#its not on hbogo at least

[mag200]

wait why are people saying the rest of his dark materials season 3 is out i thought the last episodes were next week?

[flickpicks]

Lights Out (2016)

Scary Movie Fest Day 1

Film: Lights Out (2016)

Directed by: David F Sandberg

Run Time: 81min

Available on: HBOgo

I’m very conflicted about this film. On the one hand, I really liked the premise of this film; on the other hand, the execution of said premise leaves a lot to be desired. The film is inherently scary (at least for me, but I’m afraid of the dark, so there’s some bias there). It plays on the commonplace childhood fear that there’s a monster that lurks in the dark. In your closet. Under your bed. And, in this fear, this monster disappears when the lights are on, but reappears when the lights turn off. So the majority of people can relate to this fear, because they’ve experienced it, and probably believed it to be possible when they were younger (or maybe that was just me). But the ability for a film to play off of its audience’s fears is what makes a horror movie, and this film does that well. This is also one of the few horror films that has a well designed villain, and I firmly believe that has everything to do with the fact that James Wan was involved in the film. Even the scariest of villains turn into jokes because they look stupid (I’m looking at you The Silence in Doctor Who).

Those are two incredibly compelling forces that make me want to like this film entirely.

But I don’t.

While, yes, this film is very scary, there are so many other issues that stand out between the scares. The film does has a frightening premise, and the story is reminiscent of horror movies from the 2000s, such as The Ring (2002) and Gothika (2003). But the dialogue is extremely rudimentary and overly expository. Everything that comes out of the characters’ mouths is forced and awkward; it feels like watching a middle school play that the students wrote themselves. The performances from the cast could have been better if they had better lines: there was so much potential in some of the actors. Case in point is in the during the climax of the film, Becca’s (Teresa Palmer) reaction to the finale is incredible. It was the only time I felt something for one of the characters, and I was genuinely impressed by that bit of performance. However, the ending itself was so predictable that it stood out as predictable.

My other major problem with this film is it’s stigmatization of Bipolar Disorder. The mother (Maria Bello), who is very clearly bipolar, is painted as the villain; as though she were intentionally releasing this monster onto her own children in the midst of a manic episode. It isn’t until she tries to “get better” (read: become lucid) that she is portrayed with any sympathy or understanding at all. Throughout the beginning of the film, her daughter spits the words “manic” and “crazy” as ways to describe to others just how awful she deems her mother to be. It is clear that there is very little understanding among the writers of how Bipolar Disorder actually works and affects people in real life. It’s not as simple as this film (and many others) portray it to be.

Overall, this film has some major flaws, but it is very, very scary. Which is all most people look for in a horror film. So, if you’re looking for a good scare, definitely watch this film. Just, don’t watch too closely.

-Victoria

[fellowaffairsnewsblog]

DIVERSITY INITIATIVE

The ABC Disney Diversity Program has a proven track record of cracking open the door to Hollywood for talented minority writers.  In this program writers become employees of Disney -ABC Television Group, earning a salary of $50,000 per year plus benefits.  The program is designed to expose deserving writers to key executives, producers and literary representatives in an effort to develop a writer’s career.  Additionally, participants have the opportunity to work one-on-one with a current programming or development executive and create spec scripts for the current broadcast season.  The ultimate goal is to prepare writers for full-time staff positions in the television division.

NBC Diversity Initiative for Writer

NBC boasts of cultivating diversity within its writing staffs on Primetime Series.  But the network takes it a step further by funding diverse staff writer positions for all scripted NBC primetime series.  The NBC Diversity Initiative for Writers feeds the pool of staff writers.  The initiative provides writers the opportunity to have their work read and evaluated with the hope that it will open the door to a future relationship with NBC.

The Nickelodeon Writing Fellowship was developed to broaden the network’s outreach efforts.  It is designed to attract and develop staff writers with diverse backgrounds and experiences.  There is a  salaried position for up to one year offering hands-on experience writing spec scripts and pitching story ideas in both live action and animation television.  This fellowship allows writers an opportunity to nurture relationships with creators, network executives, line producers, head writers, showrunners and story editors.

When Robert Dinero launched the Tribeca Film Festival, inclusion was key.  Tribeca All Access (TAA) fuels that philosophy by providing both established and emerging filmmakers with unprecedented access to industry professionals.  It offers fledgling filmmakers an opportunity to establish contacts, gain knowledge and develop  the confidence needed to make their films.  TAA gives grants, one-on-one meetings with industry representatives, career development workshops and informational panels to ten exceptional filmmakers from under-represented communities.

The Urbanworld Film Festival partnered with BET to launch a search for the top screenwriters of color. BET  is offering hopefuls an  opportunity to present TV length film scripts to be considered for airing.  These scripts must present an original idea for a potential TV series and be between 35 and 45 pages in length. The writer of the best script will receive a grand prize of $5,000.

DIRECTING

Disney/ABC Directing Program

Launched in 2001, the Disney/ABC Directing Program focuses on increasing the number of episodic directing opportunities on ABC series for women and minorities and is one of the longest running programs of its kind in the entertainment industry. The Los Angeles-based program affords selected participants the opportunity to shadow veteran episodic directors. Participants will be paid $1,000 per week to shadow a DGA director on an episode from prep to post. The duration of the individual’s participation is at the discretion of ABC executives, executive producers and/or episodic directors.

The submission period for the Directing Program opens the first Monday in October of odd calendar years and closes the Wednesday before Thanksgiving. When the submission period is open, applications are available on the Disney/ABC Directing Program website.

Fox Global Directors Initiative

The Fox Global Directors Initiative (FDI), established in July 2014, will bring 20 selected participants to Fox Studios in Los Angeles, CA to take part in a four-to-six week directors lab, where they will attend interactive lab sessions with showrunners, directors, and creative executives from various Fox productions. Out of the 20 participants, five will then be invited to become FDI Fellows and will receive a mentor within the Fox organization, a fellowship stipend, a grant to develop and direct a three to five minute short, and the opportunity to be considered for a deal with a Fox entertainment business.

FDI is by nomination only. Nominations can be made by agencies, management companies, and a select number of organizations.

HBOAccess Program

HBOAccess is a program that provides project development, mentorship, and master classes to diverse directors. Selected candidates will be paired with an HBO development executive who will serve as his/her mentor throughout a four-week session in June, and HBO will provide a series of Master Classes taught by HBO executives and creative talent.  At the end of the four-week session, filmmakers will be given a budget to create short form content for HBO to be shot in late summer.

Upon completion of the development process, each project will be considered for production as a 10-15 minute film or a series of webisodes to air on various HBO platforms including, but not limited to HBOGo, HBO service, HBO’s Youtube channel, HBO.com, film festivals, charity screenings, and other outlets.  

http://www.hbo.com/hboaccess/

NBC Universal Directing Fellowship

The NBC Universal Directing Fellowship program is designed to take directors accomplished in their respective fields (features, commercials and/or music videos) and have them work alongside episodic television directors. While in the program, directors are assigned to shadow up to three episodes of one (or more) NBCU scripted show from production prep to post. The director is responsible for working alongside the show's director(s) in every aspect of a director's responsibilities.

http://www.nbcunitips.com/directing-fellowship-program/

Sony Pictures Television Diverse Directors Program

The SPT Diverse Directors Program, established in May 2014, will bring 20 semi-finalists to the Sony Lot in Culver City, CA to take part in an intensive episodic directing workshop and attend networking events with industry professionals.  Three finalists will then be invited to shadow episodic directors on various series and will be provided a weekly stipend when actively shadowing.  Participants may be invited back to direct an episode of a scripted SPT series the following season.

www.sptdiversedirectors.com

Warner Bros. Director Workshop

The Warner Bros. Directors’ Workshop is designed to give aspiring and diverse directors the chance to break into primetime TV. Launched in 2014, the workshop aims to prepare directors from other disciplines — feature films, music video, commercials — for the transition to episodic TV.  A 12-week master class teaches the skills essential for excelling through pre-production, shooting, and post-production. Additional optional components include cinematography workshops, acting classes and the opportunity to shadow directors on an episode of a WBTV show.

http://directorsworkshop.warnerbros.com/

SCREENWRITING

CAPE New Writers Fellowship

CAPE New Writers Fellowship is dedicated to discovering and nurturing Asian American and Pacific Islander voices and talents. Each accepted writer will participate in an intensive 6-week program consisting of seminars, workshops, and writing labs taught by top industry writers, producers, agents and executives to empower them with the tools they need to succeed as a professional writer in film and television. Each writer or writing team receives a $1,500 stipend.

http://capeusa.org/cnwf-cape-new-writers-fellowship/

The CBS Diversity Institute/Writers Mentoring Program

This program links aspiring writers with mentors from the ranks of CBS Network and CBS Paramount Studio executives. Also, writers are mentored by producer mentors from series airing on CBS. Additionally, there are weekly sessions with successful writers, producers and show runners examining in very specific and practical terms many aspects of the experience of being a television writer in Hollywood.

http://diversity.cbscorporation.com/page.php?id=23

Film Independent, Project Involve

Dedicated to increasing cultural diversity in the film industry by cultivating the careers of under-represented filmmakers. The program, which runs from October through June, offers a combination of one-on-one mentorships, filmmaking workshops, community screenings, and job placement. Additionally, Project: Involve Fellows receive a complimentary one-year membership to Film Independent.

https://www.filmindependent.org/programs/project-involve/

Film Independent, Screen Writers Lab

Designed to help screenwriters to improve their craft and develop their voice as writers. In this seven-week program, participants meet two nights each week to discuss their scripts and meet with industry professionals. Each lab participant also has one-on-one meetings with two lab advisors, who read and provide notes on the participants' scripts. Past instructors include Mardik Martin, Jeff Stockwell, Howard Suber, Barbara Turner, and Lee David Zlotoff.

https://www.filmindependent.org/programs/artist-development/screenwriting-lab/

FOX, Writer's Initiative

A writers' initiative designed to identify diverse writers for various staff position on Fox series.

http://variety.com/t/fox-writers-intensive/

NBC, Writers on the Verge

Writers on the Verge is a 10-week program focused on polishing television writers and readying them for a staff writer position on television shows. We are looking for writers who are “almost there,” and just need that final bit of preparation with their writing and personal presentation skills. The program consists of two, three hour, night classes weekly, held at NBC in Burbank.

http://www.nbcunitips.com/writers-on-the-verge/

NHMC Writers Program

The National Hispanic Media Coalitions Writers Program is not for beginners. It is for those writers who can write at least one half-hour comedy or one-hour dramatic television script in English within a five-week period of time. During the program each participant is expected to complete at least one script by the end of the five-week session, which will then be read by network executives. Those writers whose scripts show promise will be interviewed and mentored by the network executives with the idea of placing them on a show.

http://www.nhmc.org/writersprogram

Sundance Feature Film program

The Sundance Institute Feature Film Program (FFP) is dedicated to developing and nurturing the next generation of leading edge narrative feature filmmakers through its unique system of creative residencies, resources, and advisory support. For the past 30 years, the Program has championed many of the world’s groundbreaking independent filmmakers by encouraging a rigorous creative process with a focus on original and deeply personal storytelling. By providing tailored year-round support to pioneering filmmakers, the FFP has become a model for supporting artists around the world.

http://www.sundance.org/programs/feature-film/

Sundance Native Film program

The Native Program has built and sustained an Indigenous film circle. The circle of our work begins by scouting for and identifying Native American and Indigenous artists, bringing them through the mechanisms of support at Sundance Institute to get their work made and shown, then bringing the filmmakers and their work back to native lands. The Native Lab Fellowship is a vital part of supporting Native filmmakers full-circle. Four projects are selected annually for the Fellowship from a national competition and supported in two phases over the course of a year.

http://www.sundance.org/programs/native-film/

Sundance Episodic Story Lab

Sundance Institute’s Episodic Story Lab will provide independent and underrepresented writers the opportunity to learn how to develop stories and characters that play out over multiple episodes, working in a setting where they can hone their writing skills and gain insight into navigating the business with accomplished creative and strategic mentors. Our world-renowned Screenwriters Lab will serve as a model as we identify and develop new writers, compelling stories, and showrunners/creators for the burgeoning opportunities for episodic storytelling on all platforms.

http://www.sundance.org/programs/episodic-story-lab/

Tribeca All Access

It's a simple premise that has achieved great success in less than three years: provide unheralded and established filmmakers with unprecedented access to industry professionals, giving them the contacts and confidence they need to make their movies. For industry representatives, TAA is a place to meet exceptionally talented filmmakers, find new and exciting scripts covering a range of genres and budgets, and get a first look at new documentary works-in-progress.

http://www.tribecafilminstitute.org/taa/

The Walt Disney Studios and ABC Entertainment Writing Fellowship

The Walt Disney Studios and ABC Entertainment Television Group, in partnership with the Writers Guild of America, West, are currently running the 17th year of the Writing Fellowship program. This program is designed to identify and employ a diverse pool of creative writing talent. We offer Fellowships in the feature film and television areas. No previous experience is necessary; however, completed writing samples are required for admission to this program. The program is an intensive experience that involves workshops, seminars and personalized mentorship with creative executives from ABC Entertainment Television Group, ABC Studios (formerly Touchstone Television), Disney Channel, ABC Family and Buena Vista Motion Pictures Group. Fellows will receive a flat $50,000 annualized salary for a one-year period.

http://www.disneyabctalentdevelopment.com/

Women in Film Mentoring Circles

Women in Film Mentoring Circles establish a safe and open environment to discuss issues relating to career objectives. Mentors and Mentees are expected to maintain mutual respect, honesty and confidentiality at all times. Circles are groups of eight WIF members who meet six times a year with two mentors, each of whom has significant experience in the entertainment industry.

http://womeninfilm.org/become-a-member/

PRODUCING

Produced By Conference

The eighth annual Produced By Conference is set for June 4th and 5th, 2016, and will be hosted by Sony Pictures Studios in Culver City. The Produced By Conference, a signature event of the PGA, showcases influential decision-makers in the entertainment industry who represent the best of the vibrant and diverse Hollywood creative community working in film, television, and digital.

http://producedbyconference.com/la2016/

The PGA has decided to extend a special offer to AFI. If there’s a group of 5 or more who will attend, they will offer a $399/person rate.

There is also an option to volunteer one day and attend the other, free of charge. If you’re interested in volunteering, please email volunteerpbc2016@gmail.com.

Producers Guild Power of Diversity Producers Workshop

Advance your project through master classes on the art and business of creative producing with renowned professionals in films, television and new media. The ten selected applicants are supported with one-on-one mentoring by PGA producers at their headquarters in Beverly Hills.

http://www.producersguild.org/?page=pga_diversity

[livioacerbo]

How much would you pay for a Star Wars TV show? Why Disney has Netflix worried

For years, Netflix has looked like an unstoppable streaming force. But everything has a weakness, and Netflix's is its reliance on established studios for its biggest movie titles – and Disney just fired a few proton torpedoes into that particular thermal exhaust port, announcing it is pulling its movies from the service.

This means by 2019, Netflix will have a sizeable mouse hole to fill and you can be sure that this is only the start. 

In what was an obvious move, Disney announced in August it will launch its own streaming service and open up its vast archive of Disney films and TV shows. That’s a lot of entertainment to mine with over 70 years of movies and TV shows the company can now put into its own Mouse House. 

In what was an even more obvious move, it has confirmed that - in the US at least - it will be removing Star Wars and Marvel movies from Netflix and also adding these to its new service. 

Brute Force

It's clear what Disney is doing. It wants its own Netflix, a place where all of its content can reside and be streamed for a monthly fee that goes straight into its own coffers. 

It’s already doing this in app form. Its UK-only Disney Life app is a place for many of its kids content, coupled with games, songs and story books. There are hundreds of films, and thousands of TV episodes available on there for a monthly fee.

It's also available on your TV too if you use Chromecast or Apple TV. But a dedicated TV streaming service will open up this content and much more to a wider, global audience.

To do this, though, it needs the streaming technology. Enter BAMTech. Last year Disney pumped $1 billion into the company that currently powers its ESPN streaming app. This week, it added another $1.58 billion and now it owns 75% of the company.

While Iger said it was thinking about doing a streaming service for both its Star Wars and Marvel franchises, it’s more than likely that they will be integrated at some point into this new streaming service.

It’s likely it would eventually take the TV channel bundle approach that Sky offers currently in the UK, offering sport (ESPN), Disney, Marvel and Star Wars channeled content for varying prices. 

However it chooses to do it, its model will be watched carefully by other big distributors. While no one else currently has the IP might of Disney, we are already seeing this stream-based channel approach adopted by Netflix’s other big rival, Amazon. 

Its Amazon Channels service has pre-empted the carving up of content, offering a place where you can stream dedicated channels from the likes of HBOGo, MGM, cult UK distributor Arrow Video and the Discovery Channel.

Netflix is savvy though. It’s preparing itself for the worst by buying up its own IP - this week it acquired Millarworld - and there will be plenty more of these deals. It has also had great success with its own properties, though many of these have a Marvel flavour to them.

Disney’s move into streaming may be obvious but this shouldn’t detract from how much of a shift it could be for the industry. 

2019 is a significant year for Disney. It will launch its own Disney-branded streaming service but it’s also when the final part of the main Star Wars saga will be release - Episode IX is in cinemas May, 2019. 

What better time  to announce your brand-new Star Wars streaming service that will exclusively house a Star Wars TV show. 

Now, that would be a Force to be reckoned with.

social experiment by Livio Acerbo #greengroundit from http://www.techradar.com/news/why-disneys-latest-stream-dream-should-have-netflix-worried

[tortuga-aak]

The media industry has suddenly become a Game of Thrones-like battle for power

HBO

The media industry is suddenly mulling a flurry of huge deals.

Cord-cutting, streaming and shifting consumer and advertiser preferences have upended the power structure as former giants scramble for relevance long term. 

The stakes are as high as it gets  – who controls content, distribution, advertising and connections with consumers.

If you spend any time on Twitter and follow any media industry people, you'll often come away dizzy, and fairly certain that every media company is buying everyone.

It started a year ago when AT&T announced it had reached an agreement to buy Time Warner. Then things really turned upside down when 21st Century Fox — just three years after trying to buy Time Warner — signaled it wanted to sell some assets to Disney. 

Then on Thursday, it was reported that Comcast might buy some of Fox. Or Verizon might. And of course, President Trump might not allow AT&T to buy Time Warner. The FCC is potentially loosening media ownership rules. Net Neutrality might go away. 

Confused yet? 

When did media become Game of Thrones? 

HBOGO

Media used be an industry that was primarily about content, distribution and advertising. Now, the emergence of deep-pocketed tech giants has changed everything. People are streaming, ditching cable, avoiding live TV, watching shows on mobile, etc. 

"The one take away is that the media industry is facing real pressure," said Rich Greenfield, BTIG media and tech analyst. "You've got cord cutting, ads moving to mobile, etc. None of these companies has been prepared for that."

So all these media machinations are about power and control. These giants want to make as much money as possible, position themselves for the future and prevent rivals from getting into their territory.

"What we’ve noticed is where there’s big change there’s often a lot of M&A," said Terry Kawaja founder and CEO of M&A advisory firm Luma Partners. "In this case, it's motivated by fear, not greed."

What gives you the most power in the future?

"In the pre-web video era, it was all the same for decades. Content was king, distribution was queen," said Toby Chapman, associate partner at strategy consulting firm OC&C. "Then, suddenly people are talking about, is content king any more? In a platform world, is it the relationship with consumer? Or is it the pipes?"

Those questions get at the heart of why everyone in media seems to be rethinking who their friends and enemies are.

Is content still king? Does the company with the best shows and movies (like Disney) have the most power? 

Is distribution where the true power lies? Does the company with cable boxes or broadband pipes in people's homes (like say Comcast) rule?

Is having a direct relationship with the consumer the winning strategy? Amazon is one of America's favorite brands, and Netflix is a favorite with millennials.

Or is it all about the browser or the interface? Maybe delivery mechanisms don't matter, as long as you own the browser (like Google) or the interface (like Facebook).

Or do you need to have everything?

"No matter how big you are, tech and user behavior throws it all off," said Elgin Thompson, managing director at Digital Capital Advisors. "Unless you are the full ecosystem, you're not an emperor. These companies want to be so big they can create their own weather."

It seems that suddenly, Fox has many suitors interested in some of its assets (it's not selling Fox network, Fox News or Fox Sports.) Why?

Walt Disney Animation Studios

The rise of Netflix

You may recall, Disney is planning taking on Netflix with its own streaming service, and it may want to own as much content as possible, so Fox's Studio could be a big help.

Disney already owns Marvel, Star Wars and Pixar. Theoretically, if it gets Fox's content and other TV companies start starving Netflix of their shows, Netflix would have fewer people signing on to binge "Breaking Bad" and would have to live and die on its own shows.

"A lot of people would look at them and say, they've stood alone in that space," said Chapman. "But they may suddenly have very credible competitors. And you’ve also got so many channels who've never been good friends with Netflix." 

Netflix, of course, plans to spend $8 billion on content next year. So don't count them out of anything.

The Verizon playbook

Meanwhile, Verizon is eyeing a deal with Fox, according to the Wall Street Journal. What is it doing?

Like AT&T, all of the wireless giants need to get into new revenue streams, since pretty much everyone in the US who wants a cell phone has one and they keep switching to get better deals.

Verizon has acquired AOL and Yahoo in recent years to challenge Facebook and Google, which remains a brutal task. Meanwhile, it has a very limited footprint in TV, other than Verizon Fios. This gets them in the TV game, theoretically.

What about Comcast?

What about Comcast? Many see this cable company as being in great shape, given that it has such a complete set of assets: NBCUniversal (TV networks, and a studio) and the largest pay TV service in the US. Buying some of Fox could help strengthen them against competitors. One very appealing asset: Sky, which is sort of like Comcast or DirecTV in the UK.

Yet Greenfield believes Comcast may have to sell NBCU if it wants to make any more big moves, given the Trump administration's objections to the AT&T/Time Warner deal. 

Isn't everyone cutting the cord? 

Millions of people still have cable. There's a lot of money to be rung out of that business over the next few years – and maybe even some untapped potential.

For example, Comcast theoretically knows what you watch and what you do on the web. They could tie that together with data for advertisers and programmers, for example.

And don't forget that even if you cut the cable cord, you're likely to keep the broadband one. Cable TV companies are essentially broadband companies. And that business isn't going away quickly. The company that delivers broadband to your home could always charge cord cutters more. And if Net Neutrality goes away, they could also charge some companies like Netflix a toll to reach consumers. 

A big limit to cable companies' power is that are inherently regional. You can't get Comcast in New York, for example. No one's been able to roll up all these cable companies into a national play. At least not yet.

HBOStill, these companies have the most to lose in an 'over the top' TV future.  As Kawaja explained it, a company like CBS is happy to deliver its network to new distributors like Sling TV or YouTube TV. Even if people cut the cord for skinny bundles or they just pay for CBS All Access to get the new "Star Trek," CBS makes money.

But recently earnings for Comcast and DirecTV showed both losing subscribers faster. "Now everyone is saying, oh shit, it’s on," Kawaja said. "Cord-cutting is suddenly not a college graduate thing. It’s accelerating faster. And the distribution people have the most urgency to move. An OTT world messes with their bundle first and foremost."

Who else should we think about?

Charter Communications: Charter Communication is another big regional pay TV provider (they are the ones who bought Time Warner Cable a few years ago). According to the New York Post, Charter has considered buying the cable TV company Cox Communications or even selling itself to Softbank.

(By the way, watch Softbank in this area. They have lots of money. They're the Iron Bank in this scenario)

Liberty Media: Liberty Media chairman John Malone told CNBC that the company has received four acquisition overtures recently.

Photo by Kevork Djansezian/Getty ImagesMalone is a legendary media industry investor who's worth billions. As the chairman of Liberty Media could make a big move at any moment. Liberty Media has stakes in SiriusXM, Formula One Racing and the Atlanta Braves. Malone also has a big stake in Discovery Communications. 

Altice: What's an Altice again? Ad tech nerds know them as the company that bought the web video company Teads last year. They acquired Cablevision a few years ago. Now, the stock is tanking, and they could be looking for a savior.

Viacom and Discover/Scripps: These cable programmers used to be among the power players in the TV industry. Now they're suddenly vulnerable. Do they need to find buyers? Greenfield argues that Viacom needs to reunite with CBS (they two companies split a decade ago) "yesterday."

What about selling to someone like Google or Facebook, both of whom want to get into premium content in a big way (and TV advertising). Greenfield says no way. "Tech companies can build, they don't need to buy. Nothing has changed my thinking on that."

A good example is Amazon inking a deal to make an original series centered on "Lord of the Rings." You don't have to own a studio or network to do content, if you can spend a lot of money.

Amazon: It's coming for every industry, so it seems. The billionaire media mogul Malone earlier this week called them "The Death Star," reported CNBC. Though in this case, The White Walkers might be a better analogy, since few know what Amazon really wants to do.

What's Next?

Dave Morgan, CEO of the data-centric TV ad company Simulmedia, sees a flurry of activity.

"Charter could combine with Discovery/Scripps," he said. "Or they could do a deal with Sprint or T-Mobile, since they each will need a scaled partner. Comcast will talk to one or both of those wireless company. As will Dish."

Morgan also predicted that Facebook, Amazon, Netflix and Google could become sudden buyers. In particular, he predicts Netflix could buy a studio to hedge against Disney. "I think that they will have to, and may want a network for its ability to help them market their programming and maximize its monetization."

The Wild Card

AP Photo/Andrew HarnikTrump and his team are the great unknown. Few thought that the AT&T/Time Warner deal was in trouble. Now it's headed for a court battle.

"Usually logic reigns supreme," said Thompson. "But with Trump, none of this matters. That’s what these guys have to deal with."

NOW WATCH: What happens to your brain and body if you use Adderall recreationally

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[junker-town]

Disney is launching its own streaming platform, and MLB games will be a part of it

The company also announced that they’ve bought a majority share in BAM Tech, formerly a part of MLB advanced media.

Today, Disney announced that they will be crafting a streaming platform of their own to house all of their movies, Pixar films, and planned exclusive content, launching in 2019.

The downside of this announcement is that the company is pulling all of their movies off of Netflix at the end of 2018. That only leaves you 17 months to watch Moana as many times as you possibly can before it’s gone.

The good news, or at least one of the most interesting developments from the announcement, is that the streaming platform will also include content from multiple leagues and sporting events - including baseball.

The ESPN part of the streaming service “will feature about 10,000 sporting events each year” and “have content from the MLB, NHL, MLS, collegiate sports and tennis' Grand Slam events” which seems to mean that the ESPN app and streaming service you know and love right now is getting a makeover and a shot of energy.

Most importantly, Disney is planning on running the entire sports operation with the technology of BAM Tech - formerly a part of MLB Advanced Media. Disney officially bought a majority stake in the company with a fresh $1.58 billion investment.

Last year, they secured 33% ownership and Disney CEO Bob Iger says the decision marks a “big strategic shift” for the company.

While this could mean practically nothing for fans once it actually arrives as a consumer product, the ways in which Disney decides to monetize their current sports holdings could shake things up in the sports streaming world.

Will fans have to pay extra to watch certain baseball games on ESPN depending on their market? Will a cable login no longer be enough to catch Sunday Night Baseball week in and week out? Or will this simply be a move closer to HBO’s launch of HBOGo, where it makes it easier for cord cutters to watch content previously reserved for cable subscribers?

However it pans out, Disney is making a big move to try and intelligently monetize a massive sports streaming platform and baseball will be a part of it.

[joellewyser-pratte]

Are Netflix original series more culturally relevant than HBO's (2017)?

Marc Bodnick

If culturally means (in part) “what are young people watching” then —increasingly yes, I think so.

Netflix skews very young — 81% of people in the US ages 18–35 have a Netflix subscription. So I’m guessing that Netflix’s original programming are watched by more young people than most HBO shows.

I could find one article online covering this issue (Netflix vs. HBO in cultural relevance). Here it is, a 2013 post from the LA Review of Books — old, but still really good:

The New Canon

WHEN I WAS AN UNDERGRAD, my professor would talk about stars and directors by showing us actual slides of them, all loaded up into the Don Draper “Carousel.” Clips were on actual film, with actual projectionists, or an assortment of badly edited VHS tapes. When a professor recommended a film, I’d go to the video store and rent it for 99 cents, the standard fee for classic movies. I never missed a screening, because it would be nearly impossible to find many of the films on my own, let alone someone with a VHS that wasn’t the common room at the end of my dorm floor. It was the good old analog days, when film and media studies was still nascent, the internet only barely past dial-up, and internet media culture as we know it limited to a healthy growth of BBS, listservs, and AOL chat rooms. It was also less than 15 years ago.

My four years in college coincided with dramatic changes in digital technology, specifically the rise of the (cheap) DVD and the personal computer DVD player. Before, cinephilia meant access to art house theaters or a VHS/television combination in addition to whatever computer you had. . . . by the time I graduated, most computers came standard with a DVD player and ethernet, if not wireless, connectivity. That Fall, I signed up for Netflix. I envied those with TiVo. Two years later, the growing size of hard drives and bandwidths facilitated the piracy culture that had theretofore mostly been limited to music. Then YouTube. Then streaming Netflix. Then Hulu. Then AppleTV. Then HBOGO. Or something like that.

Today, we live in a television culture characterized by cord-cutters and time-shifters. Sure, many, many people still appointment view or surf channels old school style. I know this. I also know people watch the local news. Yet as a 30-something member of the middle class, I catch myself thinking that my consumption habits — I subscribe to Netflix, Hulu Plus, and Full Cable; I still appointment view several shows — are somewhat typical.

I’m so wrong, but not in the way I might have expected. My students taught me that. They watch Netflix, and they watch it hard. They watch it at the end of the night to wind down from studying, they watch it when they come home tipsy, they binge it on a lazy Saturday afternoon. Most use their family’s subscription; others filch passwords from friends. It’s so widely used that when I told my Mad Menclass that their only text for the class was a streaming subscription, only one student had to acquire one. (I realize we’re talking about students at a liberal arts college, but I encountered the same levels of access at state universities. As for other populations, I really don’t know, because Netflix won’t tell me (or anyone) who’s using it.

Some students use Hulu, but never Hulu Plus — when it comes to network shows and keeping current, they just don’t care. For some super buzzy shows, like Game of Thrones and Girls, they pirate or find illegal streams. But as far as I can tell, the general sentiment goes something like this: if it’s not on Netflix, why bother?

It’s a sentiment dictated by economics (a season of a TV show on iTunes = at least 48 beers) and time. Let’s say you want to watch a season of Pretty Little Liars. You have three options:

1) BitTorrent it and risk receiving a very stern cease-and-desist letter from either the school or your cable provider. Unless you can find a torrent of the entire season, you’ll have to wait for each episode to download. What do you do when it’s 1:30 am and you want a new episode now?

2) Find sketchy, poor quality online streams that may or may not infect your computer with a porn virus (plus you have to find individual stable streams for 22 episodes)

or

3) Watch it on Netflix in beautiful, legal HD, with each episode leading seamlessly into the next. You can watch it on your phone, your tablet, your computer (or your television, if it’s equipped); even if you move from device to device, it picks up right where you stopped.

It’s everything an overstressed yet media-hungry millennial could desire. And it’s not just millennials: I know more and more adults and parents who’ve cut the cable cord and acquired similar practices, mostly because they have no idea how to pirate and they only really want to watch about a dozen hours of (non-sports) television a month (who are these people, and what do they do after 8 pm every day?)

Through this reliance on Netflix, I’ve seen a new television pantheon begin to take form: there’s what’s streaming on Netflix, and then there’s everything else.

When I ask a student what they’re watching, the answers are varied: Friday Night Lights, Scandal, It’s Always Sunny, The League, Breaking Bad, Luther, Downton Abbey, Sherlock, Arrested Development, The Walking Dead, Pretty Little Liars, Weeds, Freaks & Geeks, The L Word, Twin Peaks, Archer, Louie, Portlandia. What all these shows have in common, however, is that they’re all available, in full, on Netflix.

Things that they haven’t watched? The Wire. Deadwood. Veronica Mars, Rome, Six Feet Under, The Sopranos. Even Sex in the City.

It’s not that they don’t want to watch these shows — it’s that with so much out there, including so much so-called “quality” programs, such as Twin Peaks and Freaks & Geeks, to catch up on, why watch something that’s not on Netflix? Why work that hard when there’s something this easy — and arguably just as good or important — right in front of you?

The split between Netflix and non-Netflix shows also dictates which shows can/still function as points of collective meaning. Talk to a group of 30-somethings today, and you can reference Tony Soprano and his various life decisions all day — in no small part because the viewing of The Sopranos was facilitated by DVD culture. Today, my students know the name and little else. I can’t make “cocksucker” Deadwood jokes (maybe I shouldn’t anyway?); I can’t use Veronica Mars as an example of neo-noir; I can’t reference the effectiveness of montage at finishing a series (Six Feet Under). These shows, arguably some of the most influential of the last decade, can’t be teaching tools unless I screen seasons of them for my students myself.

The networks have long depended on a concept that scholar Raymond Williams dubbed “flow” — the seamless shift from show to commercial to show that creates a televisual flow so natural it’s painful to get out. Netflix does this as well, creating what one of my students has called “inertia problems.” One episode ends, and the countdown to the next begins in the corner. One season ends, and the next one pops before you. One series ends, and it’s ready with fairly accurate suggestions as to the type of programming you’d like to try next. The more you consume Netflix, the more you’ll consume Netflix.

And it’s not like they’re going to run out of content. As the Hollywood studios have tried to play hardball with what films they will and won’t lease, Netflix has turned its focus to television. And it’s not just quality and quasi-quality television: they’re flush with children’s, reality, and British television, with more seasons — and shows — added every month.

So maybe the HBO shows of the golden age fade into the distance, referenced but mostly unwatched, the 2000s equivalent of Hill Street Blues or The Mary Tyler Moore Show. So what? As I wrote last week, I have little interest in fetishing “quality” television, especially as a means of reifying gendered, classist divides between “our” television and that television.

And HBO loves that division — they’re the ones, after all, who pioneered the slogan “It’s not TV, it’s HBO.” They’ve also stubbornly resisted any technology that makes its shows broadly available. You can’t get them on iTunes for months; you can’t use HBOGO unless you’re a service subscriber, and you generally can’t subscribe to HBO without also paying for extended cable — at least a hundred dollar cable bill. I get why they only want rich people watching their shows. I get how exclusivity, in and of itself, is one of the ways that HBO ascribes quality to its programming.

But you know what separates the “good” from the “significant”? Exposure. Not just initial exposure, like the hoopla surrounding the relatively unpopular Girls, but endured attention and familiarity. Viewers of broad ages and classes and tastes watching. Syndication used to do some of this work for us: that’s how I consumed M*A*S*H, My Three Sons, The Brady Bunch, I Love Lucy, classic Saturday Night Live, original Star Trek, and even MacGyver. It was MTV reruns, for example, and not ABC, that made My So-Called Life a cultural touchstone: the two words “Jordan Catalano” stand in for a host of dude-related agonies and ecstasies. Granted, you could watch Sex and the City on TBS, and The Wire on BET. But those were Frankenstein edits of the originals — and what little extended cable this generation does watch, it’s generally new content.

Netflix, and other forms of cheap streaming, thus takes up the role formerly occupied by second-run syndication. Only unlike the reruns of M*A*S*H I’d watch every night at 7:00 pm, these reruns are there whenever I want them and without commercials. With the rise of streaming services, we’ve avoided the term “rerun” and its connotations of the hot, bored days of summer. But apart from its foray into original programming, that’s what Netflix is: a distribution service of reruns. And as with second-run syndication, what’s available is what gets watched; what gets watched becomes part of the conversation. It’s not a question of quality, in other words, it’s one of availability.

HBO has always prided itself on being the cool kid in high school. It’s fine having only a few friends, so long as those friends are rich and influential. But no one can stay in high school forever: eventually your world changes, whether you want it to or not. And you know what happens when the cool kid goes to college? He gets lost in the crowd. There’s no one to remind everyone that he’s so cool or exclusive, of what the last decade of his life meant, or why he should be respected and feared today. Even if he throws a really excellent party, he’s still one of many doing the same.

For coolness and distinction to endure, it needs an indelible sense of legacy. HBO’s not in danger of losing that any time in the near future — at least so long as most of the people writing about television are those of us reared on the DVDs of its golden age. But think of the next generation of critics, whose tastes are guided, and will continue to be guided, by streaming availability. For them, Louie and Scandalwill always be more important than Curb Your Enthusiasm and The Newsroom.

This summer, HBO finally gave credence to rumblings that they’d offer HBGO as a stand-alone subscription service. It may happen next year; it may happen in five. But each year they wait, each year that hundreds of thousands of viewers choose what’s at their fingertips over what’s not, their legacy fades. Perhaps that’s for the best? I mean, let it be said: I’m super okay with more people watching Friday Night Lights than Hung. But some, if not all, of those shows deserve better.

Ignore Al Swearengen at your peril,

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