#the first film is on prime video it looks like but it's only available with a dove channel free trial

[delxenofic]

the cricket in times square films aren't available to watch online like anywhere.... i found this collection of chuck jones' filmography on the internet archive but oh my gosh the quality of them is just horrendous and a very merry cricket is not on there anyhow. sad :(

[tgcfresources]

Master Post Links

Since the reddit post has outdated links and information, I wanted to provide people an easy way to find things instead of having to look through massive amounts of scrolling.

First I just want to say I'm new to this fandom, if there's any incorrect information or things missing feel free to message me on Discord or @ me at any of the TGCF discord's I'm on as I DO NOT check tumblr often. My Discord is .raphaela

Tags:

Official Art

Audio Drama

Sprites

Official Videos

Novel

Colored Novel Illustrations

B/W Novel Illustrations

Revised Uncensored Version

Discord Servers

Eternal Faith / Live Action

Manhua

Novel

As the novel as been official translated into several languages, I will NOT post links to read it here.

Novel Audiobooks

Link to Audiobooks: Link 1.

Revised Chinese Novel

There is currently no plans for 7S to translate this version as it was released as a webtoon AFTER the official novel translations.

Link to the Revised Chinese Version English Fan Translations and Faq.

If you would like to buy the Chinese revised version, follow this guide on how to purchase the novel on JJWXC books. Then use this guide on how to export the text for use on your preferred translator.

You can read the revised novel easily with SmoothReader, which now has a google chrome extension.

Manhua (Manga)

The English bilibili comics site shut down on February 29th and is no longer available. You can view the original Chinese Raw on the official bilibil site with a VPN. Guide on how to buy the original volumes here.

Currently there are 101 chapters, no word on when it will resume. HEAVEN OFFICIAL'S BLESSING IS ON LEHZIN!! (no new episodes, just publishing existing episodes... for now. First 4 Chapters free.) It's also on bato.to.

Donghua (Anime)

There are currently 2 seasons available.

Season 1

Audio: English, Mandarine. (Only the Bilibili website has Japanese Audio Available, you need to become a Big Fan to view them. The Official release DVD/Bluray also only had the two languages available. If you want Japanese audio you will need to buy the Japanese release from a proxy service website.)

Subtitles: English.

Official English DVD/Bluray available from a number of retailers.

Season 2

Audio: English, Japanese, Mandarine.

Subtitles: English.

Does not yet have an official English DVD/Bluray release.

Currently Available to view on Crunchyroll (US Only, VPN Works), Bilibili Website (Available with Japanese Audio, Season 1 only) & Bilibili Youtube (Season 1 only) Both requires you to have a VPN, only available in hongkong.

Placeholder Guide on how to pay for Big Fan on Bilibili Website.

It has since been removed from Netflix and Amazon Prime.

Season 3 has yet to be confirmed.

Audio Drama

It's getting VERY long - Post here

Live Action Adaptation Series

A live action Adaptation is in the works and will be called Eternal Faith. Filming was done in 2022, rumored to be released this year (2024), set to be 60 episodes, but nothing is confirmed.

Information taken from a number of sources, mostly the tgcf reddit faq and TGCF Discord servers.

[overlookedwwiimedia]

Enemy Lines (2020)

Basic Story: A team of British and one American are sent to rescue a scientist being held by the Germans in Poland 1943.

Fan Thoughts: This was film was really hard to get into, right from the first scene, there’s something about the sets and costuming that feels fake.  The uniforms’ only accuracy is that they are form the correct countries, and everything worn on screen looks like it came right out of the package, nothing has wear and tear or stains despite them traveling through the woods for most of the film.  The writing is weak, both in the plot which has gaping holes and the dialogue which is stiff and unrealistic.  Despite the number of seasoned actors present, all the acting is wooden and flat making it hard to connect with the characters.  It is easy to tell this is a low budget film, all aspects are simply not executed well, and the historical inaccuracies are glaring. There are far too many other well-made films, both well-known and hidden gems, to make this one worth watching.

Warnings: brief nudity

Available On: Tubi, Prime Video, Apple TV, YouTube, Google Play

[woodyallen2]

Pentax 645Z Review

Medium-format cameras offer truly spectacular resolution, but until now, it's always come best camera alongside a difficult compromise. With the Pentax 645Z, that changes. Building on 2010's 645D, the Pentax 645Z offers features that are rare or in some cases unique in a medium-format camera. Pick up its weather-sealed body, and you'll find both live view and video capture on offer, not to mention an extremely wide sensitivity range, 27-point phase-detect autofocus system -- and compared to rivals, very swift performance too! And of course, you'll get the incredible detail-gathering capability of medium-format, plus a really big, bright viewfinder. Is it time you considered moving up from full-frame? Read on and find out!

Pros Phenomenal resolution and detail; Great high ISO performance; Rugged, weather-sealed body; Huge, bright viewfinder; Fast autofocus works well in low light; Swift performance for a medium-format camera; Good battery life; Shoots Full HD video

Cons Quite bulky compared to an APS-C or full-frame DSLR; Autofocus points clustered near center of frame; Most lenses aren't weather-sealed or optimized for digital; Prone to aliasing artifacts (but so are most high-end cameras these days); Attracts a lot of attention from passers-by

Price and availability Available since June 2014, the Pentax 645Z is priced at US$8,500 body-only.

Back in early 2010, Pentax launched the 645D, a medium-format digital SLR that it had been developing for the previous five years. It might have been a long time coming, but it was nonetheless exciting for it. The 645D leapfrogged rivals Canon, Nikon and Sony with two-thirds greater sensor area than a full-frame sensor, yielding a unique look and shallower depth of field. At the same time, it was vastly more affordable than offerings from medium-format makers like Hasselblad and Phase One, yet rugged enough to be used in the field.

Pentax 645Z Review -- Front view with lens The reason Pentax -- since taken over by Ricoh -- could offer its camera at a more attractive price-point than other medium-format products was pretty simple. Much of the design work for the 645D could be shared with the company's mass market, APS-C DSLRs, where Hasselblad and Phase One -- neither of which sells consumer SLRs -- had to bear the entire cost of development solely with their medium format products.

While Pentax lacked (and indeed, still lacks) a full-frame DSLR, the 645D served both as an aspirational model for the enthusiasts to look up to, and as something genuinely different to attract pros for whom that resolution and medium-format look was more important than high-speed capture. And boy, did it ever offer a lot of resolution by 2010 standards. (In fact, it's only recently that we've started to see cameras with smaller sensors catching up.) When we first put the 645D in our lab, we were amazed to find that it picked up details we'd never even noticed in our test scenes -- details that we couldn't even see with our own eyes, until we pulled out a magnifying glass to confirm them.

Pentax 645Z Review -- Weather seals Just like the medium-format film cameras in whose footsteps it followed, the 645D was never going to be a mass-market camera. Medium-format is an even smaller niche than it was in the film days, but the 645D was nonetheless a very important camera for the company, and its followup -- the Pentax 645Z -- is no less important.

Just like its predecessor, the Pentax 645Z shares much with Ricoh's flagship APS-C DSLRs -- and with four years of development having taken place on the APS-C front since the 645D was launched, there was no shortage of new features for it to inherit. But the most important feature of them all is at its very heart, a brand-new, Sony-sourced 51-megapixel CMOS image sensor. It's coupled to a PRIME III image processor, as first seen in the K-3, and the 645Z also inherits that camera's 27-point SAFOX 11 autofocus and 86,000 pixel RGB metering systems.

The 645Z's new image sensor allows a spectacularly wide sensitivity range, especially by medium-format camera standards, covering everything up to ISO 204,800 equivalent. It also provides both live view and Full HD movie capture capabilities, neither of which its predecessor was capable of. And performance has taken a big step forwards, at least compared to other medium-format cameras. This still isn't a sports shooter, but it'll shoot at almost triple the speed of the 645D. You'll also be able to review photos post-capture in less than half the time.

[ogradyfilm]

2023: A Year in (Movie) Review(s)

Every cinephile has at least one Holy Grail. It's a common story: interest in said rare movie is piqued by a fleeting allusion in the pages of some neglected reference book or obscure magazine article. Gradually, curiosity evolves into infatuation, then obsession, manifesting as a desperate pursuit that might persist for decades, the search constantly hampered by the tragic fact that the White Whale in question remains stubbornly elusive—either out-of-print or never officially licensed or localized in the first place. And even if it is available (usually through sources of dubious legality), the image quality is always barely a step above an nth generation VHS transfer.

Well, in 2023, I managed to cross five such films off my personal “bucket list”—and despite the year’s numerous challenges (financially, in particular), I think that’s an accomplishment worth celebrating. Thus, in the interest of posterity, I’ve enumerated them below, along with brief descriptions and links to the corresponding reviews I wrote immediately after seeing them:

A Page of Madness: Of all the miraculous discoveries on this list, this one was undoubtedly the most unceremonious and anticlimactic. I randomly stumbled across this silent avant-garde masterpiece (of which I became aware way back in college) while nonchalantly browsing Amazon Prime’s digital library; suddenly, there it was, available to rent for a paltry three dollars. The movie itself was sublime, of course; after spending such a significant chunk of my life hunting it down, however, the relative ease with which I ultimately acquired it couldn’t help but feel a bit… underwhelming.

Samurai Wolf: Although Hideo Gosha’s lean, mean chanbara classic has never truly been out of reach to those “in the know,” my own research into the assorted bootlegs and unauthorized foreign imports available via various online marketplaces was… less than encouraging. Fortunately, Film Movement came to the rescue like a chivalrous ronin; the restoration on the company’s Blu-ray release is borderline pristine, enriching the director’s already bold compositions and dynamic camerawork. Nihilism and moral decay have seldom looked so beautiful.

Angel’s Egg: Home video copies of Mamoru Oshii’s surreal animated allegory tend to be obscenely, prohibitively expensive in the West, and tickets for the infrequent repertory screenings generally sell out almost instantly. Thankfully, a recent overabundance of free time afforded me the opportunity to experience the film’s haunting, hallucinatory magic under ideal circumstances—in a theater absolutely packed with fellow fans and aficionados. The Q&A with art director/character designer Yoshitaka Amano that followed the feature presentation (courtesy of Japan Society) was just icing on the cake.

Door: While Banmei Takahashi’s taut, suspenseful, claustrophobic thriller is the latest addition to this list (I learned of its existence roughly a year ago, through out-of-context clips shared between several Twitter accounts), you shouldn’t make the mistake of underestimating my enthusiasm for it—my desire to see it burned with the fiery passion of a spurned admirer. As luck would have it, my thirst was sated rather quickly compared to the previous entries on this countdown; the movie played at this year’s Brooklyn Horror Film Festival—perfectly scheduled to coincide with the Halloween season.

Tokyo: The Last Megalopolis - When I initially encountered this ambitious, extravagant, and extremely expensive special effects extravaganza, the only viable way to view it was in twelve parts on YouTube, compressed to about 240p resolution—a format that hardly does the spectacle justice. Thank goodness for the fine programmers at Japan Society; the big screen really smooths out the movie’s minor flaws and superficial blemishes, and Kyusaku Shimada’s magnificent performance as the nefarious Yasunori Kato certainly benefits from a more expansive frame. Guess I can finally stop requesting the film in the feedback section of literally every post-screening survey…

And that essentially sums up my 2023; the satisfaction of enjoying so many films that had been taunting and tantalizing my imagination definitely took the sting out of the whole "prolonged unemployment" situation. With that said, I’d like to wish everybody a very Happy New Year! Hopefully, my adventures in cinema will continue in 2024. (For God’s sake, will some distributor please show Kiyoshi Kurosawa’s Sweet Home the love it so richly deserves?!)

[blogger360ncislarules]

Talk about a 21st-century miracle. The faith-based series has converted a mass of impassioned viewers to rival any Yellowstone or The Walking Dead fanbase — without marquee stars or aggressive marketing. We’re of course talking about The Chosen, the first multi-season series to depict the life and ministry of Jesus of Nazareth (played by Jonathan Roumie) and his most fervent followers. The show’s first three seasons have been available for free via theChosen app and the Angel Studios website, as well as on streamers like Netflix and Prime Video, but you can now watch the series’ broadcast debut on The CW as it airs 24 divine weekly episodes from Sunday, July 16, through Christmas Eve.

“Over 100 million people have seen at least one episode,” creator Dallas Jenkins tells us after a busy day shooting a Season 4 episode in Goshen, Utah. (The series also films outside Dallas.) But he’s grateful for the boost of being on network television, noting that it helps the show “cross the chasm into audiences that have heard about it but haven’t known where to watch it.”

Elizabeth Tabish in The Chosen

The tale of how The Chosen came into existence is nearly as compelling as the greatest story ever told. “It was born out of failure,” Jenkins says with a laugh. After a feature film he directed didn’t do well, he dusted off a short film script about Christ’s birth from the perspective of the shepherds. The video went viral and, though Jenkins didn’t love the idea of crowdfunding to make a series, he had nothing to lose. At the end of the video, he gave viewers the opportunity to invest (not donate, he specifies), “and over 16,000 people around the world invested over $10 million for [what became] Season 1.” From there, he adds, “the word of mouth went crazy.”

The Chosen begins in 1st century Galilee with adult Jesus and introduces familiar Bible figures like the compassionate Mary Magdalene (Elizabeth Tabish), unsure tax collector Matthew (Paras Patel) and bold fishermen brothers Simon Peter (Shahar Isaac) and Andrew (Noah James), depicting how they become the Son of God’s loyal followers. In the first episode, for example, a distraught Mary Magdelene, using the name Lilith, fights personal demons and contemplates ending her life until she meets Jesus, who somehow knows her real name. “I was one way and now I am completely different,” she calmly tells curious religious leader Nicodemus (Erick Avari) in the second episode (July 23). “And the thing that happened in between was Him.”

In adapting stories like that, Jenkins knew merely retelling Scripture wouldn’t give it the “uniquely timely” perspective he was hoping to achieve so that it “doesn’t feel like a stiff melodrama. It feels like actual humanity.” He found inspiration not in other religious productions, but in long-running contemporary dramas that created an intimacy between characters and viewers over many episodes. (Seven seasons are planned for The Chosen.) “I’m not only a lover of the Bible, but I’m also a lover of television,” Jenkins notes. “I’m watching Succession at the same time that I’m writing the show. I’m watching Friday Night Lights, This Is Us. You look at these shows and you realize the time they take to build these characterizations, that’s their secret sauce. They don’t rush it.”

Filling the pivotal role of Jesus was thankfully not a problem — Roumie had worked with Jenkins before in shorts done for his church. But strapping on the sandals is a big responsibility. “I’m still trying to wrap my head around playing Jesus,” the actor admits. “There’s so much depth and layers and mystery to him.” But Jenkins has faith, noting that “casting Jonathan was the easiest decision in the world.”

[devakey]

Forefront 7: Black Noir’s Animated Psyche in The Boys - Season 3 (2022)

Season 3 of The Boys (2019-present) finally unveils more of the shrouded mystery that is Black Noir. One of the ‘‘Seven’’, he never utters a word and communicates only in writing in important situations. Not much is previously known about him other than his proficiency in the martial arts and of his super strength and heightened senses.

Background

We first get a glimpse of his background in season 3, with the mention of Soldier Boy and his entourage. Soldier Boy ends up violently beating Noir’s head and sticking it on top of a burning car. This incident leaves Noir brutally disfigured, causing his brain to regress and get stuck at the mental age of a child. It also causes him to experience hallucinations and delusions of cartoon characters which he imagines as his friends.

Image: The Boys Season 3 (2022) ‘ Here Comes a Candle to Light You to Bed’ | Prime Video 

Style

The Boy’s showrunner, Eric Kripke, detailed that they wanted to show Noir’s inner thoughts during his contemplation and brooding because he has no one he can speak with. The show had already done flashbacks to introduce Soldier Boy’s connection to him and this time, they wanted to refrain from repeating the same style of storytelling. They intended on having the animations look like classic Disney, as ‘‘if Martin Scorsese made Snow White’’. These sweet-looking, fluid characters were to present the flashback in the most brutal fashion (Kripke, 2022).

Image: The Boys Season 3 (2022) ‘ Here Comes a Candle to Light You to Bed’ | Prime Video

This strange animated ‘‘dialogue’’ and the flahback made more sense considering Noir’s stunted mental state and finally revealed a glimpse of what the inside of the mystery super’s head looked like.

Psyche

We see him interact with his imaginary cartoon friends, including pizza mascot Buster Beaver, who apparently previously helped him deal with a mass murder, and a boner in school (Anderton, 2022).

Although it is implied that they are ever present, his imaginary friends seem to try and protect him. It seems like he has conjured them up as a form of protection for his mental state, to help him deal with his doings and with traumatic incidents.

When he briefly escapes from Vought’s clutches after learning of Soldier Boy’s return, he sits at an abandoned, dusty Buster Beaver restaurant to seemingly gather his thoughts. This is when Buster Beaver reassures him. We see the flashback in the same, adorably animated style, showcasing the most violent battle (Zalben, 2022).

Image: The Boys Season 3 (2022) ‘ Here Comes a Candle to Light You to Bed’ | Prime Video

Influence

Animation can achieve an idiosyncratic style of storytelling that live-action could struggle with, since it is devoid of the same limitations. This blended style has not been used much in live-action for such a profound execution, before. For this blend of 2D animation and live-action, Who Framed Roger Rabbit, Mary Poppins, and even comics like Spider-Ham, which features a pig version of Spider-Man and a cat version of Captain America were referenced by the Animators at Six Point Harness (Davis, 2022). The team behind The Boys successfully uses animation to not only stylise this episode but to also appropriately address Black Noir’s stunted, child-like brain while also adding character.

My work often features inward and outward perspective of the characters - of themselves and of the world. This is a great way to execute an episode like this one, much like the imaginary companion that I manifested in my film for Optical Sound, which follows a lonely protagonist conjuring up a shadow to keep them company and mute their feeling of desolation and loneliness.

References

1. Anderton, J. (2022) The boys boss explains Black Noir’s cartoon flashbacks, Digital Spy. Available at: https://www.digitalspy.com/tv/ustv/a40498485/the-boys-cartoon-flashbacks-explained/ (Accessed: 13 June 2023).

2. Zalben, A. (2022) ‘the boys’: Eric Kripke on Black Noir’s “Classic disney” animated origin story, Decider. Available at: https://decider.com/2022/07/03/the-boys-black-noir-animated-origin-eric-kripke-interview/ (Accessed: 13 June 2023). 

3. Smith, A. (2022) Black Noir has the most compelling arc of ‘The boys’ season 3, Collider. Available at: https://collider.com/the-boys-season-3-black-noir-most-compelling-arc/ (Accessed: 13 June 2023). 

4. Davis, V. (2022) How six point harness used 2D to tackle Black Noir’s trauma in ‘the boys’, Animation World Network. Available at: https://www.awn.com/animationworld/how-six-point-harness-used-2d-tackle-black-noirs-trauma-boys (Accessed: 13 June 2023). 

[speedlauncher]

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[jaydhobi]

5 Game-Changing Strategies to Develop a Blockbuster OTT App in 2024

The future of entertainment is streaming, and the OTT (Over-the-Top) market is booming. Did you know that [insert statistic about the global OTT market size or subscriber growth]? Traditional cable subscriptions are on the decline – cord-cutters have taken over and they want their OTT platforms.

So-called “blockbuster” OTT Apps are designed to cater to these new viewing habits. Netflix, Hulu, Amazon Prime Video, Disney+, HBO Max — these are not just apps for watching movies and TV shows. They’re engineered with beautiful design, personalized recommendations, and unique features that make users come back for more.

But how do you develop an app that stands out in such a crowded market? This blog post will take a deep dive into five strategies that can help you create the next big thing in streaming.

Understanding Your Audience: Building the Right Content Strategy (Technical Deep Dive)

In this section we’ll discuss some technical aspects of building an OTT app based on content strategy development best practices. But first…

Know Your Audience

Your target demographic should be at the forefront of your mind when considering what type(s) of content to acquire. Ask yourself questions like:

How old are they?

Where do they live?

How much money do they make?

What are they interested in?

Having a strong understanding of who your customers are will inform all other decisions related to this process.

Device Usage

Different people have different preferences when it comes to how they consume media; one person may prefer watching videos on their smartphone while another prefers using a tablet or smart television set. Knowing which devices most closely align with those used by members within your target demographic can help ensure usability across platforms — even if only certain ones are supported initially due resource constraints / limited time availability etc..

Content is King: Building a Captivating Library

Now that you know who you're making your app for let's consider what needs be done make sure it keeps their attention.

Licensing vs. Original Content Creation

There are two primary ways that OTT apps can obtain content for their libraries: licensing and original creation (i.e., producing shows from scratch). Here's a breakdown of each option:

Licensing

This is when an app pays another company or entity for the rights to use its movies / TV series on its own platform. Doing this allows you to offer popular titles while saving the time and money typically required to produce comparable quality content in-house. Original Content Creation

If you’re looking to shake up more than just the selection process, consider creating and producing some of your very own programs! Doing so will give viewers something they literally won't find anywhere else; however, keep in mind these endeavors usually require larger investment funds stages given production costs associated with such undertakings can often skyrocket should any unforeseen issues arise during the filming process alone let alone all other post- shoot activities necessary before final cuts ready distribution both domestic international markets wide scale viewership can achieved which means there needs to be strong demand met supply order maximize potential profits generated by utilizing this particular method over others available at the time being… Catering to Niche Audiences

The first impression is the most important. For all devices, whether they are smart TVs or smartphones, the user interface of your application should be visually attractive and intuitive. Simple navigation, clear menus and high-quality visuals establish a positive experience at the very beginning.

Seamless User Journey:

Keeping viewers engaged is largely dependent on how smooth their user journey is. Below are some must-have features:

Effortless Navigation and Search: Users should quickly find the desired content. Use search functionalities that are easy to understand as well as well-structured categories for seamless browsing.

Personalized Recommendations: Make content recommendations based on data and user behavior that appeal to individual preferences; this will keep them interested in addition to helping them discover new favorites.

Offline Viewing Capabilities: Enable users to download content for viewing offline which can come in handy when there is limited internet connectivity or simply for convenience purposes.

Multiple Payment Gateways: Smooth Checkout Process

Offer various secure payment options so as not to lose potential customers at the checkout stage. Integrate popular payment gateways while considering different user preferences.

App Performance Optimization (APO): The Unsung Hero

A fast responsive app matters more than you think. Ensure your app loads fast, streams content without buffering, and lags behind issues because such experiences are likely to annoy users who may then switch platforms out of frustration.

By focusing on these design & functionality elements, you can create an OTT app that delivers a winning user experience while keeping viewers engaged – next we explore strategies to monetize your app and turn those captivated viewers into loyal subscribers.

Monetization Strategies: Keeping the Spotlight on Revenue

Now that you have captured their attention through great content delivered seamlessly through an intuitive interface; it’s time to convert them into paying customers. Here we take a look at different ways one can make money from their Over-the-top platform:

Subscription-Based Model (SVOD): Recurring Income Stream

In this model, users pay a subscription fee either monthly, quarterly or annually in exchange for unlimited access to all available content on your platform. Consider having different plans for different needs such as basic plan with SD streaming only while premium offers HD, exclusive shows and multi-device access.

Transactional Model (TVOD): Pay-Per-View

You can also enable users to buy/rent individual movies, episodes or seasons of TV series through a pay-per-view system. This works well alongside subscriptions by providing an extra revenue stream from premium content.

Advertising-Based Model (AVOD): Free Service Supported by Ads

Here users get free access to your entire library but must watch ads that are relevant to them before each video starts playing. This is a good way to attract more people especially those who may not be willing to commit themselves into paying monthly fees for subscriptions; however ensure the adverts are targeted and non-intrusive so as not interrupt their experience.

Seamless In-App Purchases: A Frictionless Experience

Regardless of the monetization model you choose, it’s important that secure in-app purchase systems are integrated within the application itself – this will allow users subscribe, rent or make one-time payments without leaving the app thus ensuring convenience while using it.

To ensure your over-the-top (OTT) application’s long-term success, it must be monetized. The trick is providing users with choice while making sure their experience remains the top priority during payment process.

How to Make a Blockbuster OTT App

In this part of my blog post, I will discuss how you can make an app that stands out from others in crowded marketplaces and turns viewers into loyal subscribers.

Marketing and User Acquisition: Strategies to Get Noticed

Creating an amazing OTT app is just half the battle; marketing is what really makes it successful. You must have a strong marketing strategy which will help you get noticed among other apps in crowded marketplaces as well as convert viewers into loyal subscribers. Here are some tips on how to achieve this:

App Store Optimization (ASO): Be the Star of the Search

Discoverability matters most when it comes to applications these days. With App Store Optimization, you need to add relevant keywords in your description coupled with catchy visuals so as to increase visibility during search results thus making easy for potential customers find what they are looking for.

Social Media Savvy: Engaging Your Target Audience

Social media platforms provide great opportunities for reaching out to target audience hence should not be ignored whatsoever. Create compelling content that promotes your app using Facebook, Instagram or Twitter among others. Running ads on these sites can also help generate buzz about upcoming shows or movies while at same time partnering with influencers gives them access they never had before – creating more excitement around such releases through exclusive trailers, behind-the-scenes looks etc.

Content Marketing: Building Buzz and Brand Awareness

Content marketing has always proved effective especially if done right thus can’t be underestimated either way possible! Develop an adequate strategy which talks more about various aspects related to OTT apps like release dates but also includes interviews conducted with actors plus crew members involved thereby sharing some bits exclusively via social channels too. The idea behind all this is getting people eager enough such that they cannot afford not downloading your application.

Data-Driven Decisions: Optimizing Your Marketing Efforts

It is crucial to keep in mind that marketing never stops. You have to know what works best for you by using data collected from analytics tools showing how users behave towards certain campaigns or messages sent out during different periods etc. This way, one can easily adjust their strategy basing on real-time information received thus ensuring maximum reach among desired audience segments.

Implementing these strategies will help ensure that all of your efforts aren’t put into waste as far as OTT app development goes – instead, it could become a major success within no time.

The Final Act: Partnering for Success

Well done! In 2024 you’ve got everything required when it comes down crafting blockbusters OTT apps; but still there might be some technicalities which need professional intervention.

At WebClues Infotech, we offer comprehensive services related to OTT App Development. Our team comprises highly talented developers who possess vast skills in this field hence capable of turning any idea into reality. We can guide you through every step involved during the process right from designing an easy-to-use interface up to integration secure payment gateways where necessary while ensuring optimum performance levels are achieved across various devices used by customers.

Want to make your dream OTT app a reality? Don’t waste your time! Hire App Developer from our team of experts now. We will be with you at every stage, leading you through development and making sure that your OTT application becomes a major success in the streaming industry.

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[denimbex1986]

'The novel The Talented Mr. Ripley , written by Patricia Highsmith and published in 1955, is not only a reference for police literature, it is also the letter of introduction of Tom Ripley, its complex protagonist.

Ambitious, educated, charming, manipulative and completely amoral, Ripley starred in five novels by the author who died in 1995. That magnetism transferred to the role, starring in adaptations in film, theater and television.

The first film version was In Full Sun directed by René Clément in 1960 and catapulted the young Alain Delon to global stardom , who stepped into the shoes of this charming serial swindler.

Since then actors such as Dennis Hopper in The American Friend (1977, by Wim Wenders), Matt Damon in The Talented Mr. Ripley (1999, by Anthony Minghella) and John Malkovich in Ripley's Game (2002, by Liliana Cavani) have played this sinister character on the big screen.

Of these adaptations, the best known is the one that starred Matt Damon alongside a great cast that included Gwyneth Paltrow, Cate Blanchett and Jude Law. It is available in the Netflix catalog.

And Ripley , an eight-episode miniseries created, adapted and directed by Steven Zaillian , winner of the Oscar for best adapted screenplay for Schindler's List , and creator of the award-winning series The Night Of , arrived on the platform this Thursday . It tells, in black and white, the complicated first mission of this vile character: he must bring back to the United States the son of a shipping magnate who lives the high life on the Italian Riviera, far from worries and obligations.

This time, the charismatic Ripley, a character who knows how to adapt and blend in like few others, has the face of the British Andrew Scott , who is currently showing in Uruguayan cinemas in the drama We Are All Strangers , alongside Paul Mescal.

Of course, Scott has been a name known for a long time thanks to several hits such as the Oscar-winning 1917 (available to rent on NSNow de Nuevo Siglo), the award-winning series Fleabag (on Prime Video), His Dark Materials (Max) and Sherlock (on Prime Video and Max), where he was another well-known villain: Moriarty, nemesis of the detective who starred in Benedict Cumberbatch .

Ripley , which is set in 1960s Italy, closely follows the events of Highsmith's novel, to which Scott brings his charisma and sinister aura, barely conveyed by his face.

It also has art direction and photography that show the decadent and sophisticated atmosphere of the Italian Riviera. That setting, full of stairs, shadows and nooks, is the ideal backdrop for Ripley's machinations. They also help cover up his various deceptions. The thing is that Ripley, above all, is a survivor.

We meet him when he is still living in a flophouse in New York and leading an inelegant life as a small-time white-collar criminal. His job, for which he only needs a typewriter, ingenuity and ability to imitate accents, is to intercept correspondence and pose as a collector of unpaid debts.

A variety of elderly people who hear little and see less are his victims, whom he defrauds out of a few dollars; enough to survive.

Despite their dedication, everything indicates that those days are coming to an end. At the bank, when he goes to cash the checks, they begin to look at him differently, and when he is about to throw in the towel he receives a stroke of luck: a millionaire he has never heard of wants to see him.

It's about Herbert Greenleaf (played by director and Oscar winner for Manchester by the Sea, Kenneth Lonergan), who runs a shipping company in New York and wants his prodigal son, Dickie (Johnny Flynn, aka Mr. Knightley) in the Emma with Anya Taylor-Joy), come home.

The young man is living the high life in Atrani thanks to a millionaire trust that his parents regret having hired. And although Ripley is not one of his closest friends (later both will say that they did not know each other before), he will accept the mission after hearing that the travel and lodging are covered, and that on top of that he will receive several thousand dollars as a salary. . The dream job for any scammer.

At first glance, the task seems simple, although it will become more complicated as Ripley becomes involved in lies, deception, and even death. Ripley is one of the most magnetic villains in literature, he is also an insatiable predator of money, power and luxuries; Everything that he has not had in his modest life, he is willing to get, and at any cost.

One of the first obstacles he will have to overcome is Marge ( Dakota Fanning ), Dickie's girlfriend, who first begins to suspect that there is something strange in the attitude of her partner's new friend. Although there is no one who can resist Ripley, she can unfold herself to be the person her interlocutor wants to see.

Beyond the young woman's doubts, Ripley quickly infiltrates Dickie's life, gaining his trust and even managing to live in his house, located at the top of the place and for which you have to climb an eternity of stairs.

It is worth clarifying that Ripley is a series that takes its time to develop. It is not to consume and discard. This apparent slowness in the plot allows Ripley's every movement, every gesture and even thought to be shown, thus marking a latent tension that only increases.

For this reason, the appearance of Inspector Ravini (Maurizio Lombardi) who begins to investigate the death of Freddie Miles (Eliot Sumner), a hindrance to Ripley's plans, serves to show how the antihero manages to manipulate even a police officer with several years of service. .

Likewise, Dickie's entourage begins to have doubts about Ripley, while shadows accumulate, as do deceptions and bodies.

And as if it were House of Cards (another Netflix series with a villain as the protagonist), the lies that were building the house of cards seem to be about to be discovered every second.

This distressing wait, contemplated from beautiful landscapes, is narrated through the perspective of the protagonist.'

[britesparc]

Weekend Top Ten #620

Top Ten Challenge: Top Ten Action Movies 2023

Yet again I’m doing a list that’s looking back and talking about the year that’s been and gone. But wait! For this is the latest in my Film Challenges.

At the beginning of 2022 I decided to have a kind of annual challenge with myself, where I’d try to watch as many of a particular kind of film as possible. The idea behind this was to try to deepen my knowledge of film. For instance, I’ve not seen many Alfred Hitchcock films; only about three or four and some quite a while ago. So I want to be more knowledgeable, for a whole bunch of reasons. Anyway, in 2022 I picked Westerns as the first genre of film to tackle. And I don’t think I did very well, only managing to watch a piddly 17 of the buggers.

2023 was a lot better, but then I made life a lot easier for myself. Because while I was searching Netflix for Westerns the previous year, I kept bumping into action movies and thrillers that I quite fancied watching. So for 2023 I picked Action Movies as my genre of choice.

And last year I watched 62 of them. I don’t think that’s a bad number at all.

Now, when I’m doing these, I’m not necessarily looking for the best of the best; nor am I attempting to only watch new films (well, new-to-me). I’m just sort of trying to get as broad a range of films before my eyes as possible; to just see loads and loads of action movies. And, yes, there is some attempt to cover the classics. But this year, for instance, I didn’t go out of my way to rewatch The Matrix trilogy as I remembered them pretty well and didn’t have easy access to them (they’re not on streaming and my DVDs are boxed away somewhere). So this list isn’t categorical or my all-time favourites; there are definitely huge omissions simply because, well, I couldn’t see everything (although I really should have tried to watch The Matrix Resurrections, which I have on BD and I’ve never seen).

It was relatively easy to find action movies because between the various streamers available to me – Netflix, Prime Video, Disney+, Paramount+, ITVx, BBC iPlayer – and the Blu-rays I have in my front room, there are quite a lot of action movies. In fact, services like Disney and Paramount are really good for older films; I don’t mean, of course, films from the 1950s or whatever, but those eighties and nineties actioners that old duffers like me remember from their youth. Whether it’s stuff I definitely watched as an actual child – Beverly Hill’s Cop – or stuff that was just genuinely, unequivocally of the era – The Presidio – there is a wealth of vintage action available online (and, incidentally, the eighties and early nineties were great for those sorts of basically-a-thriller-with-some-great-action types of film).

No, where the difficulty came this year was in deciding where the line is drawn for what is and isn’t an action movie. I know that there’s a huge crossover with Westerns – most big, popular Westerns are also action movies, really – but where does an actioner end and a thriller begin? For instance, The Fugitive; that’s not really an action movie, is it? Despite it having at least one incredible stunt. I watched the first three Jack Ryan movies last year, but I haven’t counted them for the same reason; they just don’t feel like action films, despite having some good action. The Mission: Impossible franchise caused a similar headache, one where I came down on the side of “action”; because, really, those are spy films, aren’t they? Conspiracy thrillers. But you cannot disqualify a film series increasingly based on Tom Cruise’s ability to run across anything, jump off anything, and climb literally everything. Ditto the Indiana Jones films; it seems really weird to me to put them in the same category as Die Hard or Enter the Dragon or John Wick, but that’s another film series built around elaborate stunt work and chase sequences.

Oh, and I deliberately didn’t include any comic book movies, despite the Captain America films having at least as much action as your average Mission. This also stretched to my rewatch of the Ninja Turtles films. Which, I dunno, is that a bit daft? Especially the first one, actually made by filmmakers experienced in martial arts movies and with stuntmen in the costumes. But anyway, it wouldn’t have made the Top Ten, and nor would any other superhero film I saw last year (if I’d rewatched The Winter Soldier that might; it might be the most “straight” action film in the MCU).

So we have a list that maybe doesn’t include some things you might have included (Cop Land?) and also includes some that maybe you’d have considered not sufficiently action-y (The Warriors?). And, obviously, is lacking some all-time classics because I didn’t happen to watch them in 2023. But I do feel pretty good about this; I feel like I watched a lot of great movies and Taken. I feel I’ve got an even better appreciation for, and understanding of, action cinema. I didn’t see nearly as many foreign language films as I wanted, but I watched a few older Jackie Chan and Bruce Lee flicks, and that was really cool.

Oh, and I’ve limited myself to one film per franchise, so we don’t end up with all four John Wicks on the list.

And that’s all there is to it! Now let’s crack some skulls.

Die Hard (1988): I genuinely think this film is probably as perfectly structured as you could wish for. Every beat is planned out, we know the geography of the building stunningly well, it’s so tightly, tautly directed, it’s damn funny, and incredibly well-acted across the board. Everyone involved with this is right at the top of their game. Just every aspect is top-notch. I’ve gone on about it loads in the past, so I’ll just say this: it’s good.

Raiders of the Lost Ark (1981): very close behind. As an adventure spectacle and stunt-based romp, it’s unparalleled. It races along from set-piece to set-piece, all of them exquisitely directed, and our focus held not just by Ford being utterly iconic, but also Karen Allen as his romantic equal and foil, Marion. They hold the screen, our attention, and our emotion so the wild ride has heft and stakes. And it’s got a bit where Indy punches a Nazi.

Mad Max: Fury Road (2015): like Raiders, this is a near-perfect execution of stuntwork and action cinematography. One long chase scene, it’s frankly gobsmacking how perfectly composed it is. The flow of each scene, the composition of each frame, the lighting, the effects; it all combines to create this engine of propulsive action. Combined with the trippy apocalyptic story, wild fantastical villains, and a stellar star turn by Charlize Theron, and it’s a masterpiece.

RRR (2022): a very broad, bombastic, and melodramatic retelling of Indian legends that, frankly, I knew nothing about. The mismatched best friend dynamic adds drama and pathos to a stirring revolutionary epic; but it’s the combination of stunning stunt choreography, outrageous effects, and frankly fantastic musical numbers that creates something you need to see to believe.

Speed (1994): an exercise in sustained tension from Die Hard DOP-turned-director Jan de Bont, and the two films are great companion pieces. The slick brushed-steel look of Die Hard is retained, as is the sense of an ordinary man in an extraordinary situation. Because, like Die Hard, it’s the characters here that compel and sell the premise; and, like Die Hard, the action when it arrives is slick, explosive, and exhilarating. And there’s a bit where a bus jumps a gap in the road.

John Wick: Chapter 2 (2017): my favourite of the Wick movies, it takes the premise of the first film – retired super-assassin comes back into the game to exact revenge – and ups the ante, not just in terms of action, style, and stunning fight choreography, but in terms of the dense and fantastical lore of this world. Reeves channels all his cool, stoic charm into Wick, and the fight scenes are brutal and dynamic but also reveal loads about the characters taking part. The best new action franchise in, what, twenty or thirty years?

Mission: Impossible – Fallout (2018): the best Mission, just edging out the first film, which in its slower, more noir-y spy shenanigans, feels a touch out of step with the insane stunts that followed. Here we get everything firing on all cylinders as Christopher McQuarrie’s Switch-composition knits twists and turns together, threading a series of increasingly-audacious stunts and set-pieces through the middle. Cruise is never better, and we get the most out of Rebecca Ferguson’s Ilsa, and still have time for lots of cool planning-the-mission moments.

The Rock (1996): Michael Bay’s sepia-tinged, militaristic, OTT sensibilities have, I think, drifted out of style a wee bit, but I’m pleased to say his masterpiece here holds up perfectly. Maybe it’s the charm of Connery and Cage carrying us through the machismo with humour; they’re both supremely likeable as we move through an almost Die Hard-level of well-prepared baddies. The set-pieces are dramatic but fantastically exciting, from the crazy chase through San Francisco to “you’re the Rocket Man”. Daft but tremendous fun.

Beverly Hills Cop (1984): I guess another potentially-contentious entry, as it’s really more of a comedy than an action film; but this was the era of the comedy-actioner (Lethal Weapon, Tango and Cash, Big Trouble in Little China). And let’s not forget it was supposed to star Sylvester Stallone! Which is crazy, because this film is all Eddie Murphy; his charisma, his comedy, his – quite frankly – sexiness. But it’s still a compelling action movie, with some good set-pieces, stunts, and chases, and Murphy is totally credible as a tough action hero, too.

The Warriors (1979): just pipping Hard Boiled at the post (I had a long chat with myself) we have this incredibly tense and beautifully produced semi-fantastical action-thriller. A gang of, frankly, scummy criminals crosses a city, bedevilled by rival gangs of even scummier criminals; there’s something of sixties Batman or even A Clockwork Orange to the stylised droogs we meet, leading to some great set-piece battles, shocking deaths, and genuinely tender, empathetic moments of character. It’s lean and taut and utterly compelling.

I almost feel I should have put Hard Boiled up there because you could argue it’s a better action film than The Warriors. But it is what it is; let’s pretend they’re joint number ten.

Anyway this was an incredibly fun challenge this year, and I already miss it; I just find these sorts of films really, really easy to watch, and there were tons I didn’t get round to. Not just the biggies like the Matrix and Lethal Weapon movies; but I didn’t see a single Jean-Claude Van Damme film! I really wanted to see Sisu, which came out last year, but I missed it; and I was hoping it was my chance to finally watch Cobra, the movie Stallone made instead of Beverly Hill’s Cop. I’m almost tempted to revisit this whole genre. But there are a lot of other genres to cover, so I should probably move on.

In 2024 I’m going to be watching animated movies, which I’ve already decided includes performance-capture films like Tintin, although I’ve yet to come to a decision on live-action/animation hybrids like Roger Rabbit. As for how well I’ll do? I’m never going to top the sixty-odd action films I saw last year. Put it this way, by this point in January 2023 I’d already watched three action movies; so far, I’ve not seen a single animated film, unless you count Tabby McTat.

[dramaintherain]

I've been watching dramas for a decade and a half and it's not about the quality of just netlix dramas ( although most of them look very nice but have the substance of a paper back and the writing quality of a 12 yo writing fanfic for the first time) because like you said there isn't that many of them compared to everything but how they influenced the kdrama industry just like they influenced hollywood (there are multiple articles and industry writers/actors talking about netflix and streaming by extension because companies tried to follow them and the irrevocable damage it has done to how hollywood functions not just for the quality of the art but the livelihood of writers and actors they went from big writers rooms and residuals and recurring spots to mini rooms where they do a huge amount of free work basically no residuals and actors getting paid dust here's one https://www.vulture(dot)com/2023/06/streaming-industry-netflix-max-disney-hulu-apple-tv-prime-video-peacock-paramount.html). No one is saying kdramas were perfect there were a lot of bad shows like there always are, a lot of misogynistic writing a lot of exploitation and there still is, here's how netflix is treating korean labor ( https://www.latimes(dot)com/world-nation/story/2023-08-07/south-korea-actors-netflix-pay-dispute-union). But netflix has changed the game and unlike hollywood which it started disrupting a long time ago it's relatively newer to kdramas, much shorter shows regardless of the story being told ( the actual main leads of song of bandits complained how the show got cut in half after being filmed just... because) and networks are popping out 12 ep shows like clockwork when it should be based on what the story is, 12, 16, 20? Like some of the greatest kdramas of all time weren't 20+ like six flying dragons, reply 1988, cruel city, chief kim, prison playbook, we used to get 20 ep shows and 16 and 12 and for sageuks 30 and 50, now 20 is extinct and the only show doing it is my dearest and it's the biggest rating hit, it should always be a variety, a huge number of shows getting filmed and shelved because networks have cut their slots, westernized shows masquerading as kdramas, shows getting multiple seasons when the story really doesn't call for it. Of course there are still great shows but that's not because of netflix it's in spite of them and just like Hollywood are barely starting to recover due to labor standing up for themselves with the strikes, Korea is gonna take a few years before it looks around and says wtf has happened to us, we had a model that while not perfect, worked and now... It's capitalism through and through and tech bros f*cking up another industry for money.

I have been watching k-dramas for eight years now, and the same critique of "shiny coat of painting but terrible story writing" can be applied to various dramas broadcast outside netflix so I really do not see where this thought is coming from other than narrow nostalgia.

At the same time it is nothing but ludicrous to blame the woes of Hollywood on streaming services as if there were no major issues already. Since the late 1970's-1980's western cinema became monopolised and dependent on blockbuster films based on intellectual property.

Today we are witnessing the zenith of this circumstance as the majority of films available at cinemas are nothing more than reboots or sequels, particularly the super hero gene. This has also spilled over into television series as now there are countless, fast food like shows of a certain Mickey Mouse brand that has accumulated a great deal of intellectual property when it comes to comic book characters.

I am not arguing that streaming services are less exploitative or that they have not taken opportunity of local labour laws and so on with the objective of profiting: that is how they function, just like television networks. The shift towards pre-produced k-dramas is a positive one nonetheless as it is less taxing on those involved in producing k-dramas. "Some of the greatest k-dramas of all time" were shot live and under excruciating conditions for labourers, and this model is and remains unsustainable.

It's a shame "Song of the Bandits" had several of its episodes cut during editing but this is something that happens under any production, be it from a television network or a streaming service. And that often happens because there are doubts whether a show will be successful or not. But none of this suggests that k-dramas are being "westernised" -- these shows reflect South Korean culture and history.

South Korea already has a plethora of national streaming services like TVING which is already planning to expand to the American market in a year so I do not understand why all these changes are being exclusively blamed on one streaming service when this is part of one big wave across the world and television networks are also having their share of the pie. You are effectively romanticising the exploitation of South Korean workers for your own personal consumption while deriding any changes that contribute to lessening their payload: think about that.

[firestickdownloader]

Now TV on Firestick: A Comprehensive Guide

Do you want to use your Firestick to stream your favorite TV episodes and movies? Use Now TV on Firestick as your only option. Now TV on Firestick is the ideal choice for cord-cutters looking for access to high-quality entertainment because of its large selection of on-demand movies and TV shows as well as live TV channels.

In this article, we'll walk you through everything you need to know about Now TV on Firestick, including how to download the app, what types of content are available, and how to get the most out of your viewing experience.

Table of Contents

1. What is Now TV?

You can access Now TV, a well-liked on-demand streaming service, to view the newest TV shows, movies, and live TV channels. It is a subscription-based service with a variety of passes available, including those for entertainment, movies, kids, hayu, and sports.

2. What is Firestick?

Amazon created the well-known streaming device known as Firestick. On your TV, you may stream your favourite TV episodes, films, and musical selections. It is a cost-effective and practical method of getting access to streaming services like Netflix, Amazon Prime Video, and Disney+.

3. Why Now TV on Firestick is a great choice?

For a number of reasons, Firestick TV is a fantastic option right now. First off, it provides a huge selection of live TV stations and on-demand material. Second, there are a variety of passes available to suit your viewing interests, making it reasonable. The user-friendly interface and simple navigation make it easy to use.

4. How to download and install Now TV on Firestick?

Follow these easy steps to download and set up Now TV on Firestick:

5. How to create a Now TV account on Firestick?

Follow these easy steps to register for Now TV on Firestick:

6. What content is available on Now TV on Firestick?

Now TV on Firestick offers a wide range of on-demand content and live TV channels. Here are some of the most popular options

[latestmovienewsupdates]

Read all the latest news and exclusive updates on Telugu Cinema

Tollywood News: Telugu Cinema is known as Tollywood where everyone loves to watch good films of any type of genre. For those people who want to know all the information about movies, say tune in only to HYD7AM news sites that provide exclusive updates about Tollywood News, Bollywood News, Celebrity Updates, and much more in detail.

 1.       Das Ka Dhamki: Young and talented hero Vishwak Sen’s latest film in which he plays the hero, his own directed film “Das Ka Dhamki”. As per reports, it has been confirmed that the last mixing of the movie has been completed. With this, it should be said that this time the release will be released on time without any problem. Leon James provided the music for this movie. Also, they are producing Vanmayi Creations. Also, this film will release on March 22 on a great pan-India level.

Read: Get to know all the latest news and updates about hero Vishwak Sen

2.       Pathaan: The film "Pathan" is a huge action and emotional film directed by Siddharth Anand with Bollywood king Shah Rukh Khan as the hero and Deepika Padukone as the heroine. On the other hand, this movie is still having a strong run in Hindi and is currently being promoted as a dating buzz on the OTT release. It seems that the film will be available for streaming from March 22 on Amazon Prime Video, which has acquired its pan-India streaming rights. It is said that soon there will be an official announcement from Amazon Prime Video.

 Read: Get to know all the latest news and updates about Bollywood hero Shah Rukh Khan

3.       Custody: Custody is the latest movie under the direction of Venkat Prabhu starring Akkineni Naga Chaitanya as the hero. Kriti Shetty is playing the heroine and this movie is being made as an action entertainer while Ilayaraja and Yuvan Shankar Raja are providing the music for it. As per reports, the official first-look teaser from this movie will be released on March 16 at 4 pm. Meanwhile, the makers are going to release this movie in a grand manner on May 12 as a summer gift after completing all the programs.

 Read: Get to know all the latest news and updates about Tollywood hero Akkineni Naga Chaitanya

Get all the latest news and updates only on HYD7AM. It is one of the best geniue news provider sites which provides every news about Andhra Pradesh and Telangana, like Photo galleries, Fashion news, Bollywood News, Tollywood News, Political news, technical News, Lifestyle News…etc.

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