These are fascinating times if you’re a fan of entertainment.
Businesses have become more monopolized/consolidated. Many publicist’s deemed the start of the “Streaming Wars” a bit too early when Hulu and Amazon rose up to the occasion.
Now Disney aims to corner the market, particularly in entertainment for children. A big chunk of Netflix’ revenue was based on the rights they had for various Disney properties. I watch Netflix. I just finished a terrific season of Atypical and the first half of the final season of one of Netflix’ greatest shows – BoJack Horseman. My viewing habits aren’t rare, but they are definitely more diverse than the typical streamer.
Every time I would visit my niece over the last few years she’d be enjoying various Netflix series’ like Daniel Tiger, The Magic School Bus and A Series of Unfortunate Events. This was amplified by the catalogue of Disney films and properties they had – which are no more.
I have not purchased Disney Plus yet. The only reason I would is The Mandalorian, which is almost reason enough. I’m trying to be patient and wait for the entire season to be out (almost worth the payment to avoid spoilers), that way I can own the subscription for a month, binge it, then cancel.
There is one thing that always draws me back to South Park and that is the unbridled authenticity of co-creators Trey Parker and Matt Stone.
Have I always agreed with their social/political commentary? Nope, but I don’t take it too seriously when I don’t because, after all, it’s South Park.
In our current world we approach controversy and skeptical news events from the perspective of: “How do we, as a community, feel about this?” Outrage plagues social media, and outrage over that outrage plagues our day-to-day conversations.
This post will actually be void of spoilers. I know, right.
I find myself in several pop-culture conversations daily. The most engaging debates usually involve 3 franchises: Marvel, Star Wars and more recently Game of Thrones.
The truth is, however, the quality of “Game of Thrones” this season has mostly adopted a consensus – great cinematic moments, bad writing/character development and a rushed pace.
I have been less vocal about the quality loss this season, however, because the most significant drop came one season prior. I’ve also been very vocal about show-runners Weiss/Benioff not being particularly skilled at their craft.
Pokémon The First Movie is all over the place. Mewtwo is vengeful and forcing clones of Pokémon to fight their real-life counterparts.
But after Ash’s brave, yet dramatically stupid, self-sacrifice – Mewtwo has a change of heart. Why is there so much violence in the world? Or as Meowth says “If we focus on what’s the same as opposed to how we are different, well who knows?”
Netflix is a triple-A production company. They produce a wide array of content from Television series’ to feature films. Watching Netflix grow through the last decade has been fascinating.
As other giants throttle their bandwidth and lobby against the inevitable future of online streaming, they have persevered. For years they’ve developed award-winning TV shows including House of Cards, Orange is the New Black, The Crown, etc.
Their films have also excelled. Mudbound was an Oscar-nominated film and critically, Beasts of No Nation may be the best thing they’ve produced. Now we have Alfonso Cuaron’s Roma. (more…)
Here are my Top 10 Television Series’ of 2018:
10. It’s Always Sunny in Philadelphia (Season 13)
What a return to form. There are some hiccups in this season, but overall the franchise took a huge leap in incorporating social and political commentary into its usual debauchery. After many lukewarm seasons Rob McElhenney and his gang decided to take more risks this season, and it paid off.
9. Barry (Season 1)
What a bizarre season of television. Interweaving comedy into one of the most tragic characters on television. Bill Hader, Henry Winkler and the rest of the cast bring their A-game not to mention some expert direction from Hiro Murai. “Barry” is tonally unique and hypnotic in its execution.
Sorry for the layoff. Was recovering from the annual crippling depression incurred by “BoJack Horseman,” Netflix’s greatest show.
Comedy compliments drama and animation is a comfort zone for many. BoJack Horseman takes advantage of this comfort. The show is a comedy, and has some of the funniest gags around, but it comes with a blistering caveat – the show’s relentless dread.
It’s no mystery to my friends and family that I love this show, but it’s a tough sell. No one I know (away from the internet of course) likes this show. They either haven’t seen it, or couldn’t get into it. The complex weaving in between emotions is often jarring, but to me, it feels all too real.
Show-runner Raphael Bob Waksberg and his team have created their opus with season four and five. They never let loose their grip on these complex themes as they introduce ideas of nuance and compliment it with beautiful animation and a hysterical variety of jokes ranging from puns to callbacks.
There are so many great video essays of this show on Youtube though, and I’m not going to be able to add much more to the discussion. I don’t want to dive too much into the show’s philosophies, but I do want to talk about Season 5, specifically the subplot of BoJack starring in a new show.(more…)
Happy Endings, like many sitcoms, features a rag-tag band of dysfunctional misfits. Their primary goal? Well, sometimes just existing presents layers of complications.
You may not be familiar with the long canceled ABC sitcom, but you are familiar with the plot. It’s an age old classic perfected by the likes of Friends or, in my overstated opinion, Community.
It’s an overbaked formula in television, especially these days in “network tv.” But it absolutely still works when the characters are interesting.
As far as surprising nominations come – there weren’t many.
The Emmys can be frustratingly safe as they reluctantly bring in new shows. It appears that “The Handmaid’s Tale” feels pretty safe in most categories, but in the comedy categories it was hard for me to figure out if they’d lean toward “Atlanta” or “The Marvelous Mrs. Maisel.”
I may flip flop a few times…
Anyway here’s the predictions and as always keep here for the most up-to-date predictions:
Outstanding Comedy Series (07/13/18)
The Marvelous Mrs. Maisel
Curb Your Enthusiasm
Unbreakable Kimmy Schmidt
I had an interesting conversation once about the illegal downloading of movies, shows and music.
This person was applying the generalized stereotype that all young people today want everything for free. In political discussion I’ve given myself a rule to avoid generalizations: I believe grouping people together lacks the nuance of the stereotype to begin with. Also, had the ability to download movies illegal happened 100 years ago, the result would’ve likely remained the same.
I try to avoid generalizations the same way I try to avoid absolutisms. I aim to remove “always” and “never” from my vocabulary since they are always exaggerations. If I were to engage a republican citizen by saying “All republicans want…” then I endanger my potential connection to this person with varying opinions.
People don’t appreciate being lumped into categories because we all believe we are complex individuals. So when the topic of “MoviePass” comes up I’ll avoid saying “It will never succeed” even as their stock prices plummet and the keep hemorrhaging money.
I’m a huge supporter of MoviePass and I believe their business model is incredibly risky, but has the potential to succeed. I’m eagerly anticipating the numbers in movie theater attendance when compared to last year when summer films had the lowest box office since 2006.
AMC announced their new premium plan recently at $20 a month. For those of us closer to an AMC theater and don’t like MoviePass’ new restrictions on re-viewings or multiple viewings, this may be enough to unsubscribe from MoviePass and try this new plan.
For this rest of us, MoviePass is still the most affordable option and the new restrictions aren’t nearly enough to urge us to leave them.
As I mentioned before, things aren’t looking good for MoviePass. But now, when/if they fall, we already have an alternative plan to subscribe to. If it holds out long enough, we may see Regal and other theater chains roll out competitive plans as well.
When music started being stolen regularly on the internet with the inventions of Napster and sharing programs like Limewire, we soon saw the music industry partner with Apple to find a more accessible way for users to buy music.
Now it’s much easier to just like a button in the iTunes app and pay $1.29 for a song you enjoy, than it is to download illegal copies. Not that illegally downloading music ever really had a significant impact on the music industry, but what it did do was encourage and inspire innovation in already established industries.
If MoviePass’ new plan had never existed, would we have got this new AMC deal?
Competition is the key ingredient in a capitalist society, right? However our movie, TV, and music industries become more and more monopolized each year and the lack of competition discourages this innovation.
Competition = Innovation.
MoviePass started competitive market in theater subscriptions services, they took a bold risk and I will likely fail, but it’s lasting impact will be worth so much to your average movie-goer for decades to come.