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Arclight’s Cinerama Dome Closing: How Hollywood Can Help



Arclight's Cinerama Dome Closing: How Hollywood Can Help

Even after the indoor theater closed for a year in Los Angeles, it’s hard to imagine the future without ArcLight Hollywood, a 15-screen megaplex that countless Angelenos thought to be the place to visit to watch movies. ArcLight was where a lot of moviegoers, including me, imagined to celebrate their return to the cinema. It seems particularly possible due to the vaccine and the number of uncontrolled COVID cases.

So, it was a sign of more than a tragedy that ArcLight owner Pacific Theaters this week announced that the company would not resume the Southern California region, which occupies nearly 300 screens in and around the Los Angeles region. This made it possible for studios and publishers to realize that the places they depended on to reach their audience could no longer survive.

ArcLight on adjacent to the Cinerama Dome in 2002 (a historic landmark of 1963 and a reminder of a time when studios and exhibitors worked together to develop special effects that distracted audiences from their home TV sets). Sunset Blvd. The standard setting for Primo cinematic viewing: a child-free zone that provides an adult audience with comfortable stadium seating, reserved venues and the opportunity to scoping artifacts from the creation itself, such as a “Phantom Thread” costume or scale, in the lobby-Model Grand Budapest Hotel

Watching a movie on ArcLight was treated as an event by film enthusiasts (or talent in special cases) with a personalized introduction and an overall respect for the in-theatre experience, including policy on conversations, perceptions, and cell phones. use. This reverent and luxurious approach makes ArcLight an ideal venue for press and film premieres, award-winning Q&A, and word of mouth promotions. Thus, many Angelenos have no choice but to relate their memories of major movies to the location they watched.

The idea that Los Angeles could lose this iconic film location has already sparked the support and pain of celebrities and filmmakers on social media. However, this news may not be a big shock to the public. The public has witnessed so many beloved eateries, from favorite restaurants to mom and pop shops, to collapse in the epidemic. How did the cinema chain have to survive long periods of non-operation despite some degree of government support to ease the burden?

Optimists hope that other companies can take over the chain, or at least Hollywood locations, and intervene to run these places in the future, which feels like fair expectations. After all, many people are focusing on the human health crisis, but lockdowns have facilitated large-scale redistribution of assets as online retailers have taken away their business from offline stores, and financially sound players have seen a chance to eat them up. Out) competition.

In the film world, streamers were the biggest beneficiaries of working from home. Some analysts have come up with the idea that Netflix could acquire ArcLight. The way American Cinema Tech (right down the street) and the Parisian theater in New York did. Netflix doesn’t work in the theatrical display business, and renting a few well-placed single-screen cinemas fits the company’s agenda better. (If the academy permanently abandons the screening requirements to win an Oscar, I expect Netflix to be able to take over a few cinemas.)

The Pacific Theater is not alone in the post-epidemic pain. In 2020, AMC appears to be on the verge of bankruptcy and has raised $971 million in new funding, while operating the Alamo Drafthouse (a nationwide dinner and film chain that finally opened in downtown LA in the summer of 2019) declared Chapter 11 last month. I did.

The message is clear. Cinema cannot survive without an audience. More importantly, you can’t survive without a movie.

It’s encouraging that “Godzilla vs. Kong” can still convene a monster opening (at least by epidemic criteria), but at the same time, by offering the film to HBO Max subscribers, Warner Bros. essentially created some sort of direct competition. Their most valuable allies are exhibitors. Theater models have always relied on monopolies to entice people to watch movies on the big screen, but for the rest of 2021 (at least) several major studios have been dedicated to solving the theater problem of streaming new releases directly to the audience. House.

For obvious reasons, no studio wants to launch a high-priced blockbuster in an ecosystem that is only a fraction of the revenue that can be earned from the plague epidemic. This explains why they played a lot of key points, from James Bond’s “No Time to Die” to Steven Spielberg’s “West Side Story”. Such a movie cannot be broken even without a minimum threshold of the screen playing at a certain capacity. Disney’s “The Lion King” remake was shown on 4,802 screens, suggesting the sheer volume of cinemas needed to turn these super high-end productions into hits. (Also, don’t forget that ArcLight, also the champion of indie and foreign films, set the film’s opening record by lending all 15 screens and domes to “Black Panther”.)

But this is where Hollywood reached catch-22. Without thousands of screens, studios can’t turn their budgets back. And without a steady schedule of convincing new studio films, theaters cannot survive and these screens can disappear.

We have already seen how this issue is going on in France and in other international markets. COVID cases have declined enough to allow cinemas to resume, at least for a short time. It was a disaster for Christopher Nolan’s “Tennet,” which wasn’t widely publicized enough to earn what Warner Brothers wished for. Meanwhile, deprived of the entire collection of starry Hollywood films, the theater could not attract the audience all at once and had to close again until it offered something more attractive.

Megaplexes can’t pass the revival screenings of “The Goonies” and other nostalgic classics, and their small titles (like almost every Oscar nomination of the year) are respectable, but lacking the pop appeal that fills the seats.

At some point, if the studio wants to continue its theatrical opening business, it will either risk loss or have to rethink the model. Instead of shortening the window (the exclusive period that the movie spends on theater, PVOD or other premium platforms), you can make it longer and play a movie like “Tenet”. Is it only possible in theaters for a year before moving to home video and digital platforms?

Even if the vaccine makes group activities possible again, the experience of watching movies in theaters should change. The good news: The film industry has faced big challenges before and can survive as long as it is willing to adapt. Someone will go in and save the Cinerama Dome. Too dear to be lost due to its historical importance and landmark status. The fate of other places is more unstable.

Southern California is full of empty theaters. As you tour downtown LA, you can see the whimsical views of numerous cinemas, including Orpheum, Palace, and State University. This façade is a relic of an era when Americans went to see movies several times a week, and theaters were able to attract more than 3,000 patrons per performance. A few blocks away, the Alamo Drafthouse has 12 screens, the largest of which can seat 63 customers. This clearly shows how your movie-going habits have changed.

For me, the ArcLight symbolizes the pinnacle of cinema in the early 21st century and I’d love to see it coming back. That said, cinemas must evolve in response to the epidemic (and in anticipation of other surprises that will happen in the future). But they can’t do it without studio support. They are currently so worried about salvaging their own slate that they are recognizing that exhibitors cannot survive without them.

We don’t go to ArcLight for popcorn or air conditioning. We go to the movies. Perhaps Pacific could find another party to carry on that legacy. But it’s time to bring the movie back so you don’t lose the cinema forever.

Originally reported by Source link

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NewFronts Postmortem: Originals are available for free streaming



NewFronts Postmortem: Originals are available for free streaming

this week newFronts saw a trend appear freeTreaming service looking for battle ViacomCBS” Pluto tv This is the title of the most viewed free service.

Unlike Pluto, which has a deep vault, Library content to be used to create branded channels — “Mission: ImpossibleE,”“CSI,“”Dora TV“And”Paramount Movie Channel” Fox’s Tubi, Amazon’s IMDb TV and Chicken Soup for Soul’s Crackle and moreI’m going to use NewFront Presentation To show how they are Diversification From content licensing to creative content creation.

this It’s not a new strategy. Crackle started making the original with “Comedians in Cars Getting Coffee”. 2012, And its Plan for 2021 include Original documentary and documentSeries, new chicken soup for the soul-brand AVOD and FAST service Released at the end of the year.

News to be The number of free streaming services you want to differentiate original. There’s so much content available for licensing due to the lack of content vaults, and SVODs with more pockets are often sweeping the most exciting options.

Among the announced plans IMDb TV Most SVOD-esque, In the sense of scale and quality. During Prolific TV producer Dick Wolf is no stranger to creating programs that distribute NBC’s “Law & Order” and “Chicago” franchises and CBS’s “FBI” franchises for free.Previously, it had nothing to do with free streaming. The same goes for Judge Judy, who hosts a new court show on Amazon’s free platform.

IMDb TV’s strategy is one of high quality. For content, especially AVOD. This is Tubi, Crackle And Roku is also engaged in battles to attract audiences in very different ways. Tubi and Crackle are largely away from scripting, and both streamers announce their documentary plans.ies and documentseries. Tovidonas Release many Animation title production Fox stables lunch box, which bring forths “Bob’s BurGer.

Roku is already soaking their feet in the original water, releasing the TV show “Cypher” earlier this spring. Of this doubleEd Down with buy Quibi Content library (multiple largemaleE “Spielberg’s After Dark to be unveiled for the first time on Roku.

this is acquisition Woke up in january, Roku is not releasing “new” content beyond that. Former brand change Quibi Marked with “Roku original.”

If your Roku channel has both VOD and FAST featuresnd Quibi The content has been set Until 10 to 12 minutes If Roku doesn’t create a “Roku Originals” FAST channel in the episode, you’ll miss out on the chance. existence Effective On demand, This length as content Built for the channel. Surf at FAST.

Pluto TV wasn’t at NewFronts. Of this The strategy for 2021 will be the same as it has seen tremendous growth over the past two years, and now the average monthly users worldwide is over 49 million (Pluto TV is no longerorts US figures). This means more packaging. ViacomCBS Brands with great brand appeal at the show level — I.e., “NCIS” or “Hawaii” 5-0”— Viacom-driven strategies that have driven the interests of the original audience, such as channels “MTV” and “Nickelodeon”.

A & E Networks are also held Of this first NewFronts presentation, Focusing on Of this Reach platform. During this It primarily involves accessing A&E’s portfolio through: Pay TV When using certified apps on connected TVs and devices, it’s worth noting that A&E’s portfolio of FAST channels available on the FAST platform is growing. Lively place, Thrill + skill and Crime 360.

This is another example of using bolts in ord.Earn more money with older content. NBCUniversal is Peacock But You can do much more with what’s available. thereto. NBCU diagram did Of this First NewFront Instead of discussing the content, it focuses on new advanced advertising methods available to ad buyers..

In the battle to increase total watch time (a monetizable viewing metric for ad-supported streaming) emptied service Those who do not have a deep vault are looking for new ways to differentiate themselves. NowAlthough, the plans seem reasonable and not an arms race for content, there are enough new programs to differentiate them. SVOD. Concerns should be expressed when these changes occur, but for now, the move to originals with free AVOD seems sustainable.

Originally reported by Source link

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Action, out-kick takeover highlights the craze for sports betting



Action, out-kick takeover highlights the craze for sports betting

As the United States soon enters its fourth year as a country where sports betting takes place, Anymore With national bans, publishers with the sports betting industry are becoming increasingly attractive M&A candidates.

You can just look at last week’s deal making activity. Denmark-based sports betting media group Better Collective Consent to acquisition $240 million Action Network, Fox Announcement It took over the conservative sports news site Outkick for an undisclosed amount.

A little different, but still notable, the 5-year-old subscription-based sports site The Athletic, which publishes sports betting content on relevant tracks, is still looking for a merger partner, WSJ. Declaration Last Thursday. The sports pub is said to see NYT as a major candidate for a merger.

It is clear why digital sports betting content is increasing in value. More states legalizing sports betting will help drive new readers to gambling content entities (e.g. The Action Network). Then you have a larger pool that could potentially generate affiliate commissions (by recommending bettors to the sportsbook).

As the legalization of sports betting increases, the number of US consumers willing to pay monthly subscriptions to sports betting content has increased.

21 states and DC as of May 7th permit Single game sports betting through retail and/or online sportsbooks according to the American Games Association (AGA).

Legalized sports betting has long encouraged trading in the media space. Thin size What is likely to support this interest in the illegal gambling market is the fact that the pandemic has not completely undermined the growth of legalized sports betting.

Seven of the 11 states that offered legitimate sports betting in 2019 and 2020 saw a year-over-year increase (YoY) from last year’s bets under the AGA.

Meanwhile, online gambling advertising spending on local TV commercials has reached nearly $155 million in the first quarter of this year from around $11 million in early 2019. Nielsen.

This momentum has already emerged before last week through the media company-sports betting corporation partnership. DraftKings acheive VSiN, a Las Vegas-based sports betting media company, launched in late March, and Dish Network and DraftKings earlier this month. partner A deal that allows certain Dish viewers to start betting on the TV screen.

These deals are based on the idea that legitimate U.S. sports betting activity will continue to grow in the future. However, this growth in gambling can be better tracked by things like gambling app usage and betting amount rather than linear TV sports viewership.

For example, the average audience for NBA and NHL games declined 27% and 8% between 2019 and 2021, respectively, VIP analysis Recently melt.

While big matches are broadcast nationwide, the downgrade shouldn’t be associated too much with sports betting as betting is not legal in all states. However, the decline still means that legalized bets may not be the rating savior. Some hoped Can it be.

Meanwhile, a recent VIP analysis of Sensor Tower data showed that usage of the nation’s largest sports betting app surged during AFC/NFC Championship Week and Super Bowl Week.

Perhaps that’s why we’ve seen more sports leagues accept sports betting lately. View UFC-DraftKings in March deal and Recent statement NFL Commissioner Roger Goodell described sports bettors.

Leagues and sportsbooks will become more common as more states legalize sports betting. By 2023, up to 37 states can offer legalized sports betting. project Eilers & Krejcik.

However, a notable obstacle to accelerating sports betting activity is ensuring convenience by doing things like activating mobile betting in states where betting is legal.

Despite this seemingly obvious path to boosting gambling revenue, lawmakers in certain states may oppose making sports betting as widely accessible as possible. Contribute to Gambling addiction Among young adults.

The future for the US sports betting environment is one of the main focuses: Variety Intelligence Platform’s latest white paper “Sports Betting”. This white paper is VIP’s third in-depth sports betting focused survey that analyzes the impact of sports betting legalization and how media companies capitalize.

Read the full text of the special report

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Julia Louis-Dreyfus on Missing Playing Selina Meyer in’Veep’



Julia Louis-Dreyfus on Missing Playing Selina Meyer in'Veep'

Julia Louis-Dreyfus is one of six creative leaders in comedy. VarietyThe power of women in 2021. Click here for more information.

For 30 years, Julia Louis-Dreyfus has created an Emmy-winning character, a landmark of women in popular culture. Her Elaine Benes from “Seinfeld” is your terrible old friend. Her Selina Meyer in “Veep” definitely to be. Louis-Dreyfus was a political activist, especially as Joe Biden’s deputy ahead of the 2020 elections. “It surprised me,” she said in a recent Zoom interview. And as of January 2020, she has earned the status of a tycoon by signing a multi-year overall contract with Apple. Under the terms of the contract she will of course produce, but most of them are looking for great material for herself, she says. In both comedy and drama, the latter has done less over the years. “A great idea isn’t a simple fruit. I’m like one of those pigs looking for truffles,” he adds with a smile.

Sophy Holland for Variety

Surprisingly, Louis-Dreyfus appeared in Disney Plus’s’The Falcon and the Winter Soldier’ ​​as Contessa Valentina Allegra de Fontaine, a Marvel comic book super villain often known as Madame Hydra. It was the strict secret that ignited the Internet, which sparked enthusiastic speculation about the future of Louis-Dreyfus’ high-heeled (and high-heeled) character. no It was made to walk” was the first line to steal her scene. Will the audience be able to see Louis-Dreyfus in “Black Widow” in the Marvel-Disney Plus series “Secret Invasion”? Or is it possible to see the symbolic character elsewhere where it can logically appear? Under the complete Marvel confidentiality agreement, she only said, “I always wanted to do Contessa and the Marvel Cinematic Universe made it possible.” No, she can’t provide more detailed information.

Since March of last year, Louis-Dreyfus has been “in motion” with a focus on family well-being. Particularly focused on keeping her 92-year-old mother-in-law “safe and happy”. She reads a lot with an eye for development and enjoyment, and every week at the CAA, she meets with team members who “try to find tireless material” for her. She is the French spy thriller “The Bureau” (“Oh, my God, it was so Good”) To inspire her, she relied on the New York Times Cooking app to cook countless dinners (“Lord Jesus, do I love this app”). If reading, cooking, and watching TV sound like regular COVID-closing activities, the year of Louis-Dreyfus included campaigns and fundraising for Biden, Democrats denying votes, and the Georgia US Senate Finals “full-time part-time job,” she said. “I think the Republican Party has lost its mind. This is no longer Reagan’s party.”

Breast cancer survivor Louis-Dreyfus was diagnosed in September 2017 when she tried to start filming the last season of “Veep,” which she pushed until the end of treatment. Her decisive response to the COVID treatment was “immediately”. . “Oh,” she remembers thinking. “I could see this get me.”

“I had no arrogance about this. When you face your death in the way that cancer takes you there-I strangely found the same plague.”

Experienced with cancer changed Louis-Dreyfus’ perspective, and now at the age of 60, she is rethinking the rest of her life. What I want to do with my 34-year-old husband, Brad Hall (“Travel”), and where she wants — she says “near my kids” about her son (now in her 20s). But what she calls “life is short” doesn’t apply to her work. By the way, she was vaccinated and is ready to resume. “I’m just thinking about a project with real meat in the bones,” she says. “Here’s a pretty high standard.”

Asked if he would potentially rethink his past role, Louis-Dreyfus said, “Do you know who I miss? I miss playing Selina Meyer.” Yes, “actor, writer, crew-everyone” was lost. She speaks of the HBO comedy that ended in 2019 after seven seasons. But most of the time she misses how “interesting” Selina is. “It was so inexperienced in her damn mind to play that character. It’s just freed! It was all about her self, and she had no interest in other humans.”

The series finale of “Veep” ended at Selina’s funeral. But if she wants to get the gang back together, there are certainly decades between me. Will it?

“Yes! Doing more’Veep’ will be a great joy,” says Louis-Dreyfus, “and who knows, we will someday.”

Styling: Cristina Ehrlich/The Only Agency; Makeup: Fiona Stiles/ A-Frame Agency; Hair: Aviva Perea/A-Frame Agency/R+Co Bleu; Lead image, dress: Monique Lhuillier; Bra: Agent Provocateur; Shoes: Aquazzura; Jewelry: Irene Neuwirth; Cover, top, vest and pants: Zimmerman; Rings: Ana Khouri and Irene Neuwirth</code?

Originally reported by Source link

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