Connect with us

Entertainment

Will Hollywood studios continue to hide box office sales?

Published

on

Will Hollywood studios continue to hide box office sales?


Warner Bros., who distributed the film, celebrated the debut of $48.5 million, the largest screening of the coronavirus era, following the opening weekend of “Godzilla vs. Bean”. In the press release, the studio cheered for itself with a full-cap message, “The big movie is back with a KAIJU-sized opening!”.

The tone was markedly different from what hit the media after the studio’s confusing science fiction thriller’Tennet’ was released in September. The film was a key factor in its first theater screenings since the onset of the pandemic, making $20 million in the first five days. The studio said in an email, “There is literally no context to compare the results of a movie released during the pandemic to other situations.” “Because we are in an unprecedented realm, our comparison to the pre-COVID world will be unfair and unfounded.”

In the case of “Tenet,” Warner Bros. was initially opaque about the film’s box office success, breaking long industry traditions and upsetting rivals and box office analysts. But it wasn’t just Warner Bros. to protect information and control the narrative of the film’s commercial outlook when the coronavirus hits.

Other studios follow quickly, so those who closely follow the industry feared that traditional Hollywood companies could go the way of streaming services. For example, Netflix and Amazon Prime are promoting unfounded ratings metrics for their hit titles and avoiding the research that comes with box office data reporting. I’m not saying that spinning the profits of a film in itself is not an art form that has long been practiced. It’s about finding a way to increase your profitability by lowering your film budget or promoting pre-sold foreign territories. However, the studio was always open with actual movie ticket sales until the cinema was closed due to COVID-19.

As the theaters began reopening in September, Sony also began to sift through the information they share on the opening weekend. With recent releases including “The Broken Hearts Gallery” and “The Unholy”, the studio broke through initial revenues and held a hold until Sunday to send a note to the press. We’re also waiting until the second weekend of the film to reveal more comprehensive data, such as total revenue by city or theater. This information is circulated among the distribution executives of Rentrak, a research platform owned by Comscore. It’s a service that Hollywood studios pay a lot of money to get access to.

Other major studios such as Universal Pictures and its specialty label Focus Features and Disney continued to document the numbers in the traditional way during the pandemic. Paramount Pictures hasn’t released a standard theatrical-style film in the past 12 months, but the company plans to report the total amount of’Quiet Places Part 2’on May 28th.

In the case of indie studios, box office coverage is mixed. Companies including IFC Films, 101 Studios and Solstice Studios have maintained transparency. However, Disney-owned Searchlight Pictures couldn’t earn the money for “Nomadland,” the Oscars for Chloé Zhao, which originally screened in more than 1,100 theaters. Like this, indie distributor A24 also started selling tickets for the weekend for the hopeful Isaac Justice drama’Minari’ at the Academy Awards and was quiet. And Neon didn’t share the figures from the documentary “Billie Eilish: The World’sa Little Blurry” about a pop star that debuted at the same time on Apple TV Plus.

Since “Tenet”, traditional studios have been experimenting with all kinds of release models, starting to welcome customers in cinemas across the country, especially in major markets such as New York City and Los Angeles. According to Comscore, the number of new films has declined significantly in the last eight months, but 175 films have been released between September 2020 and April 2021, while 533 films have been released between September 2018 and April 2019, according to Comscore. Has been. The meaning of the bigger picture of watching movies in the era of vaccines.

“Godzilla vs. beans” marked what appears to be a return to form. Warner Bros. began reporting box office returns on Thursday, April 1, the day after the film premiered. It opened on Wednesday, March 31st without waiting to increase the total until Sunday. It set the record for a day in a pandemic that made $9.6 million in the United States. The studio continued to detail the daily figures to the press and made sure that competitors had access to detailed totals over the weekend.

Studios are not obligated to disclose box office information in real time. However, as cinematography continues to recover, executives and box office analysts have questioned whether Hollywood players will return to the way they report their existing box office records, or whether the studio will choose cherry as the type of data it intends to disclose. After all, it’s exciting to advertise a victory like “Godzilla vs. Bean”. But what if ticket sales for the studio’s next big budget blockbuster’Mortal Kombat’ opening on April 23 aren’t that strong? And if Warner Bros. continues to share stats, will fellow studios comply?

Revealing revenue is just a fraction of what people in the entertainment industry care about. Distribution executives want to go beyond the flashy opening weekend figures featured in headlines and internal notes, and want studio rep to reveal the very granular level of data behind the numbers.

Some studios believe that it is up to individual companies to interpret and place information. They can distribute the entire weekend tally on Sunday, but they argue that they don’t need to expose a small fraction of the total for individual theaters in Pensacola, Florida or Miss Springfield, Florida.

Others disagree. That’s the kind of data that’s essential for complex film distribution technology, they keep. Seeing how the film is going across the country can help you decide whether to release big titles in the studio, especially when the game has changed due to COVID.

Despite the epidemic, the performance of a movie in a particular venue will determine how long it will be shown on the big screen. The goal of theater operators is to strategically allocate screens to maximize profits. For studio executives, the name of the game is to keep the movie in the cinema for as long as possible.

It is not always cut and dried. There’s a deep-rooted, silent barter system in place that gives distribution executives the chance to fight to play the movie on as many screens as possible. Executives can take advantage of scams while promising more access to potential blockbusters to come. In other words, it’s the same business as “If I couldn’t deal with me in my worst case, I wouldn’t deserve me to do my best.” Negotiation becomes tricky if you don’t have access to ticket sales for coworkers.

Personally, the Hollywood studio, which has continued to play despite the market ravages, laments the ambiguity, and I think there is little reason to continue to sell to companies that don’t adhere to industry standards.

The lack of transparency of some companies is causing a big change in the film business. Theater windows have been modified in the long run, and at the same time releases on digital platforms have been accepted as general and not an exception. It’s possible that the epidemic hasn’t changed the way the film is distributed. Depending on how the film revival is shaken, the way studios approach transparency can change as well.

No one wants to inform public places about their dirty laundry. COVID-19 may have given film companies an opportunity to hide their failures while celebrating their success stories.





Originally reported by Source link

The featured images are, as they appear on the original report.

Entertainment

NewFronts Postmortem: Originals are available for free streaming

Published

on

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

The featured images are, as they appear on the original report.

Continue Reading

Entertainment

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

Published

on

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





Originally reported by Source link

The featured images are, as they appear on the original report.

Continue Reading

Entertainment

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

Published

on

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

The featured images are, as they appear on the original report.

Continue Reading

Trending