apple.com/movies/fox_searchlight/jojo-rabbit/jojo-rabbit-trailer-2_h1080p.mov
Official Trailer for “Jojo Rabbit”

Jojo Rabbit

New Zealand director Taika Waltiti’s movie “Jojo Rabbit” was released October 18th. The critic’s reactions have been positive, and the film won the Toronto Film Festival audience award putting it in line, if past years winners are any indication, for a possible Oscar nod. Waititi was also awarded the Festival’s new Ebert Director Award.

Waltiti is known for directing wacky comedies such as “What We Do In The Shadows,” “Hunt For The Wilderpeople,” and the borderline parody Marvel hit, “Thor: Ragnarok.” His latest film, “Jojo Rabbit” follows this same vein of outrageous, yet charming humor, but there is one key difference… “Jojo Rabbit” focuses on Germany’s Nazi party during World War II, making its hilarity just a touch more complicated.

More specifically, “Jojo Rabbit” is about a young boy in the Hitler Youth. Like many German kids of the time, he aspires to be a Nazi soldier when he grows up. He buys into the party’s ideologies and believes their propaganda. That is until he comes face to face with a Jewish girl and learns, despite what the Nazis have taught him, that she is harmless, pleasant, and appealing.

On the surface, the premise seems like the bones of a complex and sophisticated historical drama. With Waltiti behind the camera, though, such is obviously not the case. Instead of dry historical accuracy, Waltiti makes the Hitler Youth look like a summer camp filled with likable children and goofy leaders. Most boldly perhaps, Waltiti himself plays Adolf Hitler in the movie, but rather than depict him as the brutal dictator that he was, Waltiti makes him out to be the kind-uncle archetype, a socially inept, hilarious motivator and idol for the children in the story.

https://movietrailers.apple.com/movies/sony_pictures/once-upon-a-time-in-hollywood/once-upon-a-time-in-hollywood-trailer-1_h1080p.mov
Official Trailer for Once Upon A Time… In Hollywood

Once Upon A Time… In Hollywood

Quentin Tarantino has had success with his ninth movie, “Once Upon a Time in… Hollywood”. In a slight departure from his stark early 70s styled crime dramas, this time Tarantino pays homage to the late- 60’s genre and his love for his hometown, Los Angeles.

The film takes place in 1969 Hollywood, amidst the chaotic events of that year, including the infamous Manson Murders. Much like The Altamont Free Concert, as chronicled in the film Gimme Shelter (with it’s high profile murder during the show), the gruesome, violent Manson murders are often cited as an historical moment marking the end of the free love 60’s and a pivot towards the darker times in the me decade of the 70’s.

The film stars Leonardo DiCaprio as Rick Dalton, as an actor on a Western television series alongside Brad Pitt as Cliff Booth, Dalton’s stuntman. The two work and live closely together as they carry out their urban cinematic adventures. The characters and their friendship are said to be based on 70’s icon Burt Reynolds and his stuntman Hal Needham.

https://movietrailers.apple.com/movies/wb/joker/joker-trailer-2_h1080p.mov
Official Trailer for “Joker”

Joker

Even before seeing “Joker” the origin-story from Warner Brothers, there is a sense that this is an epic not easily categorized within the Comic-Book movie genre.

Starring Joaquin Phoenix (Oscar nominee for “Walk the Line”, “The Master” and “Gladiator”), directed and co-written by Todd Phillips (“Borat” and “The Hangover Trilogy”) and with Robert De Niro (as TV host Murray Franklin), the focus on how Arthur Fleck becomes “Joker” screams a muted, uneasy tension, that’s oozing from every pixel revealed so far.

In “Joker”, Batman’s Gotham City is a cesspool of dirt and depravity where Arthur appears doomed to live and die encircled with nothing but depression and humiliation. Mentally Ill and mercilessly tortured by the “sane” members of society all around him, he finds some respite in his chosen career of clown-for-hire and hopeful comedian wannabe by night.

The potential for the story to transcend the genre of Comic book heroes and villains is hinted at in the placard with the words “we are all clowns” scrawled on it, that can be seen in a flash, about halfway through the new trailer (above).

Followed by scenes showing mobs of clown-mask-wearing demonstrators / rioters (shades of anonymous, Guy Fawkes, Antifa and Hong Kong), there’s an implication that an anti-social movement is growing up around, and identifying with, the anger and twisted humor of the emerging “Joker” super-villain character.

The real life parallels to the fictional world of Gotham City and the way many could relate, after having suffered similar fates to those that produced the madness into which Arthur descends, are scary, already in previews, and could portend a film that is not only horrifically entertaining, but thought provoking, when seen in the shadows of current events and today’s zeitgeist.

In the wake of so many “uplifting” but heavily computer assisted films where Comic book superheroes battle cartoon villains (and each other) the emphasis on live action grit and human emotions and failings is, at first look, refreshing and terrifying (in an interesting way), and that seems to have hit a nerve with the general public, judging from the $1 billion plus bos office take so far.

https://movietrailers.apple.com/movies/fox/ford-v-ferrari/ford-v-ferrari-trailer-1_h1080p.mov
Official trailer for “Ford v FerRari”

Ford v Ferarri

From “Logan” and “Walk The Line” director James Mangold, “Ford v Ferrari” follows the true story of American engineer Carroll Shelby who is solicited by Henry Ford II to build a car that can beat Ferrari at the 1966 Le Mans World Championship in France. Shelby, determined to complete Ford’s ambitious task, insists on putting the wild and loose British driver Ken Miles behind the wheel. What ensues is the fast-playing tale of a couple eccentric and erratic people infiltrating a world filled with professional industrialists to take on the impossible.

Matt Damon plays Shelby in the film and Christian Bale as Miles. Rather than one being the lead and the other being a supporting role, both actors are co-leading the film, making them both eligible for Best Actor in a Leading Role nominations at the Oscars come February.


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Five Movies Out just before Thanksgiving, Kicking off the Holiday Blockbuster Season

Just in case you missed our coverage of recent films, out now in theaters, we’ve compiled a graphic tour of a few noteworthy titles among them.

https://movietrailers.apple.com/movies/disney/frozen-2/frozen-2-trailer-3_h1080p.mov
New Official Trailer for “Frozen II”

Winter films come in small waves. And, sometimes, after the end of the Summer Blockbuster Season and Fall back-to-school, there is a lull. Now, the lulll is just about over. Holiday Blockbuster season is upon us. Check out the trailers below for links with more info about each.

Frozen II

https://movietrailers.apple.com/movies/disney/frozen-2/frozen-2-trailer-3_h1080p.mov
Second Official Trailer for “Frozen II”

The iconic sisters and princesses of Arendelle are back in this much-anticipated predicted hit sure to bring Disney Animation out of its cold shadows on November 22nd.

A Beautiful Day in the Neighborhood

https://movietrailers.apple.com/movies/sony/a-beautiful-day-in-the-neighborhood/a-beautiful-day-in-the-neighborhood-trailer-1_h1080p.mov
Official Trailer for “A Beautiful Day in the Neighborhood”

Take a walk with Tom Hanks in this beautiful neighborhood as he employs radical kindness to portray his unexpected distant relative Mr. Rogers on the silver screen.

Knives Out

https://movietrailers.apple.com/movies/lionsgate/knives-out/knives-out-trailer-2_h1080p.mov
New Official Trailer for “Knives Out”

The notorious Last Jedi director Rian Johnson ventures into his long-time murder-mystery passion project with a star-studded cast that includes Chris Evans, Daniel Craig, and more.

21 Bridges

https://movietrailers.apple.com/movies/independent/21-bridges/21-bridges-trailer-1_h1080p.mov
Official Trailer for “21 Bridges”

The fearless King of Wakanda and Black Panther goes Blue as Chadwick Boseman plays a New York City police officer who devises a plan to catch two cop killers on the loose.

Dark Waters

https://movietrailers.apple.com/movies/focus_features/dark-waters/dark-waters-trailer-1_h1080p.mov
Official Trailer for “Dark Waters”

This previously Hulk-turned scientist switches roles onscreen into a corporate defense lawyer as Mark Ruffalo plays Attorney Rob Bilott who stands up to DuPont’s criminal behavior in an eco-thriller based on a true story.


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New Trailers: Trolls World Tour, Bluebird, The Way Back, Citizen K and more…

A bunch of new trailers came out this week, and here are a few for you to check out right now:

‘Trolls World Tour’

https://movietrailers.apple.com/movies/universal/trolls-world-tour/trolls-world-tour-trailer-2_h1080p.mov
new official trailer for “trolls world tour”

Poppy and Branch discover that there are six different troll tribes scattered over six different lands. Each tribe is also devoted to six different kinds of music — funk, country, techno, classical, pop and rock. When rockers Queen Barb and King Thrash set out to destroy the other music, Poppy and Branch embark on a daring mission to unite the trolls and save the diverse melodies from becoming extinct.

‘Citizen K’

https://movietrailers.apple.com/movies/independent/citizen-k/citizen-k-trailer-1_h1080p.mov
original official trailer for “citizen k”

Citizen K is a 2019 documentary film about Mikhail Khodorkovsky, written and directed by Alex Gibney. It is a film about post-Soviet Russia. Mikhail Khodorkovsky, a wealthy man in Russia, rocketed to prosperity in the 1990s and became an unlikely martyr for the anti-Putin movement. It had its world premiere at Venice Film Festival.

‘The Way Back’

https://movietrailers.apple.com/movies/wb/the-way-back/the-way-back-trailer-1_h1080p.mov
new official trailer for “the way back”

The Way Back stars Ben Affleck. A widowed, former basketball all-star lost family foundation in a struggle with addiction and attempts to comeback by becoming the coach of a disparate, ethnically mixed high school basketball team at his alma mater.

‘Bluebird’

https://movietrailers.apple.com/movies/independent/bluebird/bluebird-trailer-1_h1080p.mov
original official trailer for “bluebird”

Some of today’s biggest singers/songwriters — including Garth Brooks, Vince Gill and Taylor Swift — discuss their memories of performing at the Bluebird Cafe in Nashville, Tenn.

‘Beyond the Law’

https://movietrailers.apple.com/movies/independent/beyond-the-law/beyond-the-law-trailer-1_h1080p.mov
official original trailer for “beyond the law”

Police officer Daniel Saxon (Charlie Sheen) goes undercover in an effort to topple a motorcycle gang whose members deal in illegal weapons and drugs. To prove himself to the gang’s leader, a thug called “Blood” (Michael Madsen), Saxon engages in a series of dangerous acts. Though he takes solace in his burgeoning romance with Renee (Linda Fiorentino), a photographer chronicling the gang’s lifestyle, Saxon finds the line between police work and criminal behavior increasingly blurry.

‘I See You’

https://movietrailers.apple.com/movies/independent/i-see-you/i-see-you-trailer-1b_h1080p.mov
new official trailer for “i see you”

I See You is about strange occurrences plague a small-town detective and his family as he investigates the disappearance of a boy.


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Cats: Taylor Swift, Idris Elba, Judi Dench inspire Piling On across the Twitter-verse

https://movietrailers.apple.com/movies/universal/cats/cats-trailer-2_h1080p.mov
NEW OFFICIAL TRAILER FOR “CATS”

About a month ahead of its release this December, Universal dropped a new trailer for its anthropomorphic “Cats” spectacle and social media users have responded in new and amusing variations. The newest trailer comes after the original trailer was released four months ago in July.

Universal’s “Cats” is a musical fantasy film adaptation of Andrew Lloyd Webber’s iconic musical of the same name, which was based on T.S. Eliot’s poetry collection from 1939 “Old Possum’s Book of Practical Cats.”

The director of the notorious 2012 “Les Misérables” musical film adaptation Tom Hooper is directing the film with a screenplay co-written by him and British playwright and screenwriter Lee Hall, who wrote the screenplay for the 2005 film adaptation of Jane Austen’s “Pride and Prejudice.”

https://movietrailers.apple.com/movies/universal/cats/cats-trailer-1-us_h1080p.mov
Original Official Trailer for “Cats”

The main subject of the public internet’s fixation and fascination with “Cats” is witnessing the strange-looking, computer-animated cat versions of its star-studded cast, which includes Taylor Swift, James Corden, Jennifer Hudson, Jason Derulo, Rebel Wilson, Ian McKellan, Judi Dench, and Idris Elba.

Hundreds of tweets surged following the new trailer, with cat jokes and memes, many a meme surrounding how freaky it is to see a human playing a cat and how equally terrifying it is to see their furry “naked” cat characters played by well known celebrities. 

https://twitter.com/itgetsbedder/status/1196823382660132864

Here’s a snippet of some of the new memes that spawned from the new trailer ahead of its upcoming release during this Christmas season:

https://twitter.com/repudrama/status/1196830282936176640
U gotta look close at this one to see the funny part
Is that the guy from saturday night live?
https://twitter.com/goodjobliz/status/1196830594816258048
no words can describe this
https://twitter.com/scottEweinberg/status/1196898976278175745?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1196898976278175745%7Ctwgr%5E363937393b70726f64756374696f6e&ref_url=https%3A%2F%2Fpublish.twitter.com%2F%3Fquery%3Dhttps%253A%252F%252Ftwitter.com%252FscottEweinberg%252Fstatus%252F1196898976278175745%26widget%3DTweet
now it all makes sense

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‘Joker’ Breaks $1 Billion, Surpassing ‘Deadpool’ As Most Successful R-Rated Movie Of All Time

https://movietrailers.apple.com/movies/wb/joker/joker-trailer-2_h1080p.mov
Second Official Trailer for “Joker”

Amidst Family-Friendly ‘Billionaire’ Movies, ‘Joker’ is the Only R-Rated Feature to Break the Mold

“Joker” came out nearly two months ago on October 4th. Upon release, it earned an immediate $93.5 million, giving it the highest-grossing October opening weekend ever. Recently, however, “Joker” broke yet another record, this time solidifying it as a financial success and a milestone movie. 

Earlier this week, “Joker” became the first R-rated movie to earn more than $1 billion at the box office, edging out “Deadpool” as the most lucrative R-Rated film of all time.

Only a handful of movies have managed to break the $1 billion threshold. This year, “Joker” joins the likes of “Avengers: Endgame,” “Toy Story 4,” and “The Lion King” as a film that managed to earn ten figures. It is also Warner Brothers’ biggest success since “Aquaman,” which came out in December 2018 and grossed $1.2 billion. 

Almost every movie to make over a $1 billion has been a family-friendly action-comedy blockbuster, nestled somewhere between a PG and PG-13 rating. This usually allows for a wider range of people to buy tickets. “Joker,” however, stands out as an R-rated sinister drama that made an artistic debut at the Venice and Toronto Film Festivals. The movie even received some backlash for its ultra-violent themes and its humanization of the criminally insane. 

https://movietrailers.apple.com/movies/wb/joker/joker-teaser-1_h1080p.mov
Original Official Trailer for “Joker”

Public Obsession with ‘Joker’ Brings Alarm as Many Fear it could Spawn Copy Cats

Of course, the movie is about Batman’s arch nemesis and is technically under the DC Entertainment label. Thus, it was bound to find success from the beginning. Nevertheless, given “Joker’s” mature nature and radical subject matter, it remains quite impressive that the film is doing as well as it is.

Like most big-budget films nowadays, the majority of “Joker’s” success came from foreign ticket sales. The movie has earned $694 million abroad compared to $322.6 million domestic. However, Warner Brothers also managed to make this hefty figure without releasing the film in China, which is the second largest movie market in the world. 

Some may find it disturbing that a movie focusing on the antagonist is drawing so much attention. Many fear that audiences will empathize with the Joker too much and perhaps try to follow in his deranged and violent footsteps.

Despite Criticism, Filmmakers Defend Artistry as a Potential Oscar Buzz surrounds the ‘Clown Prince’

Director Todd Phillips and lead actor Joaquin Phoenix (who plays the titular character) have heard these criticisms loud and clear, but they still defend their work. Essentially, they take the stance that filmmakers have artistic freedom to tell the stories they want to tell, no matter how unsavory the characters or how risky the themes. They contend that filmmakers (like any artists) do not have an obligation to teach viewers morality—it is up to the individual to interpret the story ethically and make the right choices.

Regardless, the criticism is not stopping people from seeing the movie. Evidently, millions of people from all around the world are flocking to theaters for “Joker.” Meanwhile, it is also getting positive reviews and potential Oscar buzz, especially regarding Joaquin Phoenix transformative performance as the Clown Prince of Darkness. 

“Joker” as a whole is a divisive and morally ambiguous picture. The movie was a risk on Warner Brothers’ part and its ultimate legacy is yet to be determined. At the very least, though, Warner Bros knows that the risk paid off financially, and that they are cashing a big check for their fast and loose quasi-Batman anti-hero project.


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“D’oh!”—Disney+ Modifies ‘The Simpsons’ to 16:9 Aspect Ratio at the Expense of Series’ Trademark Humor

Graphic Collage / Lynxotic

Disney+ reels Subscribers in with Massive, Nostalgia-Inducing Hoard, such as 30 Seasons of “The Simpsons”!

Disney+ is here, and for the most part, it is living up to astronomical expectations. The streaming service has everything it promised under the Walt Disney Studios banner, from Marvel, to Pixar, to Star Wars, to Disney Animation vault material, to originals and more. The service allows its 10 million patrons to re-watch childhood classics and also discover something new, all for the affordable price of $7 per month.

One of the most appealing pieces of content available on Disney+ is all 30 seasons of “The Simpsons,” which Disney acquired when it purchased 20th Century Fox earlier this year. “The Simpsons” has been on the air since 1989, making it the longest running scripted television series. Its characters are household names and its humor has transcended generations.

Visual Humor is Extremely Delicate, and the Aspect Ratio makes can make a Huge Difference

Naturally, many people were eager to watch their favorite episodes of “The Simpsons” when Disney+ launched last Tuesday. Given that “The Simpsons” golden years are often considered between seasons 3 and 8, most users flocked to these chapters in the show’s history. 

However, when fans finally selected the episodes and pressed play, they may have found themselves confused and disappointed to see that the show looks different than it did in their memory, and that it is missing a few jokes as a result.

This is not a case of people misremembering something as better than it actually is—“The Simpsons” is undoubtedly a hilarious show. The reality is that Disney adjusted the show’s aspect ratio for seasons 1-19 when adding it to the streaming service. While seasons 1-19 originally aired in a primitive 4:3 aspect ratio, Disney+ edited the episodes to fall in line with its contemporary widescreen 16:9 ratio. 

A Funny Case in which Opting for a “modern upgrade” Backfires

This change could maybe be forgiven or perhaps even go unnoticed if it weren’t for the fact that the adjusted ratio comes at the expense of some of show’s humor. With the adapted framing, shots are cut off at unnatural edges. Therefore, some of the visual jokes in “The Simpsons” end up entirely out of frame.

Sometimes these graphic gags are subtle, but other times they are the focus of the entire scene or episode. Either way, many users consider this change insulting to both “The Simpsons” fandom and its creators. Viewers want to watch “The Simpsons” how they fondly remember it, in its original form.

Disney+ Responds Timely to Criticism Handling an American Television Staple

Seasons 20-30 of “The Simpsons” have gone untouched on Disney+ simply because these episodes were already made in 16:9 ratio. Disney+ wanted to create consistency amongst the series so it went for the latest, most often seen ratio. Unfortunately, it is the show’s development over time and that very inconsistency that enriches “The Simpsons’” as the series is watched in its original form, one can see its evolution over the years and better appreciate its long run as a staple of American television.

Disney has responded to complaints about the change, stating that it will soon release seasons 1-19 in their rightful 4:3 aspect ratios. This will happen in early 2020, at which time users will have the choice of how they want to watch “The Simpsons.” Nevertheless, it will keep the 16:9 ratio available for the sake of oncoming Disney+ features and unspecified digital viewing innovations. 


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Netflix: Smell the Roses or Binge in Overdrive @1.5 Original Speed

Graphic Collage / Lynxotic

Netflix Ignores Creative Intention as they Scramble After gimmicky Innovation

Ever since Netflix got the world hooked on online streaming, the company has innovatively transformed how people consume both film and television. For a long time, it was also uncontested, seemingly secured as the premiere streaming service. However, with the launches of Disney+, HBO Max, Peacock, Apple+, and the streaming war that will ensue by the end of the year, Netflix will no longer be in the safe zone. 

To survive this oncoming competition, Netflix has been looking for ways to distinguish itself. It has done this partially by creating more original content and making a name for itself as a production company. At the same time, though, Netflix is also trying to get creative within its distinct medium.

Unlike Disney, WarnerMedia, or NBCUniversal, Netflix did not begin as a TV station or a film studio. It started as a DVD rental site and evolved into streaming to keep up with the digital age. Therefore, the company has always been seeking ways to use its online platform to its advantage—from offering multi-lingual subtitles, to recording new dubs, to implementing the choose-your-own adventure model in “Black Mirror: Bandersnatch.”

1.5 Playback Speed Isn’t New, but for Movies? That’s Uncharted Territory with Good Reason

Almost all of these innovations have been embraced and accepted by viewers and filmmakers alike. However, Netflix’s next move in harnessing its digital medium may be taking things a step too far.  

Currently in the works, Netflix may soon give its users the option to view content at 1.5 the original speed. This means that they could watch an hour-long television episode in just forty-five minutes, or a two-hour movie in no more than ninety minutes. Everything would go by 50% faster. The company has already started testing this development on Android mobile devices, but has not yet declared when or if it will become available to all subscribers.   

Granted, consuming media and watching videos at non-standard speeds is not completely novel. YouTube has been allowing its patrons to adjust playback speeds for a while now. At the most severe, viewers can speed through content twice as fast or slog through videos at a mere quarter of the original pace. These options are also common on podcast sites, allowing listeners to hear material more efficiently.

However, there is a difference between watching a five-minute video on YouTube and watching a full-length movie on Netflix. The service’s extensive library contains the work of many esteemed filmmakers—its original content alone comes from the directorial likes of Steven Soderbergh, Alfonso Cuarón, Martin Scorsese, and even Orson Welles. It seems borderline blasphemous to consider rushing these masters’ works with improper haste.  

Film Playback Speed-up option Cheapens Work Extracted from Movie Industry Creators

Likewise, all of the content available on Netflix has a degree of artistic merit. There are screenwriters, directors, cinematographers, animators, editors, and many more people behind each of the titles. Film being a collaborative art-form, there are hundreds of names (and not to mention millions of dollars) attached to every project. Perhaps Netflix ought to honor all of the individuals who creatively and financially slaved over its material.

Ever since Netflix started creating more prestigious original work, it has been held to a new standard. Today, the company is a rather divisive topic amongst the Hollywood elite—Scorsese is obviously willing to work with it, while Spielberg openly dug into it following the 91st Academy Awards. This new 1.5 speed addition to the site, however, is unlikely to earn it any new friends in the filmmaking community. Judd Apatow and Brad Bird have already pushed back against the idea.

After all, a film’s timing is not a haphazard thing. Directors and editors take time and effort to create ideal pacing in a movie. When curated correctly, a movie’s tempo can be just as meaningful as its script. Imagine, for example, if Hitchcock’s camera ran through a house rather than crept through it, or if Kubrick’s painfully long takes were cut off too soon—we would all lose something.  

Watching content at 1.5 the speed is essentially watching content on fast-forward. While Netflix may be responsible for binge culture and slip-screen viewing, this latest idea of theirs may be pushing the envelope too severely. It jeopardizes filmic integrity and comes at the expense of so much creative effort. Netflix should certainly continue to think progressively and outside the box when it comes to entertainment, but meanwhile, it should also keep a toe in the waters of tradition and not forget the fundamental values of cinematic art upon which the company stands. 


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5 New Movies Out in the Next 2 Weeks – with Action-Packed Trailers Included

https://movietrailers.apple.com/movies/sony_pictures/charlies-angels/charlies-angels-trailer-2_h1080p.mov
New Official Trailer for “Charlie’s Angels”

Here’s a little refresher that features some of the most-anticipated movie releases for the next two weekends:


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5 New Movie Trailers Just Released: Check out the future features from Paramount, Warner Bros. and more

https://movietrailers.apple.com/movies/paramount/sonic-the-hedgehog/sonic-the-hedgehog-trailer-1b_h1080p.mov
New Official Trailer for “Sonic the Hedgehog”

A bunch of new trailers came out this week, so we chose a few for you to check out right now:

https://movietrailers.apple.com/movies/independent/the-wolf-hour/the-wolf-hour-trailer-1_h1080p.mov
Official Trailer for “The Wolf Hour”

The Wolf Hour is a 2019 thriller drama film written and directed by Alistair Banks Griffin. It stars Naomi WattsEmory CohenJennifer EhleKelvin Harrison Jr.Jeremy Bobb and Brennan Brown.
It had its world premiere at the Sundance Film Festival on January 26, 2019. It is scheduled to be released on December 6, 2019, by Brainstorm Media.

https://movietrailers.apple.com/movies/wb/scoob/scoob-trailer-1_h1080p.mov
Official Trailer for “Scoob”

Scoob! (stylised as SCOOB!) is computer-animated adventure comedy film featuring characters from the Scooby-Doo franchise, produced by the Warner Animation Group and distributed by Warner Bros. Pictures. It is a reboot of the Scooby-Doo film series, and is intended to be the first film of a proposed set up for a Hanna-Barbera Cinematic Universe.

https://movietrailers.apple.com/movies/paramount/sonic-the-hedgehog/sonic-the-hedgehog-trailer-1_h1080p.mov
Original Official Trailer for “Sonic the Hedgehog”

Sonic the Hedgehog is a 2020  family adventure film based on the Sonic video game franchise by Sega. It stars Ben Schwartz as the voice of Sonic the Hedgehog and Jim Carrey as Sonic’s nemesis Doctor Robotnik, alongside James Marsden and Tika Sumpter. In the film, a small-town sheriff assists Sonic as he attempts to escape Dr. Robotnik and the government.

https://movietrailers.apple.com/movies/paramount/the-spongebob-movie-sponge-on-the-run/the-spongebob-movie-sponge-on-the-run-trailer-1_h1080p.mov
Official Trailer for “The Spongebob Movie: Sponge On The Run”

The SpongeBob Movie: Sponge on the Run is a 3D live-action animated comedy film based on the animated television series SpongeBob SquarePants. The regular voice cast of the series are expected to reprise their respective roles from the series and the previous films, The SpongeBob SquarePants Movie (2004) and The SpongeBob Movie: Sponge Out of Water (2015).

https://movietrailers.apple.com/movies/independent/beanpole/beanpole-trailer-1_h1080p.mov
Official Trailer for “Beanpole”

Beanpole (Russian: Дылда) is a 2019 Russian historical drama film directed by Kantemir Balagov. It premiered in the Un Certain Regard section of the 2019 Cannes Film Festival. At Cannes, Balagov won the Un Certain Regard Best Director Award and the FIPRESCI Prize for Best Film in the Un Certain Regard section. It was selected as the Russian entry for the Best International Feature Film at the 92nd Academy Awards.


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Netflix Aiming for Prestige to Combat Debt as Streaming War Brings Extreme Competition

Can this Digital GrandDaddy Stay Relevant as Disney+, Apple TV+ and more enter the Fray?

For years, Netflix has been pointed to as the premiere streaming service and the foremost company responsible for popularizing watching content online instead of on a television or movie screen. It has earned a spot alongside Facebook, Amazon, Apple, and Google as one of the most influential companies in the world of 21st century technology and entertainment—being the N in the notorious acronym FAANG

Recently, however, Netflix has been hitting some hard times. Its debt has been steadily increasing for a while and fewer companies are renewing their contracts with it, thus limiting the breadth of its library. Likewise, the launches of Disney+, HBO Max, NBCUniversal’s Peacock, and Apple+ are creeping closer and closer. When these new streaming services become available, their parent companies will stop licensing content to Netflix, and they will bring about unprecedented competition.

While Netflix has slowly been increasing its amount of original content over the years, its most popular offerings remain properties from outside sources. As it has been for a couple years now, the two most watched programs on Netflix are “The Office” and “Friends.” In fact, one has to go pretty far down the list before finding a Netflix original among company’s most popular shows.

Once the streaming war begins, though, Netflix will lose many of these licensed-out titles. Originally airing on NBC, “The Office” will be available exclusively on Peacock. Likewise, being a Warner Brother’s television production, “Friends” will find its new streaming home on HBO Max. Netflix will thus be in a pickle, as they will have fewer titles in their libraries and fewer active deals with pre-established studios and networks.

Nevertheless, Netflix is responding to the impending streaming war with surprising optimism. The company’s CEO, Reed Hastings has expressed feelings of confidence, explaining how the increased competition will force Netflix to be creative and improve its model.

Content is, once again, Key in a Competitive Market

Creativity will be the key to success in the streaming war, as original content will largely determine which platforms outlast the others. Netflix has certainly been upping its original content game throughout 2018 and 2019. On the series side, season three of “Stranger Things” broke records for the company, and the innovative “Black Mirror: Bandersnatch” introduced the choose-your-own-adventure model to television and garnered a Primetime Emmy win in the process.

Likewise, ever since Alfonso Cuaron’s 2018 Netflix original film “Roma” earned several Oscar nominations—including wins for best director and best foreign film, and a nomination for best picture—Netflix has been seen as a far more legitimate production company, worthy of immense talent and prestigious content. To an extent, Netflix has ran with this new reputation in 2019, creating Steven Soderbergh’s “The Laundromat” starring Meryl Streep, Gary Oldman, and Antonio Banderas, as well as Martin Scorsese’s “The Irishman” with Robert De Niro, Al Pacino, and Joe Pesci.

It is a bold strategy for Netflix, but it seems like the company is going for prestige as its new brand. When the streaming war takes place, one of the things Disney, Warner Brothers, and NBC have that Netflix currently lacks is an identifiable brand-type. For the majority of streaming history, a subscription to a service simply meant that you were paying for a smorgasbord of content that could range all different genres and cater to diverse tastes. Now that streaming services and production companies are merging into one entity, subscribing becomes a far more divisive strategy based on brand recognition.

In order for Netflix to remain afloat, they will need to sell themselves as offering something not available anywhere else. For years creative and business-minded people have scratched their heads trying to figure out what kind of content Netflix desires. Perhaps this prestigious trend brings us closer to an answer.

Nevertheless, Netflix has also employed a couple other strategies to keep itself moving through 2019. It has dug into some preexisting intellectual properties and expanded upon them. Recently, it re-capitalized on “Breaking Bad” with Vince Gilligan’s “El Camino” taking place in the same universe as the show. Meanwhile, it also exploited 1990s nostalgia by producing original movies based off of old Nickelodeon cartoon shows “Rocko’s Modern Life” and “Invader Zim.”

Therefore, Netflix’s playbook remains mysterious. Unlike other web-based companies of its caliber, Netflix keeps its data private. So while there are guesses and estimates about trends in Netflix’s model, it is quite possible that the company has a few unseen tricks still hidden up its sleeve. Only time will tell if Netflix will find a way to keep up with the competition, or if the service will go down as an immensely influential, yet tragically short-lived blip in entertainment history.


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