Netflix: Hollywood’s Favorite Charity

About Hollywood Star Walk

Chuck Berry

Yes, the rewards for Hollywood have so far been been seductively high. But Netflix is, like us, merely a consumer, not bearing the costs or risks. Its few in-house projects have been purposefully flashy to garner acres of news coverage or like Arrested Development simply build on the expensive foundations of others. It is now obvious that Netflix can pick the best of the back-catalogs and poach underemployed contemporary talent. The onus is on Hollywood executives to find money for the immediate bottom line with little or no regard for the longterm consequences, perfect for Netflix’s opportunism. Strangely as production is curtailed, the studios have let Netflix demonstrate that content is still king The tendency to gorge on marathon screenings, which is something most viewers seem to appreciate, will undermine the very existence of the networks. Networks are merrily facilitating the destruction of their own business model by destroying the notion of staggered viewing over a season, where the best shows and event screenings bookend lesser work to sustain the audience numbers through billions of dollars of advertising, their bread and butter. If consumers can view shows as and when they wish, sports and news will be the only things that distinguish networks a and there the economics are disastrously askew. It is feasible the medium- to longterm sport, or second-tier sports, could opt solely for a direct sell-through model to viewers, either as individual sport or as a co-operative aggregation. Apart from cameras and editing stations, streaming dispenses with broadcasting infrastructure and legal commitments that come with the airwaves. If the digital economy has taught us anything it is that the transitions that were expected to take years can suddenly be accelerated by momentum. Broadcast TV and scheduling as we know it is heading for extinction. Rather than straight-to-DVD, straight-to-Netflix will become commonplace and quickly gather prestige as most films will find it more sensible to have a Netflix premiere and audience rather than all the distribution hurdles.

Why DC, And Hollywood, Is Struggling With Wonder Woman

THE MAYOR: Johnny Grant and his secret panel called the shots. “Research for the nominations went back as far as 1912,” according to a 1957 Times article on the process. “It was done by the Motion Picture Producers Assn. and included not only featured stars, but also comedians of the old two-reeler days, cartoon charades, top films down through the years and producers and directors.” Afterward, a secret five-member committee, chaired for many years by the late Johnny Grant , honorary mayor of Hollywood, voted on applications, using criteria such as “longevity in the entertainment industry” and “contributions made to the show business community.” Currently, committee members meet each June and vote in an average of 20 new stars, according to the Hollywood Chamber of Commerce. Posthumous nominations are accepted no sooner than five years after a persons death and only one posthumous award is granted annually. Once accepted, the star being honored has five years to schedule a ceremony. Living stars must show up in person. Stars are awarded in six categories. Los Angeles Times Seven types of stars can be found on the Walk of Fame. The most common, by far, has been awarded for work in the field of motion pictures. Performers are also recognized for work in the fields of television, radio, live performance and recording. In addition, about 500 stars on the walk are currently blank, essentially acting as placeholders for future honorees. Fifteen “special stars,” have been awarded to events or companies, including the 1969 Apollo moon landing and news organizations such as the Los Angeles Times and Variety . There is even a star for well-known lingerie model Victorias Secret Angels which was granted in 2007 to the well-known lingerie wearing models. Apollo Landing 4 Gene Autry is the only person to be awarded stars in the five fields recognized on the Walk of Fame: film, TV, radio, live performance and music.

The Lone Ranger cost $215 million and made $244 million at the box office , for example, and it was far from the only disaster this summer. And all of this, mind you, is building to the summer of 2015, which promising to be a gut-wrenching trainwreck that will probably destroy several franchises for good. So a lot of film types are panicking, and as a result, they default to what they know makes money: Action movies starring dudes, because its still the 1980s and Angelina Jolie doesnt exist. Hollywood is a numbers game, and theyll tell you repeatedly that the numbers just dont support anything other than gigantic movies starring dudes. Of course, eventually somebody will take a risk, and all that will change; expect an absolute flood of cheap horror movies this time next year, for example. But until then, anybody who wants to make a Wonder Woman movie is fighting very dumb people with lots of money who think theyre really smart; thats a hard fight to win. Previous Attempts Have Been Terrible To their credit, DC and Warner Brothers have been trying for years to get a Wonder Woman movie or TV series off the ground. The last go-round, they got David E. Kelley to write a pilot , they filmed itand then they buried it like it was radioactive waste. And for, we might add, excellent reason , as by all accounts radioactive waste was more fun to watch. The good news is, they know they mishandled the property. The bad news is, that has seemingly scared them into timidity even more.

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