Media

TV networks spend about $100 million a year in developing pilots for series. Only a small number get to the schedule. Even fewer become ratings successes. So there’s an awful lot of very weird failed pilots out there… – Tedium

Last week the video-rental-service-turned-streaming-giant paid an estimated $1 billion for five-year exclusive U.S. rights to Sony’s theatrical releases and right of first refusal for the studio’s direct-to-streaming productions. If Netflix is going to spend that kind of money, shouldn’t it have just bought Sony outright? It’s what many people expected, and all the other major Hollywood studios have been gobbled up by other corporate giants. Josef Adalian explains why a purchase might have made sense for Netflix five or six years ago but not now. – Vulture

Censorship ain’t what it used to be, including in Ireland. Here, as elsewhere, it’s been replaced by a different C-word. The last Irish film censor, John Kelleher, was instrumental in seeing through legislative reform which in 2008 renamed and redefined his office: he was now a Classifier of films. As a result, the curtain was finally lowered on a long, shameful history of repression, philistinism and bowdlerisation that dated back to the very beginnings of the independent Irish state. – Irish Times

“Pacific Theatres announced on Monday that it would close all of its locations, which include the ArcLight Hollywood and the historic Cinerama Dome. Not as well known is that the theater chain also owns the Cinerama technology. The three-camera filming technique was introduced in 1952 in response to the rise of television, and was virtually obsolete by the time the Cinerama Dome opened on Sunset Boulevard in November 1963.” But there are still some movies made with the technique extant — what will become of them? Perhaps the leading current expert on Cinerama explains. – Variety

Novelist Mohammed Hanif (A Case of Exploding Mangoes) writes about the strange case of Sarmad Khoosat’s film Zindagi Tamasha (“Circus of Life”), which has won multiple prizes at international festivals, was cleared by three Pakistani boards of censors, made the country’s official entry for the Best International Film Oscar, glommed onto as a political football by people who hadn’t seen it, protested by enormous mobs who knew nothing about it, uncleared by those same boards of censors, and then re-cleared. The movie still hasn’t been shown there. – The New York Times

“The celebrity endorsement is a three-way relationship connecting the star, the product and us, and the internet has worked to draw all of its participants closer and closer together. We’re all mingling on the same platforms, our photos pinned to the same timelines. Social media influencers have narrowed the distinction between celebrities’ claims to fame and their ability to exploit that through sales: Influencers’ notoriety is itself derived from their facility at moving product.” – The New York Times

Univision, the largest producer of Spanish-language in the United States, and Televisa, Mexico’s largest media conglomerate (and one of the world’s biggest single producers of broadcast material in any language) will combine their content operations to form Televisa-Univision, which could become the dominant media force in the entire Hispanophone world. – Variety

Neighbours, which has been running in Australia since 1985 and is one of the country’s most successful TV shows internationally, has had two indigenous cast members and one of Indian descent publicly describe some brazen behavior from fellow cast and crew members, including one incident where an actor compared the Indian-Australian colleague to a bobblehead doll. – The Guardian

The Emmy Awards — already in a ratings tailspin in recent years as it no longer celebrates mass-appeal hits — showed how far audience levels can drop, sinking 9% to 6.1 million viewers Sept. 20. Other shows, such as the American Music Awards, the Country Music Assn. Awards and the Billboard Music Awards, hit all-time lows as well. – Los Angeles Times

It’s not just that they’re wildly popular and can be addictive. It’s because nature documentaries have at least as much artifice as any studio-produced adult video and maybe more. (“Are these seabirds supposed to be majestic or comical as they enact their mating dance? The music tells us. Whom are we to root for in this interaction of predator and prey? Listen for the menacing strings.”) Emma Maris argues that “the solution to the way [nature docs] might warp our expectations is the same as it is for porn — not to ban them, but to diversify them.” – The Atlantic

In fact, reporter Angela Watercutter compares the 15-second-video service old Surrealist game Exquisite Corpse: “The platform, thanks to its duetting and stitching functions, automates a lot of what the Surrealists were doing. It’ not exactly an exquisite corpse, since TikTok records the entire genealogy of any given work, and there is a want for continuity with what others have contributed before. But there is a similar spirit of spontaneous collaboration, and a kindred quest for the absurd.” – Wired

“Virtual entertainment is the new cultural center of gravity,” Authentic Artists founder and CEO Chris McGarry told Protocol. Authentic Artists has developed a dozen such virtual DJs thus far, and is powering their performances with a custom-built AI music engine that uses a catalog of 130,000 MIDI files to generate performances in real time. The resulting music is being fed into the company’s animation pipeline, and there’s a feedback mechanism for Twitch audiences to change the course of a set. – Protocol

As a matter of fact, there were so many complaints about the bump in programming for special coverage of the Duke of Edinburgh’s death that the BBC had to set up an whole new temporary complaint page. And it wasn’t just the main channel. “BBC Radio 4 and Radio 5 Live also aired special programming charting Prince Philip’s life, while BBC Four was paused and displayed a message directing viewers to switch over for a “major news report”. – BBC

In 1992, television wasn’t all about the latest competition or race or humiliation reported to the camera. So when The Real World started, it was a shock. Perhaps not as much of a shock – but a choice that has echoed for nearly three decades – is the way the show framed Black cast members. “The show often sacrificed nuance in favor of drama when framing the Black castmates for the network’s predominantly white audience.” – BuzzFeed

The 1991 project was believed to be lost. “But after Tolkien fan clubs urged the broadcaster [Channel Five] to scour the archives of its Soviet predecessor, Leningrad Television, workers for Channel Five managed to find the footage last year” – and to put it online for all of us to enjoy in late March. – The New York Times

Chloé Zhao won another directing award for Nomadland, which also won best film on the second night of the mostly online awards. Anthony Hopkins was a surprising win for The Father; at 83, he’s the oldest male actor to win a BAFTA. Promising Young Woman and Emerald Fennell also came in for surprising wins, and Youn Yuh-jung’s win for Minari capped a late surge for the actor. – The Guardian (UK)

Zhao, director of Nomadland, is the first woman of color and only the second woman ever to win the DGA award. Though director David Fincher didn’t win for Mank, he had a great line: “Directing … is a bit like trying to paint a watercolor from four blocks away through a telescope, over a walkie-talkie, and 85 people are holding the brush.” – The New York Times

To keep actors safe – and, of course, to cover their own liability – some productions are now employing intimacy coordinators. But contracts can go farther, and the #TimesUp group has suggested that “a so-called ‘nudity rider’ or ‘simulated sex waiver’ should be in place before filming begins.” – BBC

The easiest part of being an extra, ahem, a background artist, is that you just have to be there. “Being an extra requires no experience, no acting talent and no talking.” – Los Angeles Times

In 2016, 25 queer women characters on TV died on scripted TV and streaming shows. But Wynonna Earp promised to be different. With the choices the writers’ room and showrunner made, viewers saw “an acknowledgement of — and a direct rebuke to — a hurtful trope.” They rewarded the producer with trust and increased interest. – Los Angeles Times