We’ll be seeing Raya and The Last Dragon at an AMC theater in the area, but if you only have a Cinemark theater open in your area and want to see it, then you’ll have to pay the $30 premium fee and watch on Disney+. Cinemark couldn’t come to acceptable rental terms with the studio.
How can an exhibitor be cool with Warner Bros. day-and-date theatrical HBO Max titles, and not a Disney+ PVOD title? Essentially I hear from sources that Disney remained quite tough on their terms for Raya. If exhibition didn’t like the terms, well, then they don’t have to play the movie. On the flip side, I hear that Warners on their recent HBO Max titles, i.e. Wonder Woman 1984, Judas and the Black Messiah, The Little Things and Tom & Jerry lowered their rental terms
Disney might be a giant studio, but this action shows theater chains will still balk at rental pricing and terms. This isn’t about the day and date release, clearly. While we would side with the studio in most these cases, not this one. Studios should want to show their movies at a fair price, especially if they are going to release on their streaming channel simultaneously.
Raya and the Last Dragon will still be screening in 2,000+ theaters on opening weekend in the United States. That’s a good amount of screens all things considered.
Recently, Disney+ added all five season of The Muppet Show. The last two seasons were not as easy to see anywhere, so this is a cool add. They’ve also added offensive content warnings to some of the episodes.
Variety reported the disclaimer has been added to a total of 18 episodes throughout the show’s five seasons, including those guest hosted by Jim Nabors, Joel Grey, Steve Martin, Peter Sellers, Cleo Laine, James Coco, Spike Milligan, Crystal Gayle, Kenny Rogers, Beverly Sills, Jonathan Winters, Alan Arkin, James Coburn, Joan Baez, Johnny Cash, Debbie Harry, Wally Boag and Marty Feldman. The disclaimer appears at the beginning of these episodes for 12 seconds.
Things like Johnny Cash playing near the confederate flag are what likely generated this disclaimer at the beginning of some episodes. What about the Swedish chef? He was one of my favorite characters, but does his characterization insult Swedish people?
Not sure it’s a very encouraging sign when we need to have disclaimers put on Jim Henson’s The Muppet Show, but suppose this is 2021, where seemingly everything that happened in the past requires condemnation or explanation.
After the very underwhelming Terminator: Dark Fate, we proposed that the next most logical place for Terminator to continue would be as a TV series. After all, one of the last decent Terminator-related entries was The Sarah Connor Chronicles.
It seems Netflix was thinking along the same lines, going one step better and pushing the franchise into an anime series.
As the project is still in the early stages, plot details are being kept under wraps. Netflix has partnered with Skydance on the series, with Skydance having produced the last two “Terminator” films. The series is produced in partnership with Production I.G , who Netflix has had a production line deal with since 2018. Production I.G’s past anime credits include “Ghost in the Shell,” “B: The Beginning,” and “Eden of the East.”
Have also read recently that James Cameron wants to get back full control of the Terminator IP. I don’t know if this means after he gets out of Avatar land, that he’ll be directing another Terminator movie, but suggests he’s still interested in the franchise. It seems like that cow has been milked and it’s time for some fresh perspectives which maybe with this anime TV series project will happen.
Being the huge Twilight Zone fan I am, this is sad news to hear the most recent reboot courtesy of Jordan Peele has not been renewed for a third season. Strangely, it sounds like the showrunners are the reason it’s not returning, not the network.
While the first episode of the reboot drove up CBS All Access’ level of unique viewers to an all-time high, per the streamer, it will not come back when CBS All Access is rebranded as Paramount Plus on March 4.
That makes a total of 20 episodes over two seasons. The previous reboot effort from 2002-2003, with host Forest Whitaker, ran one season on UPN with 43 total episodes. Prior to that the 1985-1989 reboot — the most successful of reboots — lasted three seasons with 65 total episodes.
The original series ran from 1959-1964 for five seasons with a total of 156 episode, most of which were written by Rod Serling and all hosted and narrated by him. True story that Serling wrote more Twilight Zone episodes himself than any of the other reboot efforts have lasted. A testament to the quality of his writing.
My guess is we’ll see another Twilight Zone TV show reboot, perhaps another 10-20 years from now. This show is too good not to keep trying to recapture the magic. Maybe the next one will go true old school and keep it black and white, shot on film like the original with stories from writes modeling what Serling did in the original, only brought up to date in 2021. Peele and his team tried to do this, even offering a black and white version, but I think the longer than 30 minute episodes hindered the quality. Twilight Zone is perfect for 30 minute or less episodes. Even the fourth season of the classic that tried longer episodes stumbled in ratings. The fifth season they went back to the 30 minute run time.
It’s also possible that somebody will take a shot at another Twilight Zone movie. The last one might seem to be cursed with Vic Morrow and two child actors tragically killed in a stunt gone wrong, but it wouldn’t surprise me if we see another TZ movie.
Hopefully, Paramount+ will offer every Twilight Zone reboot episode on their service. The original is everywhere and Jordan Peele’s version is available, but the other two versions aren’t widely available, except on DVD. Some of these episodes were very well done. Twilight Zone fans deserve to see the entire history of Twilight Zone on Paramount+.
The base, ad-supported tier of Paramount Plus, launching in June, will cost $4.99 per month — a dollar less than the current entry-level CBS All Access package with commercials. The full Paramount Plus premium tier with no ads (except in live programming) will be the same, at $9.99 per month.
There’s an important caveat, though: The $5 monthly plan for Paramount Plus, while it will include live sports including NFL games, will exclude local CBS stations.
For those who don’t care about the local channels, and if you have access to locast.org in your area or have your own antenna setup to get them free, you can enjoy there instead and save the buck a month.
Will you be signing up and checking out Paramount+ at launch, or waiting to see what sort of new content it provides that you can’t get elsewhere?
I can’t see Matthew McConaughey as Jack Dawson in Titanic, can you? Sure, it’s not fair to say that now, because who knows if he had been Jack instead of Leonardo DiCaprio, but I just don’t see it.
There has been a rumor going around that McConaughey turned down the role, but he has squashed it.
“I asked [James] Cameron about this, because the gossip over the years that I heard and would see written about me was that I had the [lead] role in ‘Titanic’ and turned it down,” McConaughey recalled. “Not factual. I did not get offered that role.”
Starsky AKA Paul Michael Glaser will not be in the director’s chair for another adaptation of The Running Man. This time Edgar Wright is getting the call and he plans to make the story more faithful to Stephen King’s novel.
Seems doubtful that we’ll see Arnold Schwarzenegger or the now deceased Richard Dawson in the film either.
Paramount Pictures is making a deal with Edgar Wright to develop to direct a new adaptation of The Running Man, the futuristic novel by Stephen King that the author first published under the pseudonym Richard Bachman. This won’t be a remake of the 1987 film that starred Arnold Schwarzenegger; the Baby Driver writer-director will co-write the story with Michael Bacall, and they will be much more faithful to King’s bestselling novel. Bacall will write the script.
Wright is behind Shaun of the Dead, Hot Fuzz, Baby Driver and more.
If this project is actually completed, I’ll have much more to say, but the book does have substantial differences to the movie, particularly the ending. Stephen King went full dark, no stars on the original story and the movie wrapped things up more positively. There were many memorable casting choices like Maria Conchita Alonso, the “Christmas tree” operatic stalker, Jesse Ventura, Dweezil Zappa and the drummer of Fleetwood Mac and the list goes on. They need to at least include a hologram of Richard Dawson shouting, “We don’t lie!”
(Note: Original article linked and quoted gave an incorrect time that HBO Max would drop the Snyder cut. They edited the article and time, so I changed to midnight. The original article stated it would be available at 11pm PT on March 17, but due to Daylight Savings Time, it’s off by one hour. Got to love DST!)
It was shot in a way intended to use IMAX screens. In fact, the film may (?) be released theatrically on IMAX (with intermissions or not, we haven’t learned yet) in addition to HBO Max. This should make Snyder purists that truly want to see it on the big screen.
Sources have confirmed to IGN that Zack Snyder’s four-hour reassembling of Justice League is using the boxy 1.33:1 ratio. So the question is why? Well, the director’s love for the format stemmed from the IMAX scenes he shot for Batman v Superman: Dawn of Justice, which were rendered in full frame, in the 1.43:1 aspect ratio. Ever since that movie, Snyder’s been enamored with the square composition and the idea of using it for future projects.
I’m interested in seeing this in IMAX. Am hopeful there will be an intermission, however, because four hours is just way too long for a movie. Maybe the story will lend itself to the runtime, so don’t want to condemn anything before seeing, but just throwing out that if this happens then this will be the longest movie we’ve seen in theaters in, well, ever.
Have you seen any other four hour movies in theaters before? If so, please tell us what the experience was like? Was there an intermission?
The Snyder Cut of Justice League will be available at 11pm PT on March 17, 2021 on HBO Max.
The major sports leagues like to push the envelope, that’s for sure. We’re in pandemic times and the NFL reportedly wants to double, yes, double their asking price per year for rights to show their games.
Do they really think television rights are worth that much? Or rather, that much more during these times? It seems more than eyebrow raising and Disney is calling them out.
Disney agreed to pay $1.9 billion annually for Monday Night Football in 2011 — a deal that runs through 2021. That dwarfed the average $1.1 billion annual cost for Fox, $1 billion annual price tag for CBS and $960 million for NBC’s Sunday Night Football.
Disney has already rejected paying anywhere close to $3.8 billion per year for its new deal, said two of the people. Disney CEO Bob Chapek alluded to pushing back on the NFL’s asking price during his company’s earnings conference call last week.
We are fair season fans, admittedly. I will watch live sports when my favorite team, or home team, rather, is doing well. The Seahawks choked down the stretch. The Mariners haven’t been good since Ichiro was on his epic hitting streak and we don’t even have an NBA team in the Seattle area.
Agree with Disney on this one. Ask for a discount on pricing. Less people are watching live TV these days. Less people have cable or satellite and are using streaming. Sure, those streaming rights are part of what the NFL wants to negotiate with Disney — so they can stream on Hulu TV presumably — but still not anywhere close to $1.9 billion, much less $3.8 billion.
This is one of those circumstances where we can blame the NFL for asking. What do you think? Is the NFL worth all this cheddar? I get you might like your favorite NFL team and the ability to watch them on your favorite channel but …. for this much, really?
More fallout from repeated delaying movies like James Bond #25 is Bond is supposed to be using the newest, greatest tech gadgets. Product placement is an additional revenue source for the filmmakers to increase revenue.
But what happens when a film is delayed so long that the advertising window not longer syncs up with the movie release date?
Product placement is a surefire way to excite your fans, sell some merch, and offset a massive budget, should your film cost something in the ballpark of $200+ million to make. As No Time To Die is the most expensive Bond film to date, and the delays to the movie’s theatrical release cost roughly $1 million for ever month shelved, now’s not the time to be upsetting your sponsors. So it wouldn’t be surprising if Daniel Craig and the rest of the cast were to reassemble, in order to get some pickup shots of a sweet new Nokia phone being used in the field.
Is Nokia going to pony up more dough for these pickup shots or because MGM is responsible for the delays, will they just have to eat them? Reshots can become very expensive, especially if visual effects work is required.
This is a new wrinkle, however, in the ongoing game of movie delays. Someday we will finally get to see Daniel Craig’s last outing as Bond. Someday.