“Obviously, the best-charting wide-release averages were Jurassic World and Avengers; if you’re adept at elementary-school math, you probably deduced as much. But where these per-screen numbers get truly interesting are the limited releases. Often, prestige and art-house distributors will launch their titles in fewer than ten theaters, usually in New York and Los Angeles; if they perform well, that can lead to larger rollouts that take advantage of momentum and high tidings.”
Facing attacks in the tabloid press under headlines such as “BBC blows £8 million on weird art website” and “BBC bosses waste MILLIONS on bizarre art projects – including puppet videos”, “the Corporation defended its use of licence fee money to fund The Space website as it faces multi-million pound cuts to its finances.”
The audience for live TV appears to be contracting to a smaller base of passive, older viewers. Most worrisome from a financial perspective is that television is reaching fewer fifteen-to-thirty-five-year-olds, who spend more time engaging with social media on smartphones than staring at freestanding screens.
“Nielsen says Sunday’s three-hour special on Fox averaged just 11.9 million viewers, making it the least-watched Emmycast in history. Last year, when it aired on a Monday in late August on NBC, it logged 15.6 million viewers. In 2013, 17.8 million viewers tuned in for CBS’ broadcast, teamed with an NFL game as a powerful lead-in.”
“In contrast to Hollywood’s rom-coms – whose pleasures often feel like ‘settling’ – their TV analogues have a romanticism that is at once earnest and earned. They’re unphony about sex. They’re legitimately funny. They provide a helpful blueprint for any American planning to sleep with a Brit. It doesn’t hurt that they have short seasons: you can binge-watch these shows without losing your week.”
“Newsrooms everywhere are given to apocalyptic predictions of their own demise. But more than a dozen current and former Times and Tribune staff members — both in the newsroom and on the business side — suggested that The Times was facing a crisis more dire than any it had previously weathered. It has been battered by cutbacks for so long, they said, that it cannot wait any longer for the company’s strategy, which has shown few signs of working, to bear fruit. It must grow its way to the future, they said, not slash.”
Especially notable? “Olive Kitteredge” won a lot of awards; “Game of Thrones” broke a 15-year-old record for most wins; Viola Davis shattered a much more shameful record from the Emmys’ 67-year run.
“‘I’ve been given the opportunity by the August Wilson estate, he did 10 plays—I’m directing, producing and acting in one, and I’m executive producing the other nine,’ said Mr. Washington. ‘I made a deal with HBO. We’re going to do one a year for the next nine years.'”
“The new entity will develop, distribute and produce a slate of Chinese-language films, including global tent poles, for distribution in China and around the world. The first titles from the imprint could be released as soon as 2016.”
“I’m prepared to be exasperated Sunday night when the Emmys are awarded. That said, here are my ironclad predictions.”
“‘Look, you can’t tell kids something is cool. No one’s really been able to reach teen girls,’ Patricof says.’“My kids are addicted to Snapchat, but it’s a tool.'”
Kyle Buchanan: “Nor am I saying that just because a movie features a gay or trans character that that character deserves to be the undisputed lead … But if these movies are being made because the queer and trans characters are so fascinating, let’s keep those characters at the center, where they belong.”
“The fact that they’re puppets being manipulated becomes an existential issue as well. You know someone’s manipulating them – they don’t know it.”
“On Thursday, the film was withdrawn from the Toronto International Film Festival just one day before it was set to enjoy its world premiere after news emerged that the film’s director, Matthew Cullen, has moved to sue the producers for fraud. It’s a turnabout almost worthy of the novel’s unpredictable comic suspense.”
The super-abundance of TV programming can be traced to the basic laws of supply and demand — the network appetite keeps growing. The increase in indie film production is more idiosyncratic.
“Boston native Seth Stevenson demonstrates the do’s and don’ts of non-rhoticity, the intrusive r, and the broad a. Soon enough, you’ll be pahking cahs, sawring wood, and taking a bahth.” (video)
“Far from signaling the fading cultural import of the late-night talk show, which is what everyone feared the market-share-cannibalizing Leno-Letterman wars augured in the 1990s, this fragmented landscape has invigorated the format—nearly every weeknight brings some rich moment that goes viral.”
“The Vanity Fair article, written by David Kamp, talks about the changes within the last few years in late-night comedy. The article also points out that women are still missing from late-night TV.”
Piers Handling: “When I was younger, what got me engaged were filmmakers who taught me to think analytically, and it began to reveal truths about relationships in the world – between people and society and everything around us – in a very different way. To decipher the world visually, try to uncover what’s beneath the surface and in the subtext, still fascinates me. And that’s what really began to open my eyes to the potential of the medium.”
VH1’s Dating Naked. The Discovery Channel’s Naked and Afraid. TLC’s Buying Naked. “Awkwardness, things jiggling or flapping, the possibility of sex, privacy undone, the prying lens – reality TV has always thrived on these elements. So ask not Why is everybody suddenly naked? Ask instead What took them so long?“
Prompted by a visit to the Walker Art Center’s CatVidFest, Jillian Steinhauer offers a nine-part meditation on the Internet’s favorite
time waster motion-picture medium and its status as art, or entertainment, or spectacle.
“Women were on a roll that night in 1990, but it didn’t seem like I was witnessing a golden age. It just seemed obvious that women could compete at the highest levels of comedy and win. Only decades later did I realize it was a spike, not a trend.”
“The first was a success, but not the way I thought it would be: It was a very duct-taped situation. Before this, Toronto was a dull black-and-white town. You went out to the opera, had a glass of punch, then went home. But we were partying as hard as we could into the small hours of the morning. We brought out the rock-and-roll side of Toronto.”
ABB’s IRB 2400, is taking steps to prevent unjust treatment of other bots by filing for membership in the Screen Actors Guild after appearing in Tuesday’s episode of America’s Got Talent.
“Is this fall’s crop an exception or a possible sign of a shift afoot? Certainly there are no major films built around women of color on the horizon. So we asked actresses, writers and directors (including a few men) from forthcoming films about what’s changed, what needs to change and how. They didn’t always agree, and the subject won’t be settled anytime soon.”
“Amazing Grace offers an unfiltered look a 1972 gospel concert Franklin gave at the New Temple Missionary Baptist Church. Footage was initially shot by the late Sydney Pollack for Warner Bros. … At issue is whether Franklin has veto power over use of the footage. … [She] is seeking a deal before the film is shown, including a $1-million up-front free as well as a revenue-share arrangement.”
“Like someone who can’t help but overindulge on too many Oreo cookies, Stephen Colbert had more material than he needed for his first episode as host of CBS’s The Late Show on Tuesday. After a taping that ran about two hours, the show was cut down to about 70 minutes for air. Though some of that extra material has been released as bonus content on the web, here’s some of what you didn’t see on Mr. Colbert’s debut broadcast.”
Tony Hall: “We know how much drama on the BBC means to our audiences. Drama is something this country excels at – it’s recognised globally. I want British drama to be the backbone of a more distinctive approach to all our services, capturing the public’s imagination with world-class work for a global stage.”
“The ability to create a home studio has put voice-over work within reach of more than just professional actors, opening up the industry to anyone who thinks they can make money off their vocal cords. And it’s led to the proliferation of websites and apps such as Voices.com, Voicebunny.com and Voice123.com that can find actors work.”
Richard Brody: “[His] career is marked by a break that occurred between 1975 and 1977, between the films Kings of the Road and The American Friend. … In that shift, Wenders went from being one of the most intrepid and riginal directors of the time to being himself an art-house signifier.”