Share and discuss news about TV stuff here.
TV news and trailers
- This topic has 1,014 replies, 32 voices, and was last updated 1 year, 9 months ago by
.
Author
-
-
Chris Redd is latest to exit ‘Saturday Night Live’
1 user thanked author for this post.
-
No date announced yet for Netflix 1899, but everyone expecting news very soon.
1 user thanked author for this post.
-
-
-
-
-
-
-
It is probably for the best. Grendel is not a superhero and to really do the material justice… by Netflix? After their treatment of Millar’s Jupiter series?!?
I thought Jupiter was pretty faithful. It wasn’t a great series – though it was an okay one – but the problem wasn’t in not respecting the original material.
3 users thanked author for this post.
-
We’ve had a few debates over the years on separating art from the artist. Channel 4 have turned it into a TV show.
Channel 4 has bought a painting by Adolf Hitler and will allow a studio audience to decide whether Jimmy Carr should burn it with a flamethrower.
As part of its latest season of programmes, the TV channel has bought artworks by a range of “problematic” artists, including Pablo Picasso, as well as convicted paedophile Rolf Harris and sexual abuser Eric Gill.
A forthcoming televised debate called Art Trouble, airing later this month, will then question whether you can truly separate a work of art from its creator – before deciding which pieces to destroy with a variety of tools.
Ian Katz, Channel 4’s director of programming, confirmed that if the studio audience chose to save the painting by Hitler it would not hang in the Channel 4 boardroom but would be “appropriately” disposed of.
https://www.theguardian.com/media/2022/oct/13/channel-4-show-art-trouble-hitler-painting
A bit like asking them whether to kill Robin or not I bet all of these will get sent to the flamethrower (well, maybe the Picasso gets a reprieve).
2 users thanked author for this post.
-
Feels like a bit of a stunt to me.
Even if you can’t separate the art from the artist, I think it’s an additional leap to then destroying that art altogether, which is not something I’d expect most people to advocate for (although given this setup, of course they’re going to end up destroying some of it as it would make for boring TV otherwise).
I wouldn’t cheer on a book-burning, even if it was a pile of books written by people I didn’t like, and this seems similarly mindlessly destructive.
3 users thanked author for this post.
-
Although thinking about it, it’d be great if they turned the tables on Carr live on air, and made the whole thing into a vote on whether a show like this made by someone with his reputation should be allowed to stay on the air.
4 users thanked author for this post.
-
Can we vote to turn the flamethrower on Jimmy Carr?
We won’t be able to tell if he’s laughing or screaming.
3 users thanked author for this post.
-
Can we vote to turn the flamethrower on Jimmy Carr?
We won’t be able to tell if he’s laughing or screaming.
It can be two things!
3 users thanked author for this post.
-
-
-
Dropping on Friday, please don’t suck!
Also, I just realised the guy playing Burton is my cousin Donal’s friend who played the pervert in Trans4ormers.
4 users thanked author for this post.
-
Coming a bit sooner than expected, Netflix launching its ad supported tier, in the UK £2 cheaper than the current basic offering.
This means an end to the Netflix mystery of ratings, they have signed up to BARB the same as other commercial channels to independently verify their viewers – I’d assume they’ll do the same with Nielsen in the US.
In a bid to build industry credibility, this week Netflix made the major move of signing up to Barb, the UK TV audience measurement company, which means that from next month its number of viewers will be independently measured in the same way as broadcasters such as ITV, the BBC, Sky, Channel 4 and Channel 5.
I used FreeVee for the first time yesterday and if that’s anything like what to expect of ad-infested Netflix (which given FreeVee is owned and run by Amazon, is a fair comparison, I think), I don’t think it’s worth the £2 saving. It has set points at which it’ll play ads, which it shows on the timeline. Are they timed to suitable break points in the film? Are they hell. Frequently just in the middle of scenes. I also kept having to pause while watching. At one point, it decided I must have left it paused too long, because it just threw in two minutes of ads when I resumed, despite not being at an ad point. Later, I had to pause in an ad break. That somehow confused the app and when I resumed, it threw back to the previous point at which I’d paused, fifteen minutes earlier (not helped by FreeVee’s rewind controls being abysmal). And these breaks only had three ads to work with – one break used the same one twice in a row.
2 users thanked author for this post.
-
I’ve used FreeVee a couple times to watch the odd movie that isn’t available elsewhere. I didn’t mind the odd ad, but I couldn’t do it on a regular basis to watch a season of tv or anything like that. I’m just so used to not having ads that I couldn’t go back.
1 user thanked author for this post.
-
Dropping on Friday, please don’t suck!
It does really look good. I had forgotten that this was a Nolan and Joy project and watching the trailer I was thinking, they’re going for a WestWorld kind of vibe, aren’t they. What I’m saying is, that is a good sign in my book. Jonathan Nolan has done amazing work on TV. If this sucked, it’d be his first misstep.
3 users thanked author for this post.
-
-
-
-
Dropping on Friday, please don’t suck!
Also, I just realised the guy playing Burton is my cousin Donal’s friend who played the pervert in Trans4ormers.
This is the first review I have seen for it (WARNING: POTENTIAL SPOILERS IN LINK): The Peripheral Review: Amazon’s Sci-Fi Stunner Delivers a Potent High-Tech Buzz… But It Wears Off Too Quickly
1 user thanked author for this post.
-
1899 Poster Points to a Series Centered on the Bermuda Triangle – MovieWewb.com
1899 is the upcoming Netflix series (Nov. 19th) from the creators of Dark.
Fans are sure to fall deep into a mind-bending mystery when 1899 arrives on Netflix later next month. The series comes from Baran bo Odar and Jantje Friese, the duo behind the acclaimed series Dark. The new series follows a group of multinational immigrants traveling from Europe to New York who encounter a second ship adrift in the open sea, opening a twisted mystery.
Netflix released a brand-new poster for the series earlier today, giving fans a glimpse at a lead character and hinting toward the basis of the puzzle fans will solve.
The poster features Emily Beecham’s character, Maura Franklin, falling through a triangle surrounded by an ocean on all sides. In the background, we can see what appears to be the immigrant’s ship, as well as the one adrift at sea. If 1899 is anything like Dark, fans should expect a mystery that contorts time, bending the rules of physics and reality at every turn.
The official synopsis from Netflix reads: “From creators Jantje Friese and Baran bo Odar of Dark comes 1899, a new mystery-thriller series that’s about to set sail. At the end of the 19th century, passengers journey from London to New York, looking forward to a new life that awaits them in the New World. When their ship comes across another one adrift at sea, all their hopes and dreams turn into an unexpected nightmare.”
Based on the information provided so far, fans may be expecting a series that’s even darker than Dark, playing into the horror and thriller genre more so than the show’s creators have done in the past. Anton lesser, Aneurin Barnard, Mathilde Ollivier, Alexandre Willaume, Clara Rosager, Richard Hope, and Miguel Bernardeau star in the series alongside Beecham. Andreas Pietschmann also stars in the series, reuniting with bo Odar and Friese after starring in Dark.
Baran bo Odar and Jantje Friese Promise a New Mystery in 1899
Dark heavily focused on the idea of time travel and paradoxes, and Baran bo Odar and Jantje Friese promise a mystery of similar depth while doing something different in 1899. During a 2021 interview with Deadline, the creators spoke about what to expect from the upcoming Netflix series.
“Knowing that we did Dark, everyone can be assured that this is going to be something weird and wild and crazy,” Odar says. However, he makes sure to mention that they want 1899 to stand on its own. “We don’t repeat ourselves, we really hate that, but it’s going to be a fun puzzle for the audience. We are going back to our mystery roots.”
For now, there’s no confirmation regarding the Bermuda Triangle or any information beyond the most basic plot details. However, fans should expect the mystery to slowly unfold episode by episode, drawing viewers in for what the creators hope will be multiple seasons. Audiences can tune into Netflix on Nov. 17 for the premiere of 1899.
-
The Witcher season 4 coming to Netflix, but without Henry Cavill
Ahead of the third season of Netflix’s live-action adaptation of The Witcher comes confirmation of a fourth season, but with a major change: Actor Henry Cavill is stepping aside as Geralt of Rivia. He will be replaced by Liam Hemsworth (The Hunger Games, Independence Day: Resurgence).
I assume Warners had to pay Netflix a good deal of money to buy out Cavill’s contract to get him back as Superman.
1 user thanked author for this post.
-
-
-
-
Why they decided to announce that now is puzzling. Season 3 hasn’t even come out yet, so Cavill will still have to do the whole PR circuit for that..A bit awkward.
1 user thanked author for this post.
-
-
-
-
Westworld cancelled after 4 seasons.
https://deadline.com/2022/11/westworld-canceled-after-four-seasons-1235163952/
Also, I had to check after reading the URL.
Would seem natural to me to have a double-L in cancelled. -
That’s a shame, I was hoping for a fifth and final season. But where they left it is not a bad ending.
1 user thanked author for this post.
-
-
So, did it get it conclude its story? Or get the traditional US TV experience of “sure, you got another series.” “End it on a cliffhanger? Go for it.” “About that next season we said you had? You’re cancelled.”
Kind of a mix. The end of season four was actually fairly conclusive, but definitely left some aspects open too, as well as teasing what the fifth season would be if it happened.
It clearly wasn’t designed as an overall series finale but it works OK as one.
1 user thanked author for this post.
-
So, did it get it conclude its story? Or get the traditional US TV experience of “sure, you got another series.” “End it on a cliffhanger? Go for it.” “About that next season we said you had? You’re cancelled.”
To me it played like a series finale… I really don’t see the point of going further than last season, but a lot of people thought different… including the show runners apparently, since it was “cancelled”…
Well at least they did a good job covering all their bases, I suppose…
-
I’m not surprised it was cancelled. The viewership was in freefall:
Average viewership in millions
Season 1: 1.8
Season 2: 1.6
Season 3: 0.8
Season 4: 0.3It was probably an expensive show and any kind of buzz about it had long since faded.
1 user thanked author for this post.
-
The viewership was in freefall
Why HBO Canceled ‘Westworld’ – The Hollywood Reporter
Ratings for the pricey drama shrank from 12 million to 4 million.
Westworld’s days of re-animating have concluded as HBO on Friday opted to cancel the genre drama from creators Lisa Joy, Jonah Nolan and exec producer J.J. Abrams after a four-season run.
The move was met with surprise though the writing for the cancellation had been on the wall. Season four wrapped its run two and a half months ago as sources say HBO — in a first for Westworld — took its time with the renewal decision as it allowed the season to find a viewership on HBO Max. The move marked the first time that Westworld had not been renewed while it was on the air.
Since its start, Westworld was considered a major swing for HBO. “The production value of this thing is preposterous,” Abrams told THR days before the show premiered in October 2016. “But it’s HBO. That’s what they do. There was no way that this idea, which Jonah and Lisa from the beginning were doing as a AAA experience — that HBO would compromise. The expense is one thing, but the results are entirely onscreen. The cast is extraordinary, and the writers and directors wanted to maximize that sense of a cinematic experience. It’s not a cheap show to make, but it doesn’t hurt the eyes to look at.”
Season one of the series cost an estimated $100 million — high by 2016 standards. The expense was justified as Westworld opened strong out of the gate and was rewarded with a speedy second season renewal as the drama became one of an early batch of high-profile shows to be off the air for nearly two years between seasons. Season one, when factoring in delayed and multiplatform viewing (remember HBO Go?), clocked in at an estimated 12 million viewers. Season four of the quasi-anthology series tumbled to 4 million viewers when the dust settled. That’s hardly enough to justify the expense of the series considering HBO delivered a new installment of Game of Thrones for $125 million, with House of the Dragon earning about 9 million viewers in its first season. Sources note that season four of Westworld, which again featured only eight episodes (compared with 10 each in its first two), cost at least $160 million.
“This is the reality of TV,” quips one agency insider.
Westworld, which changed settings every two seasons in a move straight out of the movie, was not a cheap show to produce or market. And with ratings (and reviews) diminishing for its past two seasons, and HBO committed to other high-profile shows that are perhaps more economical, it no longer made sense to return to Westworld.
To be sure, Joy and Nolan — and even HBO — had plotted a six-season journey for Westworld. Just ahead of its fourth season renewal, creators Joy and Nolan exited their deal with Westworld producers Warner Bros. Television for a nine-figure pact with Amazon. As part of the negotiations, Joy and Nolan had a carveout that allowed them to remain showrunners on Westworld through a potential sixth season. That’s a change from other top showrunners, like Shonda Rhimes and Kenya Barris, who departed Grey’s Anatomy and Black-ish after signing deals elsewhere. Joy and Nolan’s Amazon deal also included an upfront payment for showrunning services on Westworld for what sources said covered up to a sixth season.
Since signing with Amazon in early 2019, Joy and Nolan have been busy. Their first show for the streamer, The Peripheral, launched Oct. 21 and wraps its first season in December. It’s awaiting word on its future. The married writers and producers are also adapting popular video game Fallout as a series for Amazon under their overall deal.
That Westworld would not make it to its planned six seasons reflects the challenges of staying on top in the peak TV era. During its run, Westworld collected more than 50 Emmy nominations, with seasons one and two earning more than 20 each. Season three collected half that tally as ratings and reviews for its second setting tumbled.
From the moment HBO greenlit Westworld, the sci-fi drama based on the Michael Crichton book and subsequent 1973 feature film faced huge expectations. Picked up to pilot in August 2013 and ordered to series in November 2014 under former HBO programming president Michael Lombardo, the futuristic Western originally was eyed for a 2015 debut. In 2014, Westworld became TV’s hottest project and attracted an A-list ensemble cast including Anthony Hopkins, Ed Harris, Jeffrey Wright, Thandiwe Newton, Evan Rachel Wood and James Marsden largely because their characters could be killed off and return with completely different personas. (Hopkins and Harris started out at $175,000 per episode each.)
The ambitious series was the subject of swirling rumors about its messy production process for months in the years before its debut. The show ultimately was shut down from Dec. 1, 2015, to Feb. 1, 2016, to allow Nolan and Joy time to catch up on scripts, with the show rumored at one point to be pushed to 2017. Sources say it was Nolan who fought for the production to get up and running again so the series did not lose its California tax credit. It debuted to promising returns and critical response at a time when HBO was at a turning point in its history. Former head of originals Michael Lombardo, a 33-year veteran of the cabler who developed and greenlit the series, exited in May 2016 with former head of comedy Bloys taking over as programming president as the end of Game of Thrones was in sight and there was mounting pressure from the likes of Netflix and other streamers that would ultimately snap (albeit briefly) HBO’s streak atop the Emmy leaderboard. Westworld at the time was considered the heir apparent to Game of Thrones. In the six years since Westworld first debuted, that mantle now rests with House of the Dragon.
“I’m sure it’s among the more expensive ones but I can’t tell you that it is the most expensive one we’ve ever done; I would imagine it is [among them],” Bloys told THR just before Westworld premiered. “If it works, no one would be happier than me. The notion that it’s Westworld or nothing, I understand the comparisons to Game of Thrones because they’re both big genre pieces, but the fate of the network doesn’t rise or fall on this show. That being said, it would certainly be great if it connected with an audience.”
While sources say Warner Bros. Discovery CEO David Zaslav’s efforts to deliver $3.5 billion in cost savings from the recently merged conglomerate did not play a role in HBO’s decision to cancel Westworld, the move still represents the latest example of the premium cable network’s fiscal accountability. HBO recently passed on the Abrams-produced original sci-fi drama Demimonde after the mega-producer sought a budget north of $200 million. Sources say HBO execs pushed back on that number, citing the scope of House of the Dragon and its $125 million budget. Other Abrams-produced DC Comics shows were also dropped at HBO Max as Zaslav told Wall Street analysts this week that he’s most interested in expanding WBD’s well-known franchises like Superman and Harry Potter.
“We’ve been privileged to tell these stories about the future of consciousness — both human and beyond — in the brief window of time before our AI overlords forbid us from doing so,” Joy and Nolan’s Kilter Films summed up Friday.
-
-
To me it played like a series finale… I really don’t see the point of going further than last season, but a lot of people thought different… including the show runners apparently, since it was “cancelled”…
Well, they announced clearly what they were going to do with the next season – return to the original park once more, this time designed as a test whether humanity and/or the hosts are worthy of survival.
I would’ve very much liked to see that. But yeah, season 4 also works as an ending to the series, so that’s okay.
2 users thanked author for this post.
-
Honestly I think the rot started as far back as the second season, where they chased the twists and reveals of season one but made it all incredibly convoluted and messy and confusing and borderline nonsensical rather than having an elegant plan that made sense. The first season is a great, well-constructed season of TV but it feels like they never had a coherent vision for the show after that.
There was some good stuff in seasons 3 and 4 once they got out into the real world, but at the same time it ended up feeling too sprawling and unfocused and I think it lost a sense of the ideas it was more clearly concentrating on in those first couple of seasons. Its reach exceeded its grasp.
It’s a shame they didn’t get that final season to wrap it up in a more satisfying way, but I also won’t miss it too much as it’s never really recaptured the magic of season one.
2 users thanked author for this post.
-
Honestly I think the rot started as far back as the second season, where they chased the twists and reveals of season one but made it all incredibly convoluted and messy and confusing and borderline nonsensical rather than having an elegant plan that made sense. The first season is a great, well-constructed season of TV but it feels like they never had a coherent vision for the show after that.
There was some good stuff in seasons 3 and 4 once they got out into the real world, but at the same time it ended up feeling too sprawling and unfocused and I think it lost a sense of the ideas it was more clearly concentrating on in those first couple of seasons. Its reach exceeded its grasp.
It’s a shame they didn’t get that final season to wrap it up in a more satisfying way, but I also won’t miss it too much as it’s never really recaptured the magic of season one.
Season 2 really put me off the show, as I think it did a lot of people. I sampled S3 but just didn’t connect with it. I didn’t even bother with S4.
The show’s original plan was to go for six seasons. If they had had been given one more season to wrap things up, it would have been a mashup of S5 and S6. In trying to cram everything together, I think the results may have been disappointing.
1 user thanked author for this post.
-
I agree that none of the other seasons were as strong as the first, but I still enjoyed all of them.
1 user thanked author for this post.
-
Neighbours is back – this time on Amazon:
This section caught my eye:
As well as creating a new series of the soap, Amazon have announced that they will be hosting the show’s back catalogue, giving viewers access to 37 years’ worth of classic episodes.
Have any streaming services done this before, offering the entire history of a long-running soap?
Looking forward to binge-watching it from the beginning. Although be warned, it’s worth sticking with as it only really starts to get good around season 17.
2 users thanked author for this post.
-
-
This picture is apparently for Zack Snyder’s next Netflix film, Rebel Moon.
#“It’s a space fantasy, so there’s no Earth, necessarily,” Snyder said. “There’s a community on a planet, a farming planet, and there’s a bunch of bad guys. The mother world’s armies are in the area, and they need to be fed. So they come to the village and ask for the village to feed them, basically, while they’re doing their war in that area of the galaxy. And of course, they are not kind about asking – and the result will probably be the obliteration of the village. The villagers decide to fight, and so they have to go out into the galaxy and collect some soldiers, warriors to help them.”
Snyder said that filming has gone on throughout 2022 and is nearing the end of principal photography. As for inspiration for the film, Snyder said that as a Star Wars fan, he was not only eager to make a sci-film with Endor-esque action sequences, but also to build a universe that is a new IP with its own mythology.
It’s weird that he doesn’t mention Magnificent Seven, given how that is exactly what he describes (and variations of which already exist in the SW universe, of course, in Mandalorian and Clone Wars). Other than that, hey, could be cool. I’m definitely in favour of him doing sci-fi. Of course his first Netflix project was a steaming pile of shit, so, you know. Bit wary and all that. But I expect the trailer for this will be awesome.
1 user thanked author for this post.
-
This picture is apparently for Zack Snyder’s next Netflix film, Rebel Moon.
#“It’s a space fantasy, so there’s no Earth, necessarily,” Snyder said. “There’s a community on a planet, a farming planet, and there’s a bunch of bad guys. The mother world’s armies are in the area, and they need to be fed. So they come to the village and ask for the village to feed them, basically, while they’re doing their war in that area of the galaxy. And of course, they are not kind about asking – and the result will probably be the obliteration of the village. The villagers decide to fight, and so they have to go out into the galaxy and collect some soldiers, warriors to help them.”
Snyder said that filming has gone on throughout 2022 and is nearing the end of principal photography. As for inspiration for the film, Snyder said that as a Star Wars fan, he was not only eager to make a sci-film with Endor-esque action sequences, but also to build a universe that is a new IP with its own mythology.
It’s weird that he doesn’t mention Magnificent Seven, given how that is exactly what he describes (and variations of which already exist in the SW universe, of course, in Mandalorian and Clone Wars). Other than that, hey, could be cool. I’m definitely in favour of him doing sci-fi. Of course his first Netflix project was a steaming pile of shit, so, you know. Bit wary and all that. But I expect the trailer for this will be awesome.
I read that description and the first movies to pop into my head were Seven Samurai (1954), The Magnificent Seven (1960), and specifically, Battle Beyond the Stars (1980).
1 user thanked author for this post.
-
-
-
-
I don’t know, I think the frantic pace is essential to his stuff working – that’s why Matthew Vauhgn was such a good match, and Bekmambetov also got that right with Wanted. Also, Snyder doesn’t have a sense of humour, which would be terrible for pretty much any Millar work.
1 user thanked author for this post.
-
-
Oh, Ellis is still on Castlevania. And he’s working generally. He’s just withdrawn from the public eye, which is probably for the best for the time being. He re-started his newsletter some time ago though, so it’s not like he’s hiding.
But it’s still unlikely to happen, mainly because Ellis hasn’t had a connection to a successful movie yet.
(Thinking of which, might there be a chance for an Authority movie now that James Gunn is in charge of DC films? It’s right up his alley, I’d think.)
As for Millar tailoring a script to someone’s sensibilities… I don’t know, man. I mean, for one thing, he’s never written a movie script, has he? And his best work is when he cuts loose and does his own thing – I don’t feel like Millar would be the right guy to write in a certain style for someone else. It works better the other way round – he focuses on making comic books that provide good material for adaptation, and other people worry about how to bring them to a different format.
-
-
-
-
-
-
It’s weird that he doesn’t mention Magnificent Seven, given how that is exactly what he describes (and variations of which already exist in the SW universe, of course
1 user thanked author for this post.
-
…yes, clearly that was the Star Wars/Magnificent Seven story that everybody had to think of immediately.
1 user thanked author for this post.
-
I’d just love Snyder to cede more storytelling to anyone else. He’s an amazing visual director. Superman’s first flight in Man of Steel, the flying hot dog/car crash scene with Flash in the rebooted Justice League are really great moments of comics adapted to film.
The overall products though are lacking in basic story logic or 3 act structure. The character dynamics between Kal, Bruce and Diana make no sense at all.
I find a similar issue with Ridley Scott, he doesn’t seem to try and control as much but every film he does looks amazing, only some of them are amazing because he picked the right script to use.
-
I’d just love Snyder to cede more storytelling to anyone else. He’s an amazing visual director. Superman’s first flight in Man of Steel, the flying hot dog/car crash scene with Flash in the rebooted Justice League are really great moments of comics adapted to film.
The overall products though are lacking in basic story logic or 3 act structure. The character dynamics between Kal, Bruce and Diana make no sense at all.
I think the guy who made that video about how Snyder is just too focused on epic moments got it exactly right.
-
-
I find a similar issue with Ridley Scott, he doesn’t seem to try and control as much but every film he does looks amazing, only some of them are amazing because he picked the right script to use.
Well it’s not a surprise that he’s also one of my favs… Scott, Snyder, Nolan & Villeneuve… and yeah, they’re all amazing at visuals but have flaws in other areas… no one is perfect
-
-
-
James Dyer from Empire magazine is a massive fan of the game, he’s doing a behind the scenes article for the mag and has hinted not subtly at all that he’s seen the whole thing and called it ‘outstanding’.
1 user thanked author for this post.
-
Hope so. They have a great basis to work from in the games, and from the trailer it seems like they’ve stuck very close to that template.
(Which by my reckoning means that about half of each episode will involve the characters opening drawers and cupboards.)
1 user thanked author for this post.
-
-
-
-
-
-
Huh, I don’t think I ever watched the last series of that.
You didn’t miss much. It really wasn’t very good.
1 user thanked author for this post.
-
-
Movie fans can sue over misleading trailer, US judge rules
Two film buffs say Universal Pictures tricked them into renting 2019 flick Yesterday because the trailer featured actor Ana de Armas.
Peter Michael Rosza of San Diego and Conor Woulfe of Maryland say they forked over $3.99 each to watch the Richard Curtis comedy on Amazon Prime, only to discover that de Armas had not made the final cut.
A class action suit filed earlier this year alleges fans had been led to expect the Cuban star of No Time To Die star would feature prominently. However, they “did not receive a movie with any appearance of Ana de Armas at all”, says the suit, reported by US media on Friday.
Accordingly, “such consumers were not provided with any value for their rental or purchase”, the suit added.
I wonder if I can sue for Man of Steel not including Superman
-
-
I wonder if I can sue for Man of Steel not including Superman
You’d be sticking your neck out.
-
-
-
Netflix cancels 1899:
https://variety.com/2023/tv/news/1899-canceled-season-two-netflix-1235477349/
Netflix might lose Wednesday to Amazon:
Netflix not having a great week.
-
Wait…did Elon Musk buy Netflix?! That’s the only explanation that makes sense.
I think he also secretly bought Southwest Airlines.
1 user thanked author for this post.
-
-
I broke my rule of not watching Netflix shows with 1899 because Dark had a 3 series run, so I felt pretty confident it would get renewed….It’s a bloody shambles over there🙄.
3 users thanked author for this post.
-
Finally, some good sense prevails.
1 user thanked author for this post.
-
Reflecting a little on this I’m not sure Netflix has been that unusual in its responses to renewing stuff.
I have a lot of issue with it cancelling things, especially the trend of commissioning expensive longform stories, they’d be better off taking the approach of mini series that have an ending but could be expanded on (which Wednesday was to a degree, we get a little teaser at the end but it works fine as a single story apart from that).
On the other hand we have HBO and Amazon renewing shows like House of the Dragon and Rings of Power after one episode gets good ratings which isn’t necessarily great business if people get bored of them and switch off by episode 5. Wednesday is a big hit but it wasn’t released that long back, I’m not sure waiting 2 months to get all the data in is actually that unreasonable. In pre-streaming days I think that kind of timescale would be fairly normal.
1 user thanked author for this post.
-
I think the issue is not so much necessarily the individual decisions themselves (all TV commissioners are going to have to make similar choices, ultimately, based on how popular a show is) but the clunkiness of the Netflix machine that means the process is a bit opaque and even hit shows can take a long time to be renewed and years to actually see a follow-up.
Even when they do have a hit show it seems to take them ages to follow it up with more, and it’s a couple of years before a second season hits. For example Squid Game was September 2021 and feels like an age ago now.
I think it’s symptomatic of a big corporate machine that moves slowly, moreso even than broadcast TV (which typically managed to get series out on a roughly annual schedule) – which is ironic given that Netflix has always tried to position itself as the slicker alternative.
You only have to look at the Millarworld stuff to see how slow and clunky the Netflix machine is. They’ve had one TV show and one anime series out of that deal. In the meantime in the same space of time Amazon have done three seasons of The Boys and a spinoff show is about to come out.
I guess it’s partly a case of Netflix having so much stuff in development that they can’t schedule stuff quickly – but so much of it is below-par filler stuff that it feels like the machine needs to be more efficient, or at least more focused on getting the good stuff out quickly. It’s like they can’t sort the wheat from the chaff.
-
And then there was the unfortunate thing in Mexico, no? I think the MW thing is cursed… =/
1 user thanked author for this post.
-
I’d agree there. The slow appearance of follow up episodes does damage shows. A few Netflix popular series have taken well over two years which handicaps viewer retention. I loved The OA season 1 but by the time the second came around, nearly 3 years later I had to call up YouTube for a recap to remember what happened. It has to be a factor why it was axed.
My kids were way into Lost In Space season 1, in the two and a half years to follow it up they lost interest. It’s maybe a different issue in some ways, announcing Wednesday season 2 now in no way prevents there being more in under 12 months but for good or ill US TV had a system that used to churn out 24 episodes rain or shine and was confused by the BBC model that made 6 or 8. Now specifically for Netflix it seems making 6 or 8 annually is a struggle.
The Millar stuff is also relevant, I heard him interviewed in 2020 describing the production with the Mexican setting and director and cast and none of that has changed, it is nearing 3 years later and it still isn’t out. We have a trailer now but that is glacial speed.
-
-
