#Netflix and other streaming platforms like it moved their film and productions from Hollywood to New Mexico. Hollywood

[forthegothicheroine]

The King in Yellow, 1949

Much of this story is true.  Warnings in the tags.

When I had pneumonia in my early teens, my mother brought home an armful of VHS tapes from the library to alleviate my misery.  Knowing my snobbish preferences, she had grabbed copies of whatever she found in black and white.  I remember something musical that I suspect was Busby Berkeley, I remember Mildred Pierce (a bad choice, as it turned out- the plot includes a young girl dying of pneumonia), and I remember a period piece called The King.  I faded in and out of consciousness while I watched it, but it soothed me while I was awake and filled my fever dreams with sparkling images.  I could never find it at the library again, nor at Hollywood Video or even early Netflix (once my father got the subscription service where you could order practically every DVD.)  It was a bit odd that it seemed to be so obscure, given that it starred old Hollywood legend Ingrid Bergman (and, although I initially forgot it, Marlene Dietrich.)  But even big stars make films that fall by the wayside in public memory, and it seemed that this was one of them.  Google was no help, and at the time that was that.

I didn’t see the film again until I was watching Turner Classic Movies at my grandparents’ house.  I loved watching that channel with them while filling out the crossword puzzle that came in their little TCM catalogue (all of it based on movie trivia, the only kind of crossword puzzle I’ve ever been any good at.)  I recognized a certain scene where Bergman stood on a balcony, looking sadly at the moon.  Her face had an expression of unutterable melancholy, and the crescent moon reflected in each of her eyes, giving the impression of two moons in one sky.  I had very little time to catch up on what I’d missed before we had to go meet my cousins at the local Italian restaurant.  I knew logically that the movie would be long over by the time we returned, but I turned on the channel anyway.  Of course it had moved on to the lesser known Alfred Hitchcock film Stage Fright, but then I heard Marlene Dietrich sing before I could reach the remote to turn the tv off in disappointment.  I knew that I had heard her sing before, and I knew it had been in The King.

Dietrich’s singing often comes across as somewhat campy today, with its Rs pronounced as Ws and it’s up-and-down tone.  Madeline Kahn parodied it brilliantly in Blazing Saddles, such that it was a bit of a disappointment when I finally saw Dietrich’s western Destry Rides Again and found it to be lifeless and inconsistent next to the parody.  Still, we remember her voice for a reason, and when I remembered it that night, I knew that its sardonic loneliness had rung through The King and made me shiver in my dreams.

The TCM schedule didn’t list The King in its time slot, but something else.  If I had taken down the name, maybe it would have helped me find it.  Sometimes the same movie runs under multiple names.

I didn’t see the film all the way through for many years, after I graduated college.  I had found a web page that listed public domain film noir, including one called The Masked Guest.  The website described it as a costume noir, and I curiously clicked on the link.  Once I took in the credits running on the youtube window, my eyes grew wide and I did not move from my place on the bed until the movie had run its course.

The credits did indeed list it as The Masked Guest, but I recognized the strange repeating design on the title cards.  They told me that in addition to starring Dietrich and Bergman, it was directed by Fritz Lang, and a character called The King was credited to “???”  (I hadn’t seen that kind of credit since the first Karloff Frankenstein.)  When the King finally appears on screen, though, it is unmistakably Orson Welles’s voice that booms out from behind his elaborate costume.

Here are the things I understand about The King, or The Masked Guest, or The Man in Yellow, or any other title I’ve found for it on public domain archive searches.  Dietrich and Bergman play princesses named Cassilda and Camilla, respectively.  Though Dietrich’s accent is German and Bergman’s is Swedish, they blend together to give the film the impression of being set somewhere on the map that I can’t quite find.  The scenery and camera angles are very Freudian, with a great deal of archways and pillars.

The first act of The King involves frankly dull romantic plotlines, and the only thing that really saved it was the feeling that the suitors were supposed to be insipid, a suspicion lended credence by the fact that the love interests were listed so low on the credits.  Dietrich is the scandalous sister and Bergman is the responsible one, though each takes on aspects of the other as the film goes on.  Dietrich sings her song at a party, dressed in a fake 17th century gown and leaning against a piano.  Although just a moment ago she had been laughing and joking with her gentleman friends, her song takes an abruptly serious tone (not seductive, not sentimental) as she tells the story of a city lost to time and memory.  Bergman slips away from the party and onto the balcony, where we see that wonderful shot of the moon in her eyes.  Is she mourning?  Is she longing?

Dietrich cuts off the song by abruptly screaming “Not on us, King!  Not on us!”  She flees the party weeping and shaking, and from there on the film goes mad.

Though uncommon, it is not unknown for movies to switch between black and white and color, done most famously in The Wizard of Oz.  The film The King recalls here is the silent Phantom of the Opera, which had a masqued ball scene tinted in shades of red and green that tried to provide a whole spectrum of color.  The effect is even odder in the masqued ball scene in The King- the only color that appears is yellow, highlighting things like candlelight, Dietrich’s hair, a passing gown, a vase of tulips.  It also highlights one particular masked figure, whose expressionless mask was decorated with a black pattern against a sickening yellow canvas- the same pattern I had seen in the opening credits.  The color of his costume causes him to stand out from the crown even when he is far off in the background, just one head among many others.  It must have taken long and painstaking hours of work to color in every frame.

Dietrich still seems broken up days after her song, though Bergman tries to coax her into joining the dance.  Finally, at midnight, Dietrich goes out to face the party, but only to demand that every guest remove their mask.  The yellow man with a voice that once warned America about a Martian invasion tells her that he wears no mask.  Bergman reacts with disbelief, but Dietrich starts laughing like a woman unhinged.  As she laughs, the yellow hue seeps out of the King’s clothing and face- if that really is his face- and begins to color the entire ballroom crowd.  I think that what follows is bloodshed, but if there is any carnage (doubtful under the Production Code censorship), the blood must be tainted yellow and splashed across the camera like daubs of paint.  Dietrich’s laughing face is doubled and tripled on screen until it dissipates, but even when it has faded offscreen, it feels as if her ghost continues to watch the proceedings.  

By the end of the scene (filled with German Expressionist camera angles and mad violin screeching), only Bergman remains alive, cowering behind a grandfather clock.  It does not hide her for long.  The King steps towards her and extends his hand.  Reluctantly, but with a fatalistic expression, Bergman takes his hand.  They walk away together hand in hand.  The screen shifts back into black and white, and then the credits roll before we can get a good look at all the bodies in the scene.  The credits say it was based on a play called The King in Yellow, although Raymond Chandler of all people apparently had a hand in the screenplay.

As I said, that’s what I think I understand.  It’s an oddly experimental art film for the era, and it may be awaiting rediscovery by the film festival crowd.  I feel as if I alone know about it, though that obviously isn’t true.  It is my little secret; I tell myself that my husband doesn’t need me to show it to him, it would be too odd for his taste.  I’ve rewatched it many times, even if it seems like each time I search for it I have to find a different video platform or torrent.  Naturally, no subscription site has it available.  Maybe I am the last person who will ever watch it.  Maybe no one will ever think to look for it again after me, and it will be completely forgotten.

When I was hospitalized, they let me use my laptop at night before I went to sleep (no power cord, though, in case I tried to hang myself.)  I found a youtube link for The Man in Yellow, and I watched it every night.  It wasn’t a soothing sort of movie, but having it in my mind all day and then watching it in the evening allowed me to think as opposed to crying endlessly while the other patients shot me awkward looks.  I clutched the childhood stuffed animals my mother brought me when she visited, and I always held them extra tight when the masquerade scene started.

I watched the movie when I had to move away from my beloved San Francisco.  I watched the movie when I lost the last of my grandparents.  I watched the movie when a doctor unwisely took me off my medication and I couldn’t manage to eat for a month.  I watched the movie when the whole world got sick and we all locked ourselves away from each other.  I don’t mind that I don’t entirely know what it means.  I don’t mind the nightmares.  In the hospital they kept telling us about mindfulness exercises, and maybe the fact that I can focus on every aspect of the film so closely that all else falls away is the reason I keep coming back to it.  I’m being mindful.  I’m not letting any stray thoughts invade my head.  I’m just watching and waiting for the next beat of every scene, leading inexorably to that yellow-stained bloodbath.

Streaming media doesn’t last forever, and each time I find The King, I worry that it will be the last time I ever can find it.  My efforts to download it have so far been unsuccessful, odd considering that it is in the public domain.

When I watch The King, I am once again a child in my bedroom being cared for in the throes of agonizing sickness.  I am once again sitting on the couch with my grandparents in front of the tv, both of them alive and lucid again.  I am once again in the hospital, all alone except for my stuffed animals and the staff trying to keep me alive.  The film reflects in my eyes like the crescent moon in Ingrid Bergman’s gaze.  It sings to me.

I am determined to find a way to obtain The King under any name so that I never have to worry about losing it.  During some of the worst times in my life, it is the only thing that has kept me sane.

[spideycentral]

Disney and Sony have reached a multi-year deal for the post-pay-1 release window, a pact that will make Spider-Man and other major franchises eligible to stream on Disney+ for the first time.

The flagship streaming service and Hulu are among several platforms covered by the agreement, which will also involve ABC, FX, Freeform and other outlets under the Disney tent. No specific plans for Disney+ have yet been finalized, but Marvel fans had been wondering when Spidey and others would appear alongside the rest of the streaming stable. For complicated legal reasons, the franchise has not been a full-fledged member of the Disney-controlled Marvel Cinematic Universe.

Theatrical releases from 2022 to 2026 will move to Disney after their runs on Netflix, which earlier this month announced a deal with Sony for a pay-1 exclusive as well as co-production rights to direct-to-streaming films.

Library rights to franchises like Spider-Man, Jumanji, Hotel Transylvania and others are part of the package.

The official announcement said the deal “gives Disney enormous programming potential across its platforms and makes them key destinations for a robust collection of Spider-Man films.” Hulu will also get a “significant number” of library titles beginning as early as June.

Financial terms were not disclosed in the release and the companies to declined to comment on any dollar figures. A person familiar with the pact estimated the total combined value of the Netflix and Disney deals at more than $3 billion.

Linear networks joining the new deal include ABC, Disney Channels, Freeform, FX and National Geographic. FX and Sony had been in business for years and the overall Disney agreement succeeds a prior “post-pay-1” deal with FX. Universal, another key supplier to FX, recently ended its long-term relationship with FX, so the continued supply of Sony titles is a boon to the widely distributed basic cable network.

“This landmark multi-year, platform agnostic agreement guarantees the team at Disney Media and Entertainment Distribution a tremendous amount of flexibility and breadth of programming possibilities to leverage Sony’s rich slate of award-winning action and family films across our direct-to-consumer services and linear channels,” said Chuck Saftler, head of Business Operations for ABC, Freeform, FX Networks, and Acquisitions in DMED’s Networks division, who played a key role in the negotiations. “This is a win for fans, who will benefit from the ability to access the very best content from two of Hollywood’s most prolific studios across a multitude of viewing platforms and experiences.”

“This groundbreaking agreement reconfirms the unique and enduring value of our movies to film lovers and the platforms and networks that serve them,” said Keith Le Goy, president, Worldwide Distribution and Networks, Sony Pictures Entertainment. “We are thrilled to team up with Disney on delivering our titles to their viewers and subscribers. This agreement cements a key piece of our film distribution strategy, which is to maximize the value of each of our films, by making them available to consumers across all windows with a wide range of key partners.”

[lokiondisneyplus]

For his entire tenure as an Avenger, Anthony Mackie had never been the first name on the call sheet.

In a galaxy of stars populated by Robert Downey Jr., Chris Evans and Scarlett Johansson, the actor was aware of his place in the on-set pecking order, but would never miss an opportunity to make his presence felt.

“Number six on the call sheet has arrived!” Mackie would routinely shout on films like “Captain America: Civil War” and the box office-busting “Infinity Saga” sequels, according to Marvel chief creative officer Kevin Feige.

It exemplifies the sort of winning tone that the 42-year-old actor has brought to his superhero character the Falcon, aka Sam Wilson, for six movies from the top-earning studio — wry and collegial humor, with the potential to turn explosive at any moment. Both Mackie and his character are set to burn brighter than ever when the Disney Plus series “The Falcon and the Winter Soldier” lands on March 18.

On that call sheet, “Anthony is No. 1,” Feige is happy to report, “but it still says ‘No. 6.’ He kept it because he didn’t want it to go to his head.” The series is essentially a two-hander with his friend and longtime co-star Sebastian Stan, the titular soldier. All six episodes were produced and directed by Emmy winner Kari Skogland (“The Handmaid’s Tale,” “The Loudest Voice”). The series, for which combined Super Bowl TV spot and trailer viewership earned a record-breaking 125 million views this year, is reported to have cost $150 million in total.

For Mackie, though, the show comes at a critical time for both his career and for representation in the MCU. Sam Wilson is graduating from handy wingman (Falcon literally gets his job done with the use of mechanical wings), having been handed the Captain America shield by Evans in the last “Avengers” film. While it’s unclear if he will formally don the superhero’s star-spangled uniform moving forward (as the character did in a 2015 comic series), global fandoms and the overall industry are still reeling from the loss of Chadwick Boseman, who portrayed Marvel’s Black Panther to culture-defining effect. With this new story, Mackie will become the most visible African American hero in the franchise. And when asked whether he’ll be taking the mantle of one of its most iconic characters, he doesn’t exactly say no.

“I was really surprised and affected by the idea of possibly getting the shield and becoming Captain America. I’ve been in this business a long time, and I did it the way they said you’re supposed to do it. I didn’t go to L.A. and say, ‘Make me famous.’ I went to theater school, did Off Broadway, did indie movies and worked my way through the ranks. It took a long time for this shit to manifest itself the way it has, and I’m extremely happy about that,” Mackie says.

Feige says that, especially with the advent of Disney Plus and the freedom afforded long-form storytelling, the moment was right to give the Falcon his due.

“Suddenly, what had been a classic passing of the torch from one hero to another at the end of ‘Endgame’ became an opening up of our potential to tell an entire story about that. What does it really mean for somebody to step into those shoes, and not just somebody but a Black man in the present day?” says Feige.

Like many comic book heroes, Mackie has an origin story marked by tragedy at a young age — specifically around the loss of a parental figure. The New Orleans native is the youngest of six children from a tight-knit middle-class family, whose trajectory was spun into chaos when his mother was stricken with a terminal illness.

“It was unexpected and very untimely. I was 15 when she was diagnosed with cancer, and a few months later, she was gone. She passed the day before my ninth-grade graduation,” Mackie recalls. “If my mom wouldn’t have passed away when I was so young, I wouldn’t be where I am today.”

Mackie had already gravitated toward the performing arts before the loss of his mother, having enrolled at the pre-professional school New Orleans Center for Creative Arts. Like many young people grappling with trauma, Mackie says he began to act out. A core group of teachers helped get him out of trouble. Ray Vrazel, still an instructor at the school, personally drove the student to a Houston-based audition for the University of North Carolina School of the Arts, where he was accepted for his senior year of high school.

“Everything I did, I did for my mama. The idea of leaving home at 17 to go away to school would have never been an option if she was still around. She was my best friend. Losing her gave me a kind of strength, and a desire to succeed,” Mackie says.

Succeed he did. Spending that formative year as a minor on a college campus helped Mackie find his “tribe,” a misfit crew of artists and performers, which propelled him to acceptance at New York’s prestigious Juilliard School in 1997. There he was part of the breakthrough class of students of color to be chosen for the notoriously selective drama program, which Mackie says was liberating given the institution’s track record.

“Our year was a huge transition. There were hardly any Asian people in the drama program, maybe one or two Black people and hardly any Black women. In our class, we had three black women, two black men, one Native American, one Asian female, out of 20 people. Ever since then, the classes have been wildly diverse,” says Mackie, whose fellow students included stage and film star Tracie Thoms and actor Lee Pace.

Following his training, Mackie launched a staggeringly versatile career. He has played Tupac Shakur and Martin Luther King Jr. to similar acclaim, a juicehead bodybuilder in “Pain & Gain” and a homeless gay teen in the Sundance player “Brother to Brother.” He has exhibited remarkable staying power in an industry that often pigeonholes actors and has a pockmarked soul when it comes to inclusion.

“I was drawn to Anthony because of his electrifying ability to combine intensity with sensitivity, courage with compassion, and all of it comes across as inevitable, as if it could be no other way,” says Kathryn Bigelow, who directed him in the 2009 best picture Oscar winner “The Hurt Locker.”

Samuel L. Jackson, whom Mackie calls a mentor and has played alongside in several films, says he has “an innate quality that first and foremost makes everyone want to cast him.” On a recent idle Netflix search, Jackson came across Mackie’s latest sci-fi film, “Outside the Wire,” and it triggered a memory of sitting in the audience for his performance in the 2010 Broadway production of Martin McDonagh’s play “A Behanding in Spokane.”

“Watching him onstage, I thought, he’s a very adroit actor capable of putting on many hats. He’s fearless and will try to be anybody. Then, on my TV, he’s playing a nanobyte soldier or some shit,” Jackson says.

Though always humble about getting the next job, pre-Marvel Mackie was rarely offered pole position.

“There were certain pegs. My first was ‘8 Mile.’ It was a monumental step at the beginning of my career,” Mackie says of the 2002 Curtis Hanson film that elevated rapper Eminem to multi-hyphenate stardom.

“After that it was ‘Half Nelson.’ It blew up Ryan Gosling, so I was there to ride the wave. Then ‘The Hurt Locker,’ and it blew up Jeremy Renner. It was the joke for a long time — if you’re a white dude and you want to get nominated for an Oscar, play opposite me. I bring the business for white dudes,” says Mackie.

He remembers the sensation “Hurt Locker” caused during its awards season. It was a moment he thought would change everything as he stood on the stage of the Dolby Theatre with the cast and filmmakers, having just sipped from George Clooney’s flask while Halle Berry radiated a few rows away.

“I thought I would be able to move forward in my career and not have to jostle and position myself for work. To get into rooms with certain people. I thought my work would speak for itself. I didn’t feel a huge shift,” he says, “but I 100% think that ‘The Hurt Locker’ is the reason I got ‘Captain America.’”

He’s referring to “Captain America: The Winter Soldier,” the 2014 Marvel film that was the first to be directed by Joe and Anthony Russo (the current title holders for the highest-grossing film of all time with “Avenges: Endgame”). Mackie says that blockbuster not only gave him his largest platform to date but changed expectations of superhero movies forever.

“It was the first of the espionage, Jason Bourne-esque action movies at Marvel. After that, the movies shifted and had different themes and were more in touch with the world we live in, more grounded,” he says.

Bolstered by the words of another mentor, Morgan Freeman, Mackie feels no bitterness about his path.

“We did ‘Million Dollar Baby’ together, and when we were shooting this movie, I got offered a play. When you do Off Broadway, it’s $425 a week. In New York, that’s really $75 per week. I got a movie offer at the same time, and it was buckets of money. Three Home Depot buckets of money were going to be dropped off at my door,” Mackie says. “The script was awful; the whole thing was slimy. I went to Morgan’s trailer and asked him what he would do. He took a second and said, ‘Do the play. When Hollywood wants you, they’ll come get you. And when they come get you, they’ll pay for it.’ That blew my mind, and I left him that day with such a massive amount of confidence. He’s been a huge influence on me.”

He used the currency of that first Russo Brothers film and five subsequent ones to do what many creators and performers in Hollywood have done in recent years to help balance the scales of profit and representation in content: make things on his own.

Last year, Mackie produced and starred in “The Banker” — what would be Apple Studios’ first foray into original streaming film distribution and the awards landscape — through his banner Make It With Gravy. The film follows the true story of America’s first Black bankers and the white frontman they deployed to acquire the institution, all while supporting Black-owned businesses and communities in the process. A late-breaking scandal over sexual misconduct accusations involving the real-life family members of the film’s subjects delayed the release, overshooting awards-season deadlines and entangling the fledgling producer.

“It was a good lesson, and gave me a new perspective on the world around us. It’s very important to me that the women by my side are treated equally. It was a valuable lesson learned. I was very humbled by my sisters, for once not being mean to me,” he says.

Mackie is in development on the film “Signal Hill,” about the early days of lawyer Johnnie Cochran and the theater he brought to courtrooms long before the O.J. Simpson trial, and is hoping to secure the life story of civil rights pioneer Claudette Colvin as a vehicle for his directorial debut. Raising four sons of his own now, Mackie wants his off-screen work to make them well-rounded men.

“Look at Robin Williams,” he says. “He used to be crass and funny, and then he had kids, and he started doing all these family-friendly movies. Same thing with Eddie Murphy. I’m trying to curate my children’s experience with the things that I’ll be producing, rather than starring in. That’s what is most important. They know my job is my job; they know who I am. I’ve given up the idea of them ever thinking that I’m cool,” he says.

Jokes about the call sheet are among many of Mackie’s filming quirks. Jackson says that sets are often littered with hidden cigar stubs, to be fired up between takes or after long days. Bigelow says his rapport with crew has led to nights where the “clock was ticking but it was impossible to regain composure enough to shoot.” But according to Evans, no Mackie-ism is more famous than the phrase he bellows whenever his directors cut a scene: “Cut the check!”

Evans says this “will be forever associated with Mackie. I find myself saying it on sets all the time. I love it. But I’ll never be able to say it as well as him.”

As the man handing Mackie his armor, Evan says the Falcon’s “role within the Marvel universe has answered the call to action time and time again. He’s proven his courage, loyalty and reliability over multiple films. Sam has given so much, and he’s also lost a lot too. He believes in something bigger than himself, and that type of humility is necessary to carry the shield.”

The question of Sam Wilson’s humanity will be explored at length in “The Falcon and the Winter Soldier,” what Mackie calls a deeper showcase for both himself and Stan and their characters. It was a prospect that at first confused and frightened him.

“I didn’t think we could do on the television what we’d been doing on the big screen. I didn’t want to be the face of the first Marvel franchise to fail. Like, ‘See? We cast the Black dude, and now this shit is awful.’ That was a huge fear of mine, and also a huge responsibility with playing a Marvel character,” Mackie says.

He was quickly assuaged by the level of depth in the scripts from head writer Malcolm Spellman (“Empire,” “Truth Be Told”), especially when it came to the nuances of Wilson — a Black American man with no powers beyond his badass wings.

“Sam Wilson as played by Mackie is different than a Thor or a Black Panther, because he’s not from another planet or a king from another country,” Feige says. “He’s an African American man. He’s got experience in the military and doing grief counseling with soldiers who have PTSD. But where did he grow up? Who is his family? Mackie was excited to dig into it as this man, this Black man in particular, in the Marvel version of the world outside our window.”

Mackie celebrates Sam’s relatability in a universe full of mythological gods and lab-made enforcers. “I’m basically the eyes and ears of the audience, if you were put in that position where you could go out and fight alongside superheroes. It adds a really nice quality to him, that he’s a regular guy who can go out there and do special things,” Mackie says.

While bound by standard Marvel-grade secrecy, the actor confirms there have been no discussions of a second season for “The Falcon and the Winter Soldier.” As the majority of domestic movie theaters remain closed due to the coronavirus pandemic, he is equally unaware of the theatrical prospects for his Falcon character — or the Captain he may become by the end of this Disney Plus run. For now, he’s content to take up the mantle left by Boseman, a quietly understood pact of responsibility to Marvel-loving kids the world over.

“For Chad and I, [representation] was never a conversation that needed to be had because of our backgrounds. There was a hinted-at understanding between the two of us, because we’re both from humble beginnings in the South; we have very similar backgrounds. We knew what the game was. We knew going into it,” he says.

Outside comic book movies, Mackie is not done searching as a performer. There is a particular genre he would very much like to cut him a check.

“My team gets mad at me for saying this, but I would love to do a cheesy old-school ‘When Harry Met Sally’-type of project,” he says. “One of those movies where I’m working outside and have to take my shirt off because it’s too hot. I want a romantic comedy. I want to do every movie written for Matthew McConaughey that he passed on.”

[kinsey3furry300]

Three awesome post-GoT series I would commission if I owned any of the Big three Streaming platforms.

Yo! Netflix, Amazon Prime Video and Disney+, you have a problem: there are nerds like me who want to give you even more of our time and money, but you’re not making the stuff you should be.  Following the hugely disappointing end of “Game of Thrones”  there are a huge number of sci-f and fantasy nerds who are currently not getting our fix of epic adventure, and rather than commission a whole bunch of cool series that are just begging to be made to cash in on this, you’re all just sort of doing your own things. And that’s Cool, I’m loving the Netflix Witcher series and Disney’s Loki, and looking forward to the Amazon Middle Earth series with a mix of hope and trepidation (please be good), there are, however, a whole mass of cool book series that are just begging for release in an episodic fashion, and what’s more, I can think of which series plays to which streaming platforms strengths. And unlike Game of Thrones, there are series where running out of source material to adapt shouldn’t be a problem.

So, three sci-fi or fantasy series that play to the strengths of the big three Streaming services, as suggested by me, a big ol’ nerd. One: Amazon Prime. Strengths: successfully adapting darker comic-book or Urban fantasy works Like Preacher, the Boys, Good Omens and American Gods and making a profit. Weakness: has never successfully pulled of a big Grimdark fantasy series, despite having all the talent to do so because they’re working on the Middle earth series, which doesn’t seem a good fit for their brand image as the place you come for for comically dark works, and all their adaptations are too much of a slow burn, which necessitates padding the source material (look at how little happens in any episode of Preacher or the Boy vs the insanely fast pace of the comics). Solution: Malazan, book of the fallen. A deep, insanely dark, insanely Epic story that would actually lend itself to a slow burn and the grim-dark over the top violence of other Amazon shows, and fill the “Tit’s and monsters” gap left by GoT in many of our hearts. And unlike Tolkien, I have faith that the studio that cast Sweary Karl Urban as Billy Butcher could actually pull this off with the correct tone and feel. This would have the Witcher fans from Netflix defecting in droves, and could also pull in some new viewers who might enjoy the anthropology and political intrigue of this complex, multifaceted world.

 Two: Disney+. Strengths: near infinite money and ambition, the production team behind The Mandalorian and the MCU, great Hollywood clout to draw in big name stars, but willing to cast talented unknowns, the best mix of live action and CG in the business. Weaknesses: It’s Disney, so they can never go full grim-dark: they can imply or infer dark acts, but need to keep what’s shown on screen PG13 to fit their brand, which rules out a lot of modern fantasy. And they have no true fantasy serries in their stable.

Solution: Brandon Sanderson’s Mistborn, and other Cosmere works.  A rare example of an excellent current fantasy and sci-fi writer who isn’t grimdark as heck, and manages to convey dark and adult themes by implication and hints rather than outright showing them, this is pretty much the only big fantasy series out there that is aimed at and enjoyed by adults but remains consistently PG13. It’s also so epic and super-hero-ish in this various magic systems, that I can’t see anyone other than the team behind the MCU pulling off a live-action version of this that doesn’t suck. In addition to this, the logical starting point for this, Mistborn, is by far the safest and most marketable, coming the closest of any of his works to a standard young-adult plot with Vin as an easily sell-able character to studio brass, being to all intents and purposes Katniss Everdeen with super-powers, which could get a big studio invested  and convinced this is a good idea before we get to all the “lets kill and replace god” stuff. If Mistborn was successful, other Cosmere works could follow, and I could see something like the Stormlight Archives working really well with the MCU effects team behind it, so long as they don’t white-wash it: No one on Roshar is white other than in Shinovar, and half of the cultures are based on either Polynesian or far eastern traditions, so cast Hawaiian, Māori, native American and east-Asian actors, and it could be both a great series, and also the most diverse Disney has ever done. You want a new, easily marketable but epic scale franchise, Disney? It’s right here.

Also for the love of god, do Wax and Wayne. I just need this, okay?

 Three: Netflix. Strengths: good at tapping into the prevailing nostalgia of Millennials and producing works that speak to them on a relatively small budget (see Stanger Things) and good at grabbing the rights to adapt good but slightly obscure works cheaply. Good working relationship with a ton of Japanese Anime rightsholders. Weaknesses: By far the smallest budget of any of the big three. Tends to produce awful live-action adaptations of beloved works (to the point that the Witcher was a pleasant surprise), but has good relationships with lots of animation studios.

Solution: Animorphs, but do what they always should have done and animate it. It boggles my mind that anyone would every try to pull this off in live action, as the transformations, which are the heart of the series, would be so hard to pull off well (look at the 90’s series). And yet, I’m aware they’re making a film, but dear god, why, when K A Applegate said form the get go that this series of books were written specifically as if they were a 90’s Saturday morning cartoon. This was always meant to be adapted as a series, not a long form film. So, don’t try to modernise it, or relate to “The kids” don’t whitewash the cast, don’t edit out the gore and body-horror, but lean into the 90’s and early 2000’s angst of it, and go balls to the walls insane with the concept. What music do you have playing for this scene? Is it Every day is exactly the same by Nine Inch Nails, and if not, why not? Do the transformation sequence genuinely scare you? No?  Then you’re doing it wrong.  Is that a happy ending? Get that the hell out of there. Go for the original time period and concept, and go hard, and if you do it now, you’ll just hit that sweet spot as the rolling 30 year nostalgia cycle moves out of the 80’s and into the 90’s. And as an apology to all the bad live-action Anime you produced, Netflix, get a Japanese studio to animate this: the Animorphs books were popular in Japan, with wonderful hand drawn illustrations throughout. Get Studio Orange on this: Beastars proved they can do flowing, fast-moving combat well, and make animal and other non-human characters look good, and what’s more they’d probably be up for it: Animorphs is basically a western Shōnen,  so the market for an Anime of it would exist in Japan.

 So there we go, the three series I would commission if I ruled the world of streaming sites. As ever, tell me why I’m wrong below, and have a great day!

[d-criss-news]

Darren Criss is fully in his element on Quibi’s Royalties, and not just because the 10-episode comedy finds him playing a Hollywood songwriter surrounded by Glee alumni.

The experience of co-writing and producing a musical project for a fledgling streaming service took Criss back to his days at the University of Michigan, where his mantra became “chaos is the mother of invention.” As he tells TVLine, “During the process, we made no claims to it working. We just had to slap it all together, and I think it turned out pretty great. That’s the fun of your friends coming together for something that ultimately has a lot of heart, soul and a cheeky earnestness about it.”

Criss also says he wanted to use Royalties as an opportunity to increase the Hollywood presence of his classmates-turned-collaborators, Nick and Matt Lang. “We started StarKid, which is our theater production company, about 10 years ago, and they’ve been in the trenches of that forever,” he explains. “Being the Mr. Hollywood of the group, I’ve been dying to get people in the film and television industries to get their eyes on them.”

For this reason, the trio took a “dexterous” approach to shopping the idea around. “If someone had said they wanted this to be a three-hour movie, we could have created it as such,” Criss says. “What’s nice about [Quibi’s shorter format] is that it’s a great exercise in maximizing the space you have. And it lends itself really well to comedy. Good storytelling is hopefully malleable, so I really enjoyed this process. It wasn’t how we set out to do it, but it was a great challenge.”

Below, Criss elaborates on the process of bringing Royalties to the small(er) screen, from casting it on his phone to editing it on the set of Netflix’s Hollywood:

TVLINE | Let’s start with the important stuff: There are a lot of hot dogs on this show. How many did you actually have to eat? [Laughs] Not many, because I’m not much of a hot dog guy. I’m not much of a processed meat guy. (Hashtag super California granola hippie loser.) While I do love a good hot dog every now and then, I don’t think anyone likes them in continuous succession, so I tried to minimize them as much as possible. That was the least of our challenges.

TVLINE | OK, what were some of the actual hurdles you had overcome? Like a lot of things I’ve done, it was very fast and furious. The actual adage is that necessity is the mother of invention, but for a lot of those early StarKid shows, I amended that to say that chaos is the mother of invention. For a lot of the shows I worked on in college, I would write the songs just a few days before they were on stage. I also didn’t really know my lines and everything was thrown together, while the Langs had been working on the book for months. Similarly here, they’d been working on these scripts for months. But by the time pre-production rolled around, we had to write and record 10 songs in 10 days, then do pre-production for not only basically a 90-minute movie but also 10 separate music videos. [Director] Amy Heckerling flew in and also had very little time to prep. And we had to get it all done before I shot Hollywood for Netflix. So we had way more to do than was frankly possible.

On top of that, we didn’t really know how to deliver to Quibi. What are they looking for? What aspect ratios should we be shooting in? What type of coverage do we need to get? It was the Wild West in many respects. And that was something that could have been a huge problem, not having any precedent, but I’m someone who sort of relishes that. When you’re in the Wild West, there are no rules, which to me is a great thing.

TVLINE | When you go back and watch the episodes, do you find yourself watching horizontally or vertically? I find myself going back and forth. When we were editing it, I would try to watch it on my phone as much as possible. The post-production process was the longest part of this entire thing. I would shoot a scene of Hollywood, then have to run over to the editing room. Sometimes the editing room would be in a sprinter van outside my trailer. It was tough because you’re editing in a conventional way with a nice screen and nice speakers, but the mix and the final print of this will be on your phone, which can be hard to imagine. For the songs, I wish people could watch with a big speaker system. I hope people are listening with their headphones.

TVLINE | Of those 10 songs you co-wrote, do you find that any one gets stuck in your head more than the others? Well, they’re all stuck in my head, but not for the reason they should be. They’re in there because I had to listen to them over and over again, so I’m fond of a lot of the songs, but I’ve kind of lost objectivity. The songs have also had so many different lives. It sounds one way when you write it, another when you produce it, then another when you have the artist sing it. And then there’s how the song feels when it’s in a music video. There were lines in songs I thought were funny, but when I saw my friends [and Glee co-stars] Chord Overstreet and Kevin McHale singing them at a Griffith Park overlook of Los Angeles, with Chord in a ridiculous Scott Stapp/Jared Leto circa 2003 wig, I start loving it in a new way. They’ve all found ways to enchant me as they move forward.

TVLINE | That’s another thing I enjoyed about this, all the Glee reunions. And not just Chord and Kevin. Even people like John Stamos and Jennifer Coolidge. You know what’s funny? I forgot that John Stamos and Jennifer Coolidge were on Glee! I became friends with them separately. Yes, they were on the show, but these are also people that were at my wedding. I forget we have a Glee connection. I wish I was that clever in the outset, like, how many people from Glee can I get together? … We actually started shooting before I had a huge percentage of people cast. This is in conjunction with a casting director, but I had to cast about 70-80 percent of this thing on my phone. It was me calling people and saying, “I have this really goofy thing. We’re homies, can you do me a solid?” So I owe a great debt of gratitude to the people who were game enough to show up to this wacky thing that I’m sure sounded absurd over my pitch on the phone, much less for a platform that they hadn’t heard of yet. The first season of anything is tough, because you have to establish so much.

TVLINE | Well, without giving too much away, the finale does leave things open for a second season. How much thought have you given that? Anytime you write anything, you always think bigger than what’s there. The game, so to speak, of having two songwriters that have to write songs for crazy situations and artists is an endless playground of funny scenarios. We came up with so many ideas for stories, at least five or 10, and then ended up saying, “This is a Season 2 or Season 3 concept. It’s too much out of the gate.” We really had to economize what we threw at our audience, so hopefully we can earn enough interest and trust in these characters and in their hijinks that we can expand the world a little bit in a second season.

TVLINE | On top of that, I feel like it’s a show that could lend itself to social distancing better than some others. A lot of people have been considering that. What is the socially distanced version of our show? With enough creativity, you could definitely do that. I’ve done songwriting sessions from home — FaceTime, Zoom sessions and all that. There is a world where that exists, so who knows? If that happens, you can say you wrote it here first.

All 10 episodes of Royalties‘ first season are available to stream on Quibi. To watch individual music videos on Criss’ YouTube channel, click here.

[insanityclause]

In the ultimate symbol of one Hollywood era ending and another beginning, Metro-Goldwyn-Mayer, home to James Bond and Rocky, finally found a buyer willing to pay retail: Amazon.

The e-commerce giant said on Wednesday that it would acquire the 97-year-old film and television studio for $8.45 billion — or about 40 percent more than other prospective buyers, including Apple and Comcast, thought MGM was worth. The studio, which had been shopped around for months, was once home to “more stars than the heavens,” as Louis B. Mayer liked to brag. But its vast production lot and pre-1986 film library were sold off decades ago. (Sony Pictures now occupies the lot, and Warner Bros. owns classic MGM films like “Singin’ in the Rain,” “The Wizard of Oz,” and “Gone With the Wind.”)

MGM does come with one Hollywood crown jewel: James Bond.

But even 007 has an asterisk. Amazon will own only 50 percent of the spy franchise. The balance is held by Barbara Broccoli and her brother, Michael G. Wilson. The siblings also have ironclad creative control, deciding when to make a new Bond film, who should play the title role and whether television spinoffs get made. (They have blocked such efforts in the past.)

The 25th installment in the Bond series, “No Time to Die,” is scheduled for pandemic-delayed release in theaters on Oct. 8, with Universal Pictures handling overseas distribution.

So why did Amazon pay such a startling premium?

For starters, it can. The company has $71 billion in cash and a market capitalization of $1.64 trillion.

But Jeff Bezos, Amazon’s founder and chief executive, is known as a conservative buyer. The purchase of Whole Foods for $13.4 billion in 2017 was the biggest acquisition in Amazon’s history. Its next-largest deals — until MGM — were for Zappos ($1.2 billion, 2009) and the smart doorbell company Ring ($1.2 billion, 2018).

The Whole Foods deal was a major strategic change for the company, pushing it into new markets of groceries and physical stores, which it had largely avoided. MGM is more about augmenting a current strategy: Amazon most likely paid more than others thought MGM was worth because of its all-important Prime membership program.

In addition to paying Amazon $119 a year or $13 a month for free shipping and other perks — notably access to the Prime Video streaming service — households with Prime memberships typically spend $3,000 a year on Amazon. That is more than twice what households without the membership spend, according to Morgan Stanley. About 200 million people pay for Prime memberships.

“More and more Prime members are using video more often, spending more hours on there, so I think this is a way to add more content and more talent around movies,” said Brian Yarbrough, a senior analyst at Edward Jones.

“This isn’t one studio buying another,” he added. “If you’re Amazon, the perspective is what’s the potential for Prime membership, what is the potential for advertising.”

In buying MGM, Amazon is bolstering Prime Video at a time when the biggest old-line studios are becoming less willing to license their libraries to outside streaming services; Warner Bros., Walt Disney Studios and Paramount Pictures must now supply corporate siblings like HBO Max, Disney+ and Paramount+.

That shift has made independent film libraries more valuable. In recent weeks, Sony Pictures licensed its old films and TV shows to Netflix and Disney in deals valued at more than $3 billion, a sharp increase from the expiring licensing agreements. Sony does not have a streaming service, unless you count the game-oriented PlayStation Network.

Although its library is diminished, MGM still owns 4,000 older movies, including pre-1986 films that come from two MGM divisions, United Artists and Orion. Those movies include “Rocky,” “RoboCop,” “The Pink Panther,” “Silence of the Lambs” and the James Bond catalog. (Fun fact: In true Hollywood fashion, MGM’s roaring lion mascot is lip-syncing; a cranky tiger sounded more ferocious.)

In addition, MGM has several movies in its pipeline that could be Oscar contenders, including “Respect,” an Aretha Franklin biopic starring Jennifer Hudson; Ridley Scott’s “House of Gucci,” starring Lady Gaga and Adam Driver; and Paul Thomas Anderson’s latest project, which stars Bradley Cooper in his first film since “A Star is Born.”

Amazon’s appetite for movies became ravenous during the pandemic. It paid $125 million for the rights to “Coming 2 America,” $80 million for “Borat Subsequent Moviefilm,” and $200 million for “The Tomorrow War,” a Chris Pratt adventure that will arrive on Prime on July 2. Amazon also has Oscar ambitions, buying the rights to “Sound of Metal,” which was nominated for best picture and other top awards at the most recent ceremony.

When it comes to making its own hit films, Amazon has long struggled. MGM managers could help: Michael De Luca, MGM’s movie chairman, has a track record that includes, at various companies, the “Rush Hour,” “Austin Powers” and “Fifty Shades of Grey” franchises.

MGM also has a television studio that makes “Vikings,” “The Handmaid’s Tale” and various “Real Housewives” shows. In 2014, MGM acquired Mark Burnett’s production company, One Three Media, which holds rights to competition series like “The Voice,” “Survivor” and “Shark Tank.” Mr. Burnett, a contentious figure in Hollywood because he helped shape Donald J. Trump’s image with “The Apprentice” and remained close to him during his divisive presidential term, serves as MGM’s television chairman.

Anchorage Capital, a New York investment firm, has been the majority owner of MGM for more than a decade. Before that, MGM was tossed between owners and, bitten by falling DVD revenue, eventually ending up in bankruptcy. It was worth about $2 billion in 2010, according to analysts.

Kevin Ulrich, Anchorage’s chief executive and MGM’s chairman, formally put the studio on the block late last year. Anchorage has been under pressure from various stakeholders to exit the investment, with some agitators complaining that Mr. Ulrich was overly enamored with Hollywood and should have sold years ago.

The end of MGM as a stand-alone company adds to a vast reshaping of the media business as the big seek to compete by getting even bigger. Last week, AT&T announced a deal to spin off its WarnerMedia group and combine it with Discovery Inc., a move meant to strengthen WarnerMedia’s struggling HBO Max streaming service and a nascent streaming platform owned by Discovery. In a counterattack against the tech companies that have aggressively moved into Hollywood over the last decade, Disney paid $71.3 billion for the bulk of Rupert Murdoch’s entertainment assets in 2019.

Such megadeals have left smaller studios like MGM, Lionsgate and STX Entertainment looking for lifelines. (STX, known for comedies like “Hustlers” and “Bad Moms,” merged with the Bollywood studio Eros International last summer.)

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He is someone we don’t see happening. Still, Brie Larson’s resume is impressive. The actress has been playing on TV and film sets since she was 11 years old. One of those confused with Swedish player Alicia Vikander (Tomb Raider) won an Oscar in 2016. She was the first Marvel movie star with a female leader. . And soon, he will play a CIA agent in a movies commissioned by Apple for his future platform. The movies he produced together.

Unknown to the general public in 2016, this “neighbor girl” won an Academy Award for best actress for her poignant appearance in the “Room”, the true story of a wo who was exiled with her child by predators. He had overtaken Cate Blanchett and Jennifer Lawrence, both of them had run out of statues, but also Charlotte Rampling and Saoirse Ronan.

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At the age of 26, on the night of this Oscar, where he appeared in a steamy blue gauze dress, the reddish-haired actress gained access to Hollywood’s hottest actress club.

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With its classic and secret beauty, this Californian from Sacramento has won the Summit. He was seen on “21 Jump Street” with Channing Tatum, and “Crazy Amy” by Judd Apatow. And against more prominent actresses like Jennifer Lawrence, Gal Gadot or Scarlett Johansson, Brie Larson signed a seven-contract deal with Marvel.

There is nothing like that with Watch The Curse of La Llorona Free Online, which is signed mainly by women. And it feels. When he’s not in a combination of full-featured superheroes, Carol Danvers runs Nirvana as greedy anti-erotic as possible and proves to be very independent. This is even the key to his strength: if the super hero is so unique, we are told, it is thanks to his ability since childhood, despite being ridiculed masculine, to stand alone. Too bad it’s not enough to make a film that stands up completely … Errors in scenarios and realization are complicated and impossible to be inspired.

There is no sequence of actions that are truly shocking and actress Brie Larson failed to make her character charming. Spending his time displaying scorn and ridicule, his courageous attitude continually weakens empathy and prevents the audience from shuddering at the danger and changes facing the hero. Too bad, because the tape offers very good things to the person including the red cat and young Nick Fury and both eyes (the film took place in the 1990s). In this case, if Samuel Jackson’s rejuvenation by digital technology is impressive, the illusion is only for his face. Once the actor moves or starts the sequence of actions, the stiffness of his movements is clear and reminds of his true age. Details but it shows that digital is fortunately still at a limit. As for Goose, the cat, we will not say more about his role not to “express”.

Already the 21st film for stable Marvel Cinema was launched 10 years ago, and while waiting for the sequel to The 100 Season 6 Movie war infinity (The 100 Season 6 Movie, released April 24 home), this new work is a suitable drink but struggles to hold back for the body and to be really refreshing. Let’s hope that following the adventures of the strongest heroes, Marvel aged to increase levels and prove better.

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