#warner bros bankruptcy speculation

[laf-outloud]

https://twitter.com/CineGeekNews/status/1735028345794855200

Warner Bros Discovery currently has an over 60% Probability of Bankruptcy.

I honestly am not sure if this is good or bad for the SPN revival. On the one hand, WB is NOT going to want to spend money on such a niche IP that will really mostly only draw ppl who were already fans if they are in such dire straits financially. On the other hand, they could bring in money by selling the IP to another studio who would obviously then want to actually do something with it since they spent money on it. But that also depends on another studio or streaming service wanting to do something with it which will be tougher. Netflix would make sense since they currently have SPN for streaming, except they will be losing their streaming rights at the end of 2025. A revival wouldn't even be released until then so why would Netflix want to put money into a revival of show that will, at that time, be streaming on a competitor (most likely Max since it will revert back to WB). Amazon is a possibility since both Jensen and Kripke are there (if they want to bring Kripke on for it) and Kripke seems to have some sway over there. But again, unless they buy the rights to SPN to stream on their platform, why would they want to make a show that will inadvertently benefit their competitor?

https://www.macroaxis.com/invest/ratio/WBD/Probability-Of-Bankruptcy#google_vignette

Oof... there's a boatload of information in that report that I just don't understand. (My year in finance did not make me an analyst, lol!)

I can see how the headline could be alarming, but I did see a couple of paragraphs that I believe are relevant to the discussion:

Basically, this all boils down to probability and analysis based on both quantitative and qualitative factors. You'll see in that first paragraph that they also take into consideration public headlines and social sentiment. Obviously, the WB's public presence is not good right now, but it doesn't necessarily mean they will be holding a fire sale of IP's anytime soon.

Now, to your question of how it might affect any reboot. Personally, I don't think the Supernatural IP is big enough for the WB to sell and have it make a difference on their books. If they were that strapped for cash, they'd sell the rights to a much bigger IP, like Loony Tunes (as we've already seen them try to scrap the new Wil. E. movie), or the Lego film franchise.

In the case that the WB keeps SPN, the question is, will they want to put money behind a short series reboot. In my opinion, no. Even though SPN does fairly well on Netflix, the first season viewing numbers don't even crack the top 1000 on Netflix. Plus, the WB has the most recent numbers of the miserably failed The Winchesters, which is still a part of the SPN IP (even though it had nothing to do with SPN as we know it.)

So, unless J2 can rally outside investors (and themselves) to pay for the majority of a reboot, (including convincing a different network to pay a licensing fee), I don't see the WB shelling out the money studios usually pay to produce a series.

But again, with the caveat that this is mostly guesswork on my part based on very little data (at least, data that I don't fully understand.)

[compacflt]

tbh it's all speculation and every source says that they HOPE cruise will return. considering cruise just announced he's moving to warner bros i think they're doing damage control and really hope they can do it because he's their cash cow. until cruise himself confirms it i don't believe it.

yeah im with you on this, a lot of people have been saying this which is good.

I actually believe a top gun 3 will never be made because you CANNOT reasonably convince people the f-35 is a bad plane for two movies in a row. So they have to use the f-35, but tom cruise will never agree to make the movie because there are no two-seater f-35s so they'd have to use CGI lol

*I wanna stress I'm not like Anti-topgun3... im just anti- creative bankruptcy for the sake of a profit incentive... which a lot of Hollywood seems to be engaging in these days. endless sequels & prequels to profit off people's nostalgia for inarguably better movies of the past.

I've tried to keep my criticism of TGM to a minimum on this blog bc it really is a good movie &I hate to be Such a Crank All the Time, but its exactly my criticism of TGM too. As a story, it literally just reuses the same themes and motifs of the first movie with a few character tweaks & modern-warfare set dressing. rebellious kid (only rooster goes slow and not fast) who got shut out of the Navy (which for recruiting propaganda purposes is the Most Desirable Place To Be) needs to connect with a father figure to get over the ghosts of his past and reach his full potential. okay. it's the same story. it's literally A New Hope versus The Force Awakens levels of "we've seen this all before."

like im racking my brain trying to figure out how they would possibly write a third movie with the available threads left to pick up... I hope tom cruise says "no thank you" and top gun 3 languishes in development hell because my only answer is "I think the story is gonna suck shit"

[onenettvchannel]

FLASH REPORT: Independent Texan Production Company and Animation 'Rooster Teeth' permanently closes down for bankruptcy after 2 decades, RWBY's future in Limbo as 'DillonGoo Studios' steps in

FORT WORTH, TEXAS -- Warner Bros.-Discovery (WBD) sadly announces to close down the established independent animation studio 'Rooster Teeth' after two (2) decades of digital operation. This moves might be a bitter pill for many to swallow that marks the end of an era for the studio behind a beloved web series 'RWBY'.

Entertainment news outlet ‘Deadline’ revealed that the Texan animation studio shuts its doors, but the popular audio-only podcast known as the ‘Rooster Teeth Podcast’ (RTP) won't be impacted there too soon.

The unprecedented closure for online bankruptcy of 'Rooster Teeth' leaves fans of RWBY in a state of much uncertainty, as the fate of the web streaming series hangs in the balance, following after the old video-sharing platform YouTube in several volumes. However, a glimmer of hope emerges as the torch passed on to a different independent studio, DillonGoo Studios, based in Austin, Texas, United States of America (U.S.A.).

'DillonGoo Studios', led by its Chief Executive Officer, independent self-animator and founder named 'Dillon W. Gu', has rapidly emerged as a prominent figure in the animation community. With strong connections to the RWBY fandom, the studio has garnered significant attention. The potential partnership production between 'DillonGoo Studios' and 'RWBY' opens exciting prospects for the series' future to a new heights. With 'Mr. Gu' stepping into the role as a new show creator, apart from the late original series creator (Monty Oum), fans eagerly anticipate the direction that Volume 10, potentially its final season as 'volumes' may take under a new leadership.

People are speculating about 'Rooster Teeth' (RT) considers to be shutting down, filing for bankruptcy, and selling RWBY to acquire a new IP (intellectual property) to DillonGoo Studios. Some have mentioned that RT encountered financial difficulties and a decrease in the appeal of their animations, possibly influenced by controversial anti-LGBT sentiments, extremist criticism, fouling behavior on social media, and disruptions caused by boycotts against CRWBY members, voice actors and fictional personalities, resulting to delay and secure a new volume. But now, with 'DillonGoo Studios' stepping in, there's hope for the future of the web-streaming series.

If DillonGoo Studios takes the helm for Volume 10 of RWBY and securing a partnership with streaming networks like Crunchyroll or somewhat others (which is our internet media affiliate for 'OneNETtv Channel'), it could signify a revitalization for the beloved franchise. The legal greenlighting of Volume 10 under the banner of DillonGoo Studios opens up avenues for a fresh approach to storytelling, while retaining the essence and spirit of the series that has captivated audiences worldwide.

As RWBY-nian fans eagerly await the future of the show, the partnership between DillonGoo Studios and a streaming platform holds the promise of a bright new chapter for the iconic series. With 'Dillon Gu' at the helm, RWBY may embark on a journey filled with innovation, creativity, and a renewed sense of purpose, ensuring its enduring legacy in the annals of animation history.

CONTRIBUTED LOGO and ART PHOTO COURTESY: AyRigatory via Reddit PHOTO & Google Images BACKGROUND PROVIDED BY: Tegna

SOURCE: *https://deadline.com/2024/03/rooster-teeth-shut-down-warner-bros-discovery-roost-podcast-continue-1235847264/ [Referenced News Article via Deadline Hollywood] *https://www.austinchronicle.com/daily/screens/2024-03-06/rooster-teeth-shutting-down/ [Referenced News Article via The Austin Chronicle] *https://epicstream.com/article/rwby-volume-10-release-date-where-to-watch-trailer-all-details [Referenced News Article via Epic Stream] *https://roosterteeth.com/g/post/af39b172-be74-4398-94f8-908c3f4c5d6e [Referenced PR Post via Rooster Teeth News Bureau] *https://twitter.com/DillonGoo/status/1765562185990762798 [Referenced X Network Status Post via DillonGoo] *https://www.instagram.com/p/Cy6O1yWopCP/ [Referenced IG News Article via The RWBY Style News Bureau] *https://www.youtube.com/watch?v=UcpQK9Qzf3g [Referenced YT VIDEO via Vexed Viewer] *https://rwby.fandom.com/wiki/Dillon_Gu *https://www.linkedin.com/in/dillon-gu-52b1b489 *https://www.dillongoostudios.com/about and *https://old.reddit.com/r/roosterteeth/comments/123ar0f/i_made_legit_adjustments_to_rooster_teeths_new/ [Referenced Fan-Made Logo via Reddit User - AyRigatony]

-- OneNETnews Team

[aion-rsa]

Will Christopher Nolan Deal Reshape Future of Theatrical Distribution?

https://ift.tt/3zgKlRB

Like most things Christopher Nolan does these days, his historic deal with Universal Pictures is big. We’re still learning the finer details of this new business relationship which will give the world Nolan’s next film based on the life J. Robert Oppenheimer, the remorseful father of the atomic bomb, but thanks to The Hollywood Reporter, the biggest elements are coming into focus.

In addition to securing a theatrical release and a $100 million (or so) budget for the “smaller” Nolan picture, the filmmaker behind Inception, Tenet, and The Dark Knight Trilogy also demanded his next studio put up an equally steep $100 million marketing budget for the film, and guarantee that the movie’s 100-day theatrical window (which the trade reports might actually be closer to 130 days) come with a exclusive six-week corridor upon release. In other words, Universal allegedly cannot release any movie three weeks before or after the Oppenheimer film’s opening.

There’s much to be said about the scope of this deal, but perhaps the most surprising thing is it happened at all. It comes after Nolan publicly went through one of the worst breakups between a director and studio in recent memory, leaving Warner Brothers—which has had a hand in one form or another in every Nolan picture since 2002—following the strained release of Tenet during the height of the pandemic in summer 2020. There was then the even more public revulsion Nolan demonstrated toward last December’s WarnerMedia announcement, which unilaterally moved their entire 2021 film slate to a day-and-date release strategy on HBO Max without even consulting the studio’s filmmakers partners.

“Some of our industry’s biggest filmmakers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working with the worst streaming service,” Nolan said at the time. Notably, the names of the studios that were reportedly allowed to meet with the filmmaker to discuss the Oppenheimer movie were Universal, Sony Pictures, and Apple Studios. Apparently WB did not meet with Nolan about even the possibility of still distributing the project, which suggests an especially bad break.

Be that as it may, the deal Nolan has inked with Universal is historic in a moment where studios are shrinking theatrical windows by smaller and smaller degrees, and much of the conventional wisdom—at least among the executive class—is that streaming is the future. That certainly seemed to be the undercurrent of the WarnerMedia deal at least as of last year (the media company has since gone through another major corporate shakeup following the merger with Discovery). Indeed, Warner Bros. struck a new deal with AMC Theatres last month guaranteeing their film slate in 2022 will have an exclusive 45-day theatrical window before any potential streaming release.

But that is what makes Nolan’s deal with Universal so surprising: He was able to command a theatrical exclusivity Nolan might have previously enjoyed at Warner Bros.,  but which is looking increasingly like a relic from a bygone age: a 100-day window. More surprising still, Universal agreed to essentially not release any movie for over a month that isn’t about J. Robert Oppenheimer. Given Universal is one of the few studios who is still courting a healthy library of theatrical releases that aren’t just intellectual property or smaller films being earmarked for streaming, that’s a long corridor to not have any sort of counter-programming to what is presumably going to be an adult-leaning drama.

Anecdotally, I’ve seen some bemoan on social media the audacity of a filmmaker expecting 100 days of theatrical exclusivity. But the irony is this was more or less the normal two years ago. In 2019, the theatrical window for a Hollywood release was 90 days, or three months. It is unknown if Nolan had in his WB contracts that he’d get an extra guaranteed 10 days or more, but 90 days had been the status quo for years—and in the 2000s it was closer to 180 days. Martin Scorsese’s The Irishman never got a wide theatrical release because national theater chains balked when Netflix refused to give the movie more than a 30-40 day exclusive theatrical window (exhibitors were demanding at least 60 days at the time).

The irony is that after the pandemic, Universal was able to pressure AMC Theatres when it was on the verge of bankruptcy to agree to the studio having the ability to keep its movies exclusively in theaters for as little as 17 days. While that deal has yet to actually been enacted, the new normal that’s emerged in 2021 is a 45-day exclusivity window for the cinemas. Or in other words, about half of what the size of what the theatrical window was two years ago, and damn close to Netflix’s Irishman proposal that exhibitors dismissed.

And at least in the last month, this seems to be a temporary boom for everyone since Shang-Chi opened to far larger numbers than most of Disney’s Disney+ Premier Access day-and-date releases, and had a healthy drop in its second weekend unlike Black Widow, which after being put on streaming behind a paywall (but free on piracy sites) cratered at the box office in its second weekend…. Still Disney CEO Bob Chapek has already publicly mused the prospect of Shang-Chi getting a second life as a Disney+ release only 45 days after its Labor Day weekend opening.

Can the Nolan deal push back on this?

It seems likely the enigmatic filmmaker would like it do so. He’s far from alone in his unhappiness with the WarnerMedia/HBO Max deal. Denis Villeneuve, who helmed his dream project Dune at the studio, wrote an op-ed last year venting his dismay at the movie being released on HBO Max the same day it enters theaters. And while he’s personally told Den of Geek he has plans of doing at least two more Dune movies—particularly a second one which finish the adaptation of Frank Herbert’s original 1965 novel—he hasn’t been any kinder to the HBO Max Deal. Last month, he told Total Film that watching Dune for the first time at home is like driving “a speedboat in your bathtub.”

So beyond potential Dune sequels, it’s an open question how happy Villeneuve might remain at Warners. The same might go for any number of filmmakers who were either directly burned in 2021 or fear that a company with such a vested interest in a streaming service might pull a similar stunt again. This could arguably apply doubly so at Disney, which is all-in on cementing Disney+ as Netflix’s biggest competitor, and can get downright vicious when talent demands a cut in streaming surcharge revenues.

So similar to Scarlett Johansson’s lawsuit against the Mouse House due to an alleged breach of her unique contract on Black Widow, which her lawyers contend “promised” an exclusive theatrical window, the question becomes can other filmmakers start making similar demands in their contracts to Nolan.

Honestly, it’s unclear. Nolan remains one of the few working Hollywood directors who can open a blockbuster film to a wide audience based solely on the mystique associated with his name: Inception, Interstellar, and Dunkirk were all challenging adult films which on paper should’ve made studios nervous in the IP and formula-obsessed era of the 2010s. Yet only Tenet has disappointed the filmmaker, and that was released (at Nolan’s insistence) in the pandemic’s pre-vaccination era.

Read more

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It is hard to see many filmmakers commanding the same level of clout, especially for the more expensive films. There are the old guard of respected auteurs who seem to have a career-long pass like Steven Spielberg or Quentin Tarantino—the latter of whom was able to net a similarly impressive deal when Sony Pictures agreed to front a $90 million budget for the elegiac adult dramedy, Once Upon a Time… in Hollywood—but many speculate that era of filmmaker clout is fading. Even respected Spielberg and Tarantino contemporaries like Scorsese or David Fincher have transitioned to making films for streaming.

It’s frankly easier to imagine respected auteurs behind the also increasingly rare “medium budget” prestige picture being able to command exclusive theatrical windows in their contracts going forward. But 100 days for $100 million? That might be a dying superpower.

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