Tag Archives: Streaming

‘Wonder Woman: 1984’ gets Twin Release on HBO Max and in Theaters on Christmas Day

https://video.twimg.com/amplify_video/1329213839338991616/vid/1280x720/uQrkAc_uMF8hVzAd.mp4?tag=13

Above : Promotional video for “wonder woman: 1984” on hbo max

HBO option will not have uncharge giving viewers a safe stay-at-home option

“Wonder Woman: 1984” (WW84) has had a bumpy road finding a release date. The DC follow-up to Patty Jenkins’ sensational 2017 “Wonder Woman” was originally meant to hit theaters last year, on December 2019, but the studio pushed the movie back to a summer release date in June, then again for October, and now, finally, will be released in theaters and HBO Max on the same day, Christmas day. 

Read More: Justice League releases brand new Black and White Trailer for upcoming HBO Max 2021 movie release

“We appreciate how patient audiences have been and given the great anticipation around ‘Wonder Woman 1984,’ we are grateful to be able to make this terrifically entertaining movie widely available in these challenging times,” 

-Toby Emmerich, chairman of Warner Bros. Pictures Group, said in a statement.
Click to Preorder “Release The Snyder Cut” 
and help Independent Bookstores.  
Also Available on Amazon .

The announcement by Warner Bros came on Thursday, Nov 18. The decision to release the movie both in theaters and the streaming platform comes when more than 250,000 people have died from the coronavirus pandemic. The surge of new cases may deter fans from going to see it in a theater so a simultaneous streaming debut could boost numbers as well as subscriptions for HBO.  

 It has been reported that WW84 will not cost anything extra  to stream on HBO Max other than the monthly subscription fee of $14.99 and will be available to watch for one month within the U.S. In addition, this week, WarnerMedia announced that HBO Max would be available on Amazon’s Fire Stick. It is still not available with Roku streaming technology.

Read More: Daisy Ridley and Tom Holland star in the new trailer for the upcoming sci-fi thriller, Chaos Walking

Gal Gadot, who stars as the DC Comics superhero, as well as director Patty Jenkens both posted statements on their social media accounts sharing the news of the release of their movie. 

Great Throwback Aesthetic in Stark Contrast to Our Somber Times

What really sticks out in”WW84″ right now is not the diegetic loopholes, but the novel, vibrant aesthetic. With a few exceptions, DCEU movies often get criticism for their grey pallet and overly-sinister energy. Fans frequently plead for Warner Brothers to offer a bit more color and optimism to the franchise, citing Disney’s Marvel films as exemplars for comic book adaptation.

Chris Pine also returns from the original “Wonder Woman” cast, reprising his role as love-interest Steve Trevor. Conspicuously, his character unambiguously died in a plane crash at the end of the first film, but the trailer seems to find him alive and well.

From the rainbow tinted posters to the electrifying trailer, the movie is clearly invested in the 1984 setting. It looks like a disco-infused, fun-filled superhero flick, with quality humor, captivating visuals, and a strong cast to carry it along—Pedro Pascal from “The Madalorian” is playing the main villain!


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Justice League releases brand new Black and White Trailer for upcoming HBO Max 2021 movie release

https://video.twimg.com/amplify_video/1328726078379048960/vid/960x720/AjtjmV2o1BPm1-4l.mp4?tag=13
Official teaser trailer for snyder cut of justice league

Trailer hints at a major over-haul which led to the upcoming 4 x 1 hour Segments

Zack Snyder let loose a  new trailer on Vero and Twitter for the upcoming “Synder-Cut” of Justice League that will be released on HBO Max in 2021. The director purposely gave fans an opportunity to experience the trailer on the exact 3 year anniversary of the theatrical release of the Justice League, originally released on Nov. 17, 2017. 

Click to Preorder “Release The Snyder Cut
and help Independent Bookstores.
Also Available on Amazon .

The new, crazy Snyder-esque full version will run nearly 4 hours and be jammed-packed with never-before seen footage from the DC FanDome, and this time around, (surprise!), it will be in black and white. He culled the new content from previously-shot clips (of which he no doubt has a boat-load in his archive). Apparently, according to sources, in the release will be separated, and the marathon will get further cut into one hour sections, presumably, to remove the medical dangers that could arise from any binging into a four hour watch-a-thon without a break…

In an even more thrilling tidbit, for the obsessed, there will also be 4-5 minutes of brand new footage, including some featuring Jared Leto is his role as (the new) Joker.  The director shared the new trailer with the hashtag: #UsUnited, as a homage to the now-famous line Batman uttered at the end of the 2017 Justice League. 

https://twitter.com/ZackSnyder/status/1328727811595517953?s=20

An introduction for fans meant to build the buzz, in anticipation of the new longer, darker version to come

The world’s greatest super heroes, the Justice League, comprising of DC’s unprecedented team, including the likes of Batman, Wonder Woman, Aquaman, Cyborg and The Flash, who are known to have  fought to restore faith, and recover the humanity in humanity.

“It will be an entirely new thing, and, especially talking to those who have seen the released movie, a new experience apart from that movie.”

-Zack Synder interview / Hollywood Reporter 

The God of Evil himself, Darkseid, as played by Ray Porter, is said to be notably featured within the movie, giving the “Snyder-Cut”  a unique story-arc emphasizing a different and darker perspective, one that only Zack himself can produce. 

Justice League stars:

  • Ben Affleck as Batman
  • Gal Gadot as Wonder Woman
  • Henry Cavill as Superman
  • Amy Adams as Lois Lane
  • Jason Momoa as Aquaman
  • Connie Nielsen as Hippolyta
  • Ezra Miller as The Flash
  • Ray Fisher as Cyborg
  • Jeremy Irons as Alfred Pennyworth
  • Diane Lane as Martha Kent
  • Ciarán Hinds as Steppenwolf
  • Jesse Eisenberg as Lex Luthor
  • J.K. Simmons as Commissioner Gordon
  • Jared Leto as Joker
  • Ray Porter as Darkseid

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The Short and Tragic Life of Quibi: Obituary for a Hollywood Experiment

PHOTO COLLAGE / LYNXOTIC

The unconventional streaming service is done – a flameout less than seven months after launching

On October 21stThe Wall Street Journal caught a whiff that a certain young video streaming service was about to bite the dust. Rumors turned out to be true, as the hardly six-month-old Quibi shut down that same day.

Quibi was an unconventional streaming service from its very beginning, a risky idea from Hollywood veterans Jeffrey Katzenberg and Meg Whitman. Conceptualized in August 2018, their idea was to create a streaming platform dedicated to short-term content on mobile screens. The founders figured that people might appreciate “quick bites” of entertainment on the go— hence the service’s name.

Read More: Quibi Gone after Shortest Stint in Streaming History: WSJ Reports

Although the idea was irregular, Katzenberg and Whitman were still able to work their magic and build up hype for the product. In the months leading up to its April 2020 launch, Quibi ads were everywhere, many of them featuring notable celebrities. The moguls behind the project also raised over $1.75 billion from high-profile investors and garnered an additional $150 million in ad revenue from the likes of Pepsi and Walmart. In the final hours before its release, Quibi was starting to look like a forthcoming underdog success story.

But when the launch happened, audiences quickly realized some issues with Quibi. It lacked particularly alluring content; the small-screen “Turnstyle” optimization was unusual; many questioned, “Why pay money for such a service when there are so many free mobile streaming destinations like YouTube or TikTok?”

Evidently, Quibi was off to a rough start, but the road only got rockier. In May, a lawsuit emerged as the video company Eko sued Quibi for infringing on a patent for the “Trurnstyle” technology.

Now with heavy criticism and a legal battle on their hands, Quibi’s viewership also started to dwindle. The number of subscribers was actually disappointing from the very beginning, but the figures really started declining around Quibi’s three-month birthday, when the service’s lengthy free trial was running out.

Why did it fail? And what does it means for streaming to come?

According to The Verge, one report estimated that Quibi lost ninety percent of its subscribers in July, just when they were all supposed to start paying the monthly fee: $4.99 with ads, $7.99 without ads.

All of these factors could have played into Quibi’s premature demise this week. However, the formal announcement, penned in a letter from Katzenberg and Whitman, blamed the coronavirus. While COVID-19 has helped other streaming services like Netflix and Disney+ boom, forcing audiences to seek home entertainment as theaters closed, it has done the opposite for Quibi.

Essentially, part of Quibi’s appeal was to attract a mobile audience— people who were riding trains or sitting in waiting rooms. Now that most people are working from home and avoiding public spaces, a short piece of visual narrative watched from a smartphone does not seem as appealing, even if the service did just launch its first TV app a few days ago.

Read More: Read More: Quibi Shifts Gears Following Rough Start: Katzenberg Blames Underperformance On Coronavirus

The other part of Katzenberg and Whitman’s letter stressed how Quibi could not carry on as a stand-alone company. Allegedly, the partners tried getting Apple, WarnerMedia, Facebook, and NBCUniversal to acquire Quibi, but no one was buying. Thus, they had no choice but to close up shop.

Quibi stood as a big Hollywood experiment from the get go. Although both of its founders were well experienced in the entertainment industry, a small-screen subscription based streaming service would be considered a bold endeavor for anyone to sell.

We can blame Quibi’s failures on timing, pandemics, competition, or simple over-ambition, but in the end, the only hard truth is that the platform lasted a very short time. Perhaps the shortest time ever for a recognizable streaming service.

Sometimes, Hollywood rewards audacity, like when a young director breaks the rules or a studio chooses to invest in a chancy intellectual property. However, for every Jordan Peele’s “Get Out” or Disney’s acquisition of Marvel, there are a million projects that didn’t make it. Sadly, Quibi is one of them.

In the streaming war, an ongoing battle where Disney+ and Netflix seem to be winning while HBOMax, AppleTV+, and NBCUniversal’s Peacock hold their ground, Quibi will go down as the young, daring private, sent out by senior officers to storm the trenches, only to take one in the gut early on.

We will never know what it could have been, and there may be others like it to come. For now, though, Quibi may be a cautionary tale for entertainment executives, one that has alas met a hasty epilogue. 


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“Kiss The Ground” Documentary Offers Hopeful Remedy to Climate Change by Focusing on Soil Regeneration

The answer lies in the dirt, or as the movie’s tagline states, “The Solution Is Right Under Our Feet.”

At a time when so many existential, even extinction level issues  [climate change] loom and threaten mankind, it is easy to feel helpless and even hopeless. And, yet, in the most unexpected way imaginable, a simple act such as opening up the Netflix app and choosing a documentary could be the first step towards a new way of thought and, indeed, action. 

The new documentary “Kiss The Ground” does not minimize climate change, or downplay the fact that it is persistent and would bring terrible catastrophes looming on the global horizon, it does not fixate on the negatives. Instead, it offers a rare and amazing thing: solutions to solve the problems and rebalance Earth’s ecosystem. And it does so in a direct, simple and amazingly uplifting manner.

Click photo for more on “Kiss the Ground

“Kiss The Ground” emphasizes regenerative soil usage and smart agriculture as the keys to saving the planet. Taking the audience to farms and ecosystems all across the world, the doc illustrates how humans have squandered the Earth’s natural bounty by over-tilling the land and drenching crops in pesticides.

Contrary to popular belief, these conventional farming tactics are not only damaging the environment, but they are also hurting the agricultural economy, leaving crops vulnerable and unsustainable in the event of a disaster. The film explains that these tactics are depleting fertile land, and if we don’t change our methods, the planet will only have sixty more years of harvests left.

Salvation is not beyond reach, though. As aforementioned, the bulk of the documentary is optimistic, and it offers a solution in an unlikely place. Namely, carbon.

[Carbon dioxide] is usually the enemy in [environmental documentaries], as we have far too much of it trapped in our atmosphere and the [fossil fuel industry] pumps it out at alarming rates to our planet’s detriment. Although an excess of carbon in the air could be the planet’s doom, “Kiss The Ground” suggests that increasing carbon in the ground could be a solution.

Through extreme close ups, microscopic images, and a few animations, the documentary shows how healthy soil is rife with living things. These things (worms, bacteria, microbes, etc.) all need carbon to live and play a vital part at the base of the food chain.

Unfortunately, the pesticides and over-tilling actively destroy these organisms, rendering the land naturally defenseless. The movie thus calls for a shift towards using soil with increased organic matter that sucks in and sustains carbon. According to one farmer in the film, every one percent increase in the dirt’s organic matter equals ten tons of carbon per acre. This means cleaner air, healthier ecosystems, and a more sustainable form of agriculture that could combat [global warming].

Many farmers have already endorsed this organic method on macro scales. “Kiss The Ground” even brings audiences to China’s [Loess Plateau], a once luscious place rendered a desert through centuries of depletion. With a rejuvenated focus on land management and organic prioritization in recent decades, however, the Plateau has effectively rebounded. Now the brown landscape is once again an Edenic green.

The change does not only have to happen on farms and distant, rural lands, though. The documentary also takes viewers to [San Francisco] and [Haiti] to show how urban hubs are playing their part, stressing the importance of composting and not letting anything go to waste. Seemingly everything—right down to human feces—can be reused and repurposed for a more sustainable world.

In the end, the people of this film – the farmers, scientists and concerned celebrities, come across almost as walking, talking, living, breathing testimonials for the solutions they are proposing. 

In a world where the future will almost certainly hold either oblivion and human extinction, or, if we join together to create it, an almost Utopian rebirth they are the rare exception and point clearly toward a better way for us to live on this planet. 

Seeing those who made and collaborated on this film and how they live and interact during their quest to save themselves and all of us,  it becomes possible to believe in these solutions, and more importantly in human-kind’s ability to choose the right path for a future. 

Tying together the sound, simple yet incredibly powerful ideas of recreating Soil health and Regenerative Agriculture, together with sustainable energy and transportation, the road to survival and hope has never looked so feasible. However, with sustainable energy being more widely known and understood as a priority, it is the ideas in “Kiss The Ground” that most need to be shared and disseminated most urgently. Watch it, then pass the word

Environmental authors, activists, and documentarians Josh and Rebecca Tickell directed and produced “Kiss The Ground.” The duo also wrote the film with help from Johnny O’Hara. Meanwhile, actor [Woody Harrelson] narrates and celebrity appearances include [Tom Brady], Gisel Bündchen, Ian Somerhandler, Jason Mraz, and California Governor [Gavin Newsom]. There are also dozens of farmers, scientists, and notable environmental scholars featured in the picture.

Watch Trailer for Documentary ‘Kiss the Ground’:


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I want my Apple Music TV— Apple launches twenty-four hour music video streaming channel in the U.S.

Apple will revive and improve the past with non-stop music

In the 1980s and 90s, MTV and VH1 dominated television sets, bringing the novel concept of music videos to new heights. Today, those channels have gone in different directions, shifting their attentions towards reality television to near-humorous degrees. Meanwhile, like many forms of entertainment in the twenty-first century, music videos have been siphoned off to the Internet, finding homes on YouTube, Vevo, and Facebook.

Read More: Apple iPhone 12 Pro Models are Coming Immediately and There’s More

Now Apple is trying to get in on and rekindle the music video action with a new project that feels both retro and advanced all at the same time.

Apple Music TV launched in the United States on October 19th, offering a twenty-four hour live stream of music videos and other music related content such as interviews, concert footage, and more. This is far from Apple’s first leap into the music industry, as it launched Apple Music and Apple Music 1 (formerly Beats 1) in 2015— not to mention that the tech company was once synonymous with iTunes and the iPod. However, Apple Music TV is the company’s first deep dive into music videos.

In many ways, Apple Music TV emulates old school outlets like MTV and VH1, as it streams content constantly like a visual radio station. Unlike its ancestral predecessors, though, it does not have advertisements (for now) and its accessibility is not tethered to a cable subscription. Instead, users access Apple Music TV through the AppleTV app, which already comes with most smart TVs. 

Given the declining popularity of music videos over the past few decades, one must question whether or not Apple Music TV is a worthwhile investment for the company. Apple has recently put a lot of its eggs into the streaming basket, launching Apple TV+ in 2019 and emphasizing its new status as an entertainment conglomerate with the AppleOne bundle. The company has also gotten experimental on the streaming front with innovations like the Apple Fitness+ exercise app.

Exclusive video premieres, music documentaries and much more in store for Apple Music

In today’s age, a music video-focused channel is yet another daring outing for Apple. As aforementioned, though, Apple has some deep roots in music, and therefore goes into this world with a bit of preexisting infrastructure.

For example, Apple Music produces its own music, which Apple Music TV can help promote. The same concept applies to Apple’s radio stations like Apple Music 1, Apple Music Country, and Apple Music Hits. They can all work in tandem to raise Apple’s bar across all musical platforms.

Furthermore, although music television has been around for decades, the industry is ongoing. Apple Music TV aims to find new ways to celebrate and cover it. On Fridays, for example, the channel will focus on new releases, airing never-before-seen videos. This week, it will debut the music videos for Joji’s “777” and Saint Jhn’s “Gorgeous.”

Likewise, on Thursday, the channel will narrow in on Bruce Springsteen, playing videos both old and new, plus interviews and fan events, to promote The Boss’ new album “Letters To You.” These are the kind of special events that the channel will celebrate and distinguish itself through.

Such is the win-win nature of Apple Music TV— for every piece of new content, there is a backlog of old material; and for everything that is outmoded, there is always something cutting edge on the horizon. Evidently, even in today’s age, there is more than enough material to keep a music-streaming channel fresh and relevant. 

Luckily, Apple also has enough name brand recognition to televise events and promote content for some highly influential artists. This reputation for quality and appeal might be Apple Music TV’s greatest tool in trying to resurrect a bygone kind of television.


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Quibi Gone after Shortest Stint in Streaming History: WSJ Reports

From the Bigger they come dept.

From initial announcement of the high level duo of former eBay CEO Meg Whitman and Hollywood Mogul Jeffrey Katzenberg there was always something unlikely about Quibi

Read More: Quibi Shifts Gears Following Rough Start: Katzenberg Blames Underperformance On Coronavirus

In some ways like “WeWork” for streaming – at least in the hype and over-financing department,  the concept of reinventing the way that stories are told on screens and arbitrarily cutting all traditional sizes into 10 minute “bites” (quick-bites, hence the wonky name) seemed from day-one, to many, as a dubious goal. 

Not only driven by outdated thinking on the creative-business axis: stars-only, big money leading the way, astronomical budgets, virtually no one involved with a current digital media background, in some ways its shocking it lasted this long. 

Quibi Holdings LLC, which according to the WSJ article, had raised 1.75 billion in start-up capital is shutting itself down.  

A lawsuit from a tech company who claims ownership of the streaming tech used by the service, in particular the “turn style” feature, where the videos could be watched either in landscape mode or portrait, with the viewer able to switch back and forth at any time.  Interactive-video company Eko initiated a lawsuit with the help of Elliot Management.

This is a better, more plausible, reason, in addition to the lack of interest from viewers, than using the pandemic and the timing of the initial launch coming during lock-down as an excuse.

Although Quibi attracted major advertisers and achieved a pre-sale of $150 million in booked ad-revenue, ahead of the initial launch, payments where predicated, as is typical, on viewership numbers which never materialized. 

This news is yet another indicator of the incredibly volatile nature of the online video market, and is a harbinger of likely many more shake-ups and flame-outs in the near future…


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Idris Elba Tweets he is Positive for Coronavirus amid Hoarding Chaos and Market Drop

https://movietrailers.apple.com/movies/fox/the-mountain-between-us/the-mountain-between-us-trailer-1_h1080p.mov
Original Preview Trailer for “THe MOuntain Between Us”
Publicity Still from “The Mountain Between Us”

Idris Elba announced today via his twitter account that he has been diagnosed with covid-19, also known as the novel coronavirus. He posted a video along with the tweet and indicated that he has no symptoms so far and feels ok. Along with Tom Hanks and his wife Rita Wilson, who are in isolation recovering in Australia, this announcement is the second recent one involving a major Hollywood star.

Long lines all over L.A. with people trying to buy staples, Sports events and Concerts cancelled, empty shelves everywhere and now both Disney and Universal are releasing current upcoming films for streaming – since box office will be zero or even cancelled for an undetermined time period. Not to mention the Dow is down nearly 3000 points at closing today (-2997.10 / -12.92%). Yikes.

This news, based on the incredible familiarity that we all have with stars of this magnitude, is making the pandemic more and more “real” for all of us. In the chart below a big reason for the extreme precautionary measures can be seen:

The line all the way to the right, almost straight up vertical is the number of cases not in China. As is clear the total is nearly as many as all that have been reported in China to date and will soon overtake that number. Most alarming is the vertical rise – far steeper than the gradual increase that was seen since February 16th, after the drastic measures were taken in China by that time.

In a widely shared graphic, a tan curve represents a scenario without social distancing measures and where the U.S. hospital system becomes inundated with coronavirus patients. Chart / PBS

Just such a slow down in additional cases will “flatten the curve” of non-China cases and is the goal of the extreme and increasingly invasive measures we are taking in the US and Europe. Although the feeling in the air, especially if shopping for supplies, seems somewhat panicked, it is important to recognize that all of these measures, most of all self-quarantine and social distancing are meant to protect us, and ultimately, flatten the curve to a point where the number of cases can actually slow down enough that this chart will actually be on a downward slope.

The interactive chart of Coronavirus COVID-19 Global Cases can be accessed here, courtesy of the Center for Systems Science and Engineering (CSSE) at Johns Hopkins University (JHU). The mobile version of the chart can be accessed here.

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Golden Globe Nominations: Hollywood Foreign Press Overlooks Female Filmmakers in 77th Awards

Photo Collage / Lynxotic – Adobe Stock

Diversity Theme Crops Up Once Again in Hollywood Awards Season

The 77th Golden Globe nominations are finally revealed, and the Hollywood Foreign Press Association (HFPA) has made a few bold choices when it comes to their top picks for film and television from 2019. To no one’s surprise on the television side, Netflix’s “The Crown” and “Unbelievable” led the race along with HBO’s “Chernobyl,” each program receiving four nominations. Likewise, when it comes to film, we had the usual suspects in each category; “The Irishman,” and “Once Upon A Time In Hollywood” respectively nominated for best drama and best comedy; Joaquin Phoenix and Brad Pitt respectively for best actor and best supporting actor; Scorsese and Tarantino for best director; “Frozen II” for best animated feature; and many more noms that don’t raise any eyebrows.

What is more conspicuous, however, is what was left out of the running this year. While Christian Bale received a nomination for his performance in “Ford v. Ferrari,” his co-star Matt Damon was stubbed. Likewise, right on the heels of Adam Sandler’s NBR Award for “Uncut Gems,” the actor was ignored by the HFPA. Even De Niro did not get a leading nomination for “The Irishman,” while Joe Pesci and Al Pacino both got supporting nominations. Jordan Peele was similarly left out of the best director and both best picture categories for “Us,” as was Tom Hooper for “Cats.” Meanwhile, HBO’s innovative new “Watchmen” series also missed the cut.

The most egregious absence comes on a larger, more systemic scale, though. In all of the nominations for best director and best picture, there is not a single female filmmaker on the ballot. And this is a year when women made a number of quality films.

Greta Gerwig’s “Little Women” came out this month. It is a compelling film focusing on the relationship between women and art, and despite receiving high praise from critics and audiences, it got little love from the HFPA. It’s only nomination came in the Best Actress in a Drama Motion Picture category for Saoirse Ronan’s performance. The same situation occurred for Lorene Scafaria’s “Hustlers.” Even though the film made a riot at the Toronto Film Festival, its only nom was for Angelina Jolie as Best Supporting Actress.

Moreover, although this was an enormously successful year for Netflix—earning four Best Picture nominations and “Marriage Story” achieving the most recognition of any title—the HFPA overlooked the streaming service’s female led productions. Particularly, it ignored Ava DuVernay’s “When They See Us,” a highly important race-focused miniseries about the Central Park Five. Directed by a black woman, this commended show was completely shut out, not earning a single nomination in any category.

Glass Ceiling Not So Easy to Break

Adding insult to injury, several of the most nominated pictures in this year’s running are not just man-made, but they are also highly man-centered. The two most talked about nominees, “The Irishman” and “Once Upon A Time In Hollywood,” are practically devoid of complex female characters. Through their respective focuses on the mafia and Hollywood stardom, the two films portray distinct images of patriarchal institutions. The same goes for “Joker,” which paints mental illness through a jadedly masculine lens, and “1917,” which spotlights wartime fraternity.

Ultimately, not much room is made for feminine movies like “Portrait of a Lady On Fire” from director Céline Sciamma, which only got nominated in the Forgiven Language category. Set in 1770 France, this underrated yet captivating period piece employs a nearly all-women cast to tell a uniquely female story. It delves into sorority, lesbianism, art, and feminism to share two ladies’ experiences during a highly patriarchal time in history. Sciamma getting ignored in the best director category could almost be forgiven if it weren’t for the brilliant cinematography, costumes, sets, and performances that she brought to her work—validating the film as a powerful art piece, and not just a piece of feminist propaganda.

In the wake of the #MeToo movement and remaining concerns about gender inequality in Hollywood and beyond, it is imperative that female filmmakers get the recognition they deserve. Of course, the HFPA choses its nominations not based on politics, but on artistry and talent. Nevertheless, just as those in the studio executive chairs ought to start listening to broader ideas, those in the critics chairs should also learn to see the value in female-centered releases and consider feminine themes on the same level as the masculine themes that we’ve been applauding in movies for the past seventy-seven years.


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Golden Globes: Netflix Dominates and Apple TV+ makes Big Debut as Streaming still Shines

Photo / Adobe Stock

Streaming is now Fully Integrated into Hollywood Awards System…

After Netflix’s “Roma” earned ten nominations at last years Academy Awards and took home three Oscars, director Stephen Spielberg came out with some controversial statements about streaming content’s questionable eligibility for cinematic awards. Ever since the esteemed director made these comments, streaming services have become an increasingly divisive topic in the film industry—especially as most of them are transitioning towards creating more in-house productions.

The Hollywood Foreign Press Association (HFPA), however, clearly does not see an issue in recognizing streaming platforms for creating excellent content. On December 9th, the HFPA released its nominations for the 77th Golden Globes and a number of the most picked out titles came from streaming companies.

In the Best Picture categories, Netflix reigned supreme, with its original movies adding up to four of the ten nominees. In the Musical/Comedy category, Craig Brewer’s “Dolemite Is My Name” received a nomination alongside “Jojo Rabbit,” “Knives Out,” “Rocketman,” and “Once Upon A Time In Hollywood.” Meanwhile, in the Drama category, Martin Scorsese’s “The Irishman,” Noah Baumbach’s “Marriage Story,” and Fernando Meirelles “The Two Popes” were all nominated alongside “Joker” and “1917.”

Baumbach’s “Marriage Story” actually led the entire race with more nominations than any other title. It received six nominations including Best Drama Motion Picture, Best Screenplay, Best Supporting Actress (Laura Dern), Best Actor in a Drama Motion Picture (Adam Driver), Best Actress in a Drama Motion Picture (Scarlett Johannson), and Best Original Score (Randy Newman).

The movie just narrowly beat out Scorsese’s “The Irishman,” which earned five nominations including Best Drama Motion Picture, Best Director, Best Screenplay (Steven Zaillian) and two for Best Supporting Actor (Joe Pesci and Al Pacino). Oddly enough, leading man Robert De Niro did not earn recognition for his performance in the film.

Regardless, both are Netflix titles, and with them leading the nominations by the numbers, it makes Netflix the most recognized production company in the runnings. Obviously, the streaming service’s newfound focus on producing prestigious content is paying off in a critical sense, and Spielberg’s comments have not slowed it down on the road to success.

Stars of “The Morning Show” from Apple TV+

New Kid on the Block Hits Pay-dirt on first Try

Meanwhile, Apple TV+ also received three nominations for its original series “The Morning Show”—one for Best Drama TV Series and two for Best Actress in a Drama Television Series (Jennifer Aniston and Reese Witherspoon, both of whom are also executive producers on the show).

“The Morning Show” debuted just over a month ago on November 1st, the same day that Apple TV+ launched. While the new service may not be as popular as Disney+ or Amazon, it is the first streaming website to receive recognition from the HFPA in its first year online. This bodes well for the young platform’s future.

Other direct-to-streaming shows that received nominations this year include Hulu’s “Catch-22,” Amazon’s “The Marvelous Mrs. Maisel,” and Netflix’s “Unbelievable,” “The Crown,” “The Kominsky Method,” and “The Politician.” And that’s not including all of the individual actors, actresses, composers, and songwriters who also got nominated.

Clearly, streaming is dominating television nowadays, but if this year’s Golden Globes are any indication, it is also starting to leave a mark on film. This recognition is good news for both Apple and Netflix. With the recent oversaturation of options causing a streaming war within the entertainment market right now, awards will start to mean a lot more than they did in the past. Everything else aside, at least these two companies are not skimping on quality.


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This Week in Apple: iPhone 11 Pro, Apple TV+ Release and More…


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