If all had gone to plan, that number would be higher. Unfortunately, Apollo 13, the third mission planned to land on the moon, was aborted two days into the mission, after an oxygen tank ruptured. Instead, the mission had a new objective: get the three astronauts home alive.

“Houston, we’ve had a problem”

The story of Apollo 13 is widely known, in large part due to it being dramatised in Ron Howard’s Apollo 13. Survival might not have any new revelations about the events, but it wisely focuses on Captain James “Jim” Lovell (played by Tom Hanks in the film) and his wife Marilyn. Comprised of archive footage, encompassing his family, the mission itself and at NASA, it gives a complete picture of the events of Apollo 13.

The focus on Lovell and his family proves to be the right decision, with everything going on, it’s sometimes easy to forget that three people are stranded and that there is a very real possibility that none of them make it home. Lovell himself is the most fleshed-out character, with a brief introduction reminding us how close he was to being first on the Moon. His narration looking back at key points is very insightful.

“We’ve had our crisis”

Of course, being archive footage, there isn’t quite a cohesive look to the film with various cameras and people behind them. The filmmakers have done an excellent job of finding and piecing together all the different strands, and the narrative flows very well. Like the mission itself, there are many moments of calm during the film. Perhaps the best of these occurs when the craft reaches the dark side of the moon, blocking out the sun. As we’re reminded “there isn’t really a night in space”, we are left with a stunning view of the stars.

Meanwhile, the atmosphere in Mission Control is rarely so calm, and delays in communication that last seconds feel like hours as they wait for the astronauts to respond. A few helpful reconstruction shots, help to fill in the gaps created by a lack of footage. In everyone’s defence, they clearly had other things on their mind than getting a cool shot of a warning light.

Poor Marilyn has had the worst ordeal by far. Stranded at home, she is unable to help her husband; instead, she just listens to every communication and waits. Her children also talk about their experience of this time, the agony of being unable to do anything to help and not knowing whether Jim will come home. These sequences are mostly made up of stills, with the occasional news report or home movie. The different sources almost give the three storylines their own visual style, making it easy to keep track of who is speaking, despite not being able to see them all the time

Verdict

Although the events of Apollo 13 have lived on, there is something about hearing the people involved in the moment that almost transports the viewer there. Lovell’s added narration is a nice touch and adds a sense of emotional weight and hindsight that enhances the experience. The points of view all help give a complete picture, and it’s an extraordinary tale of survival against impossible odds.

Rating: (4 / 5)

Apollo 13: Survival is available now on Netflix

Also Read: Space, Satire, and Society: Tracing the Trajectories of “Red Dwarf” and “Homeboys in Outer Space”

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While the undisputed champion, the Marvel Cinematic Universe, is currently at “a bit of a low point ” (Deadpool’s words not mine) the question of “superhero fatigue ” is once again entering the conversation. With both Marvel and DC banking on the audience’s continued interest, it doesn’t seem like the end is in sight, but what could the next big thing in Hollywood be?

Toy Story

Hollywood studios like to chase trends. If one studio has made something that’s making a lot of money, they try to do the same thing. It’s fair to say that cinema has had a rough few years since the Covid-19 pandemic. The biggest hit post-pandemic has undoubtedly been Barbie, becoming the highest-grossing film of the year, as well as the highest-grossing film from Warner Brothers and 15th highest of all time. Mattel has started development on films based around some of its other IP in an effort to recreate its success. Hasbro has been in the business of making films about its products for a while, with the Transformers and G.I. JOE franchises. The Lego Movie was a surprise hit, managing to spawn a franchise, including a Batman spin-off.

However, the Lego franchise reached diminishing returns very quickly. With four films in five years, the series quickly lost steam at the box office. Plans for the series are still in development, and the success of Barbie has likely reignited interest. Both Barbie and The Lego Movie benefit from being their directors, Greta Gerwig, Phil Lord and Chris Miller are very unique and distinctive voices, and it’s fair to say that the films would not have been anywhere near as successful without their vision. Would a director be able to find a compelling story about the human condition in an Uno film?

Life Story

Of course, Barbie didn’t do it alone. The other half of the Barbenheimer phenomenon, Christopher Nolan’s Oppenheimer, was also a huge hit and went on to win the Best Picture Oscar. It follows in the wake of several other high-profile biopics, including Bohemian Rhapsody and Rocketman. Biopics, have been around for a while, but seem to be much more high profile lately, especially ones centred around musicians. With films about Bob Dylan, Bruce Springsteen and each of the Beatles in development, it doesn’t seem like they will be going away anytime soon.

But at the risk of running into “Biopic fatigue” it’s not just musicians that are in consideration. We’ve had Ferrari and House of Gucci (both starring Adam Driver) as well as Le Man’s 66. There is always another incredible story to show on screen, although these often end up being rather one-sided (something Oppenheimer managed to avoid) and can run into trouble from family members. Or even having to change the narrative to make a more coherent film. The Iron Claw, for all its success, has an even more tragic story in real life. The biggest hurdle is probably that the audience for one film does not always mean they will see another. Oppenheimer and Ferrari are both period pieces, but they have very little in common, and it’s hard to find subjects that reach such a wide audience. But then again, Christopher Nolan made nuclear physics compelling, so anything is possible

Final Thoughts

As fun as it is to speculate, it is almost impossible to predict what the next trend will be until we are in it. It was hard for anyone to believe that superheroes would be the next big thing when Iron Man hit screens in 2008 or that the reign would last this long. With Deadpool and Wolverine being the fastest-grossing R-rated film of all time, it seems unlikely that superheroes are going away just yet. Joker: Folie a Deux is entering new territory with the first full superhero musical (although The Marvels technically had a musical number), but Hollywood seems averse to musicals and rarely advertises films as such. Only time will tell, but there will certainly be plenty of discussion about it until we get there.

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Pizza Time!!

Following on from the smash hit success of the original, director Sam Raimi returned to bring his unique vision of the character to life. This time Peter Parker (Tobey Maguire) is facing Doc Ock (Alfred Molina), while still trying to maintain an ordinary life. Peter’s efforts to live a normal life take just as much focus as his mission to save New York, and his relationships (or lack thereof) with Mary Jane Watson (Kirsten Dunst) and best friend Harry Osborn (James Franco) follow up from the first film.

One of the reasons it has stood the test of time is it feels timeless. In a way that is comparable to Batman: The Animated Series, the version of New York presented here is almost a character itself and stylised in such a way that it both feels like it’s set in the present day, the early 2000s, or even in the 60s. The tone is influenced by the original Stan Lee and Steve Ditko comic run, with the film taking massive influence from “Spider-Man No More” right down to cover. Part of this is that, by virtue of being one of the earlier 21st-century superhero films, it doesn’t try to compete or react to anything. The reboot is a reaction to a post-Iron Man and The Dark Knight world, opting for more “realism” while the later series exists as part of the MCU and is forced to sit comfortably in that world. Raimi’s version is very much in the vein of Tim Burton’s Batman or Richard Donner’s Superman. An artist and their vision with little studio interference, rather than as an excuse to maintain a copyright or as part of a cinematic universe. 

The power of the sun, in the palm of my hand!

In an interview regarding a possible Spider-Man 4, Raimi said that the challenges were the same that he faced for all the films “Is there an emotional arc? Is there a great conflict… and is there a worthy villain that fits into the theme of the piece?” Doc Ock is indeed a worthy villain. A personal hero of Peter’s, we spend time getting to know him and his vision of a better world, being almost a father figure to Peter. Octavius’ life is upended in a tragic accident, and even when he is in full-blown villain mode, he’s not actually out to hurt anyone, he just simply doesn’t care if people are, believing that “the real crime would be not to finish what we started”. Molina, a respected stage actor, but hardly a big name at the time, effortlessly plays the kind-hearted and warm Otto, before becoming tortured and racked with guilt. When he finally does go full villain, it’s almost charming. This version of him is one of Peter’s heroes,  and we spend time getting to know him and his wife, with Peter being almost the son they never had. This serves to only make his downfall that much more tragic. The scene in the hospital after the accident, in which his mechanical arms brutally murder the surgeons, not only allows Raimi to tap into his Evil Dead roots, but shows how dangerous Doc Ock is.

You have a train to catch!

Both Peter and Otto’s journey is about them trying to live their dreams. Peter wants to live a normal life, and Otto wants to complete his experiment. We also see the consequences of those dreams, with Peter eventually realising that New York needs Spider-Man, which leads to the train fight. A ten-minute sequence that is the film’s most impressive set piece. Despite being CG, the fight weights it, with the passengers adding to the tension. It all culminates in Spidey stopping the train with brute force and a powerful moment where the passengers defend him. The train scene has become almost as iconic as the upside-down kiss from the first film, referenced in cartoons, comics, the Spider-Verse films and even the Playstation game.

Spider-Man 2 builds upon the success of the original, but rather than going bigger as most sequels do, it instead goes deeper. Peter’s relationships are at the heart of this film and each of them are explored in far more depth than the first. While Doc Ock is a threat, Peter’s self-doubt is just as much his enemy. All of this comes together to create a film that proved the first wasn’t just a fluke, as well as setting the gold standard for the genre.

Also Read: The Story of James Cameron’s Spider-Man

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Previously…

Of course, a film ending on a cliffhanger is nothing new. In the early days of cinemas, serials would play before the feature presentation, with the hero in a seemingly impossible situation, to be resolved in the next instalment. The practice is very common in television. The obvious reason for this is it encourages an audience to come back for the next instalment, in order to find out what happens.

One of the main reasons to split a film is because of runtime. There has been some talk in recent years around films being too long, with the likes of Avengers: Endgame, Oppenheimer and Avatar: The Way of Water all running over three hours. Older films, like Lawrence of Arabia or Seven Samurai, featured an intermission, allowing an audience chance to stretch their legs, use the bathroom, and think about the film. Quentin Tarantino chose to release Kill Bill into two parts, rather than cut “some of the best scenes”. The film was written and produced as one film, only being split during the edit. Sam Raimi wanted to do something similar with Spider-Man 3, but could not find the right point to split the film.

Of course, some films go into production, knowing it’s only part of the story. Back To The Future, Pirates Of The Caribbean: The Curse of The Black Pearl and The Matrix had sequels greenlighted after the original instalment was a success. Parts two and three were filmed back to back. Filming in this manner allows the production to save money, work around actors’ busy schedules and avoid things like characters ageing between instalments.

Next Time…

Harry Potter and the Deathly Hallows started a trend of two-part finales. Warner Brothers were concerned about a long runtime, and the filmmakers did not want to miss key scenes from the books. The decision was made before production began, and it was treated as one film. Interestingly, the fifth film The Order of the Phoenix, is the second shortest film, despite being the longest book. The decision to split the final book in two worked, as both parts were well received, and the final entry was the highest-grossing of the franchise.

Many other franchises saw this success, with it becoming common practice to split the concluding chapter into two. The Hunger Games: Mockingjay, Twilight Breaking Dawn two other big YA franchises followed suit. It was also attempted with the Divergent series, but the poor box office cancelled the fourth entry.

One of the biggest two-parters in recent years is the two-part “finale” of the Marvel Cinematic Universe. Originally announced as Avengers: Infinity War Part One and Two. The two films were shot back to back but were very much envisioned as two films. Likewise, the It films adapted two different parts of the book, but the second film was dependent on the first’s success, as with Dune. These films all have a lengthy runtime on their own, so splitting them seems natural (because intermissions are less popular now).

Ultimately, part one of a story seems unavoidable sometimes. Many of these films likely could be cut down, but some moments that turn out to be favourites would have to be cut, and that can make later moments not hit as hard. As we’ve seen countless times, trying to cram a whole book, especially into two hours is incredibly difficult, so Dune: Part Two makes a lot of sense. It doesn’t seem likely they’ll be going away anytime soon either, at least not unless the interval comes back.

Also Read: Don’t Make That: Films That Don’t Need A Sequel/Reboot

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Pirates of the Caribbean: The Curse of the Black Pearl

It’s hard to imagine now, but the first entry wasn’t a guaranteed smash hit. Theme park rides don’t have a great reputation for successful films. At one point considered as a direct-to-video release, with everyone from Cary Elwes to Christopher Walken considered for the now iconic role of Captain Jack Sparrow. Originally written for Hugh Jackman, the role went to Johnny Depp, who has become synonymous with the role and a household name. Although critics expected it to be a flop, it went on to become the fourth highest-grossing film of the year, launching countless impressions and parodies and four sequels. Also, it gave us this iconic theme.

X2: X-Men United

Put into production a few months after the success of the first film, the second film is more ambitious in every way. Introducing new characters, like Nightcrawler, who features in the action-packed opening, and featuring a much more ambitious story, it had the top spot at the box office for two weeks. Coming before the superhero domination of the box office, X2 went a long way to ensuring the genre’s success, as well as renewing interest in the comics.

The Lord of the Rings: Return of the King

Concluding the trilogy that first hit theatres in 2001, the final entry in the series had immense hype surrounding it, leading it to become the second film ever to reach $1 billion at the box office (behind Titanic). It won a whopping eleven Oscars (the highest total, an honour it shares with Titanic and Ben-Hur), for every category it was nominated for, including Best Picture. To this day, it is held up as one of the best films ever, and the trilogy itself is often spoken about with the same reverence as Star Wars. It spawned a prequel trilogy a decade later, adapting The Hobbit, putting the Wētā Workshop on the industry map, and has had a massive effect on the New Zealand tourism industry.

Memories of Murder

The second film from now Oscar-winning Korean director Bong-Joon Ho is based on several real murders that occurred during the late 1980s. Its limited release meant it was a cult film outside of Korea for a long time, but in its home country was so successful it saved its production company from bankruptcy. Amongst its many fans are Quentin Tarantino who declared it, along with Bong’s next film The Host, one of his favourites since 1992. At the time of release, the murders the film was based on remained unsolved, meaning it is entirely possible that the real-life murderer has seen it…

Elf

Despite the script being written in 1993, it took another ten years before the film would hit cinemas. Eventually landing Will Ferrell, fresh off Saturday Night Live, to star and Jon Favreau, probably best known for Swingers and a few episodes of Friends, to direct. Against a measly $33 million budget, it earned $220 million at the box office. Ferrell’s film career was off to a great start and the film regularly tops or places highly in “Best Christmas Movies” lists. Favreau is doing pretty well for himself too, having directed Iron Man (giving himself a recurring role in the MCU in the process), adaptations of The Jungle Book and The Lion King as well as show running The Mandalorian.

2 Fast 2 Furious

The early entries in the franchise are a strange time capsule, compared to the monstrous hits they’d become. The sequel’s move to Miami and buddy cop story was a departure from the original, but in retrospect, is the beginning of what it would become. Introducing Tyrese Gibson and Ludacris to the franchise, as well as showing how malleable the series could be. It laid the groundwork for a long-running franchise, even if reviews were disappointing.

Also Read: 10 Iconic Horror Movie Masks

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Beware Spoilers for Star Wars: The Clone Wars and Star Wars: Rebels

“I’m not so bad am I?”

Ahsoka Tano first appeared in the Clone Wars film, way back in 2008. A prelude to the animated series of the same name (not to be confused with the other Star Wars: Clone Wars) it is set in the galaxy-wide conflict between Attack of the Clone and Revenge of the Sith. Introduced as an apprentice to Anakin Skywalker, the two initially have a rather tense relationship, but bond over the course of the film and early seasons. She was met with a poor reception, as Ahsoka and the film itself were not popular among the fans at first.

As the series goes on, Ahsoka begins to take more of a starring role. Getting much more time to develop and being on equal footing with characters like Obi-Wan Kenobi and Anakin Skywalker. As she grows up and matures, so does the show, with her being at the centre of some of the most beloved story arcs. Ahsoka became central to the show as well as to Anakin’s fall to the dark side. During the series, Ahsoka is wrongfully accused of bombing the Jedi temple. Anakin clears her name, but the events make Ahsoka question her place in the order and leave – a Jedi no more. The final episodes see her take centre stage as she battles Darth Maul, explaining her absence in Revenge of the Sith.

“I am no Jedi”

Although not a main character, Ahsoka plays an important part in Star Wars: Rebels. Acting as an agent for the Alliance, she often does missions with the crew of the Ghost, including Hera Syndulla, Sabine Wren and Ezra Bridger. During an epic confrontation with Darth Vader, she discovers the fate of her old master. Her whereabouts for the rest of the series, and the original trilogy are still a mystery. Ahsoka later turns up at the very end of Rebels, in a scene set after Return of the Jedi.

During the events of the finale, the Ghost crew attempt to free Lothal, Ezra’s homeworld, from Imperial rule under Grand Admiral Thrawn, a ruthless tactician. Knowing they cannot beat Thrawn, Ezra uses the Force, and his unique affinity with the whale-like Purgill to transport Thrawn’s ship far away, with him on it. After the Empire is defeated, Ahsoka sets out to find Ezra, after he saves her from Vader, with the help of Sabine.

Ahsoka’s quest has led her to cross paths with the Mandalorian and Grogu, as well as meeting up with Luke Skywalker, but now she’s finally getting her own series, she could be going anywhere, even another galaxy…

Also Read: George Lucas: Beyond Star Wars

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Things often move around streaming services, being taken off one only to appear on another later. Daredevil and other MCU shows, despite being produced by Netflix, ended up on Disney+. Recently, however, some projects have just been taken off with no sign of a new home. With no physical releases and no way of watching them legally, these shows and films are practically gone forever. Leaving actors, writers, directors and everyone involved with no evidence of their hard work.

Here is a list of titles that are no longer with us. Removed for various reasons, and with no home in sight.

Willow (2022-23)

Perhaps one of the most confusing entries on this list. Willow was a sequel series to the 1988 film of the same name, following the wizard as he helps six new heroes. Produced by Lucasfilm, and a sequel to a cult classic, the series was positioned as a big hitter for Disney+. The original film is praised for its special effects and character designs, with the series also being received well. After its first season aired, reports began to emerge that it was cancelled, but showrunner Jon Kasdan (Son of Lawrence) released a statement to clarify in March. The show wasn’t cancelled but wasn’t going into production straight away. However, only two months later, it was announced that the series would be leaving the service, only a few months after it finished

Crater (2023)

A Goonies-eque adventure following a group of friends on the moon, going on one last trip to see a crater before one of them moves away. Despite not having a massive budget, it was an excellent showcase of talent from the young actors. Receiving positive reviews, it launched on Diseny+ with little promotion. After being on the service for less than two months, it was removed.

Dollface (2019-2022)

A sitcom focused on a woman who reconnects with her female friends after being dumped by her partner. The show starred Kat Dennings, Brenda Song, Shay Mitchell and Esther Povitsky. While it never set the world alight in terms of reviews, the Margot Robbie produced sitcom had a dedicated fanbase. Its second season premiere, was the 10th most watched original series in the US, moving up to 5th place the week after. A few months after its second season, Hulu confirmed the series was cancelled, with it being removed from the site shortly after.

Rosaline (2022)

A throwback to the modern Shakespere adaptations of the early 2000s. Booksmart’s Kaitlyn Dever stars as Rosaline, Romeo’s ex-girlfriend, who he leaves for Juliet. The film features the classic love story from her perspective, as she attempts to break the couple up. The film was well received, with Dever, in particular, being praised. It’s a nice throwback to a type of film that isn’t made very often nowadays. Sadly it was removed from Hulu, and with no physical release, looks to be lost forever.

Y: The Last Man (2021)

Based on the critically acclaimed comic series of the same name, it follows the fallout of a virus that wipes out all mammals with a Y chromosome, effectively killing off all males, except one. The series built upon the foundations of the comic and explored gender with much more nuance, including trans, intersex and non-binary people, which were talked about much less two decades ago. The series was highly anticipated, due to the comic’s following as well as marketing, but suffered from coming after the real-life Covid-19 pandemic, which ballooned the already large budget. The show was cancelled after airing 7 of its 10 episodes. It was later removed from streaming when Hulu purged content and cancelled shows.

Also Read: How the Streaming Revolution Has Fuelled Movie Piracy

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A Long Time Ago…

Motion Capture has been around for decades, with Disney using rotoscope animation for its features. This involved tracing over the individual frames of a live-action performance. While it’s hard to know exactly where it was first used, it arguably became popularised with the original Mortal Kombat game. It wasn’t actually the motion capture we’re familiar with today, the actors were actually in costume. They performed the moves and were then “digitized” into the game, with the movements translated into animation as individual frames. That’s why the character models for the original game look so good because they’re real people!

It quickly arrived in films too, with Batman Forever notably using a “digital stunt double” for several shots. The video game adaptation used similar technology to animate its characters. But as usual, George Lucas was the one took things to a whole new level. 1999 saw the release of Star Wars: The Phantom Menace, Lucas had to wait for technology to be at a stage for him to complete his prequel trilogy and a large part of that was Jar Jar. The clumsy alien was played by Ahmed Best who is from a physical percussion group background, and was originally only hired for motion capture, before also voicing the character. Although the character was met with negative reception, it remains an important step forward for filmmaking

Apes. Together. Strong.

Around the same time, WETA Digital were working on bringing Gollum to life for Peter Jackson’s The Lord of the Rings trilogy. After Andy Serkis’ impressive physical performance, and casting as Smeagol, the original model for the character was changed, to resemble Serkis more. The original model can be seen during the first film. Gollum’s scenes were filmed twice, once with Serkis, and once without. Serkis didn’t actually wear anything we would recognise today for the performance, instead wearing a simple white leotard. They were able to render a (unfinished) model in real-time, to help visualise. Many of the techniques (as well as Serkis) used for Gollum would later be applied to Jackson’s version of King Kong and would be developed further for Matt Reeves’ Planet of the Apes prequel trilogy. Serkis used his influence to found The Imaginarium Studios, a performance capture facility, which recently relocated to Pinewood

Welcome to Pandora

James Cameron took things to the next level with his smash hit Avatar, using motion capture technology to bring to life the alien Na’vi, this time having a camera focused on the actor’s face, as well as whatever cameras are capturing the scene. This technique allows the animators to be able to directly translate the actor’s performance onto the digital character, rather than just as a reference footage. This is the technique commonly used today, and it’s only getting better. Being used to bring to life creatures like the Hulk and Smaug the Dragon, as well as in video games to create more realistic animations and performances, it makes sense why there are so many calls for mocap performances to be recognised at the Oscars.

Also Read: The Many Faces Of Andy Serkis

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Infinite Ammo (Until it’s not)

The scene of one or two heroes taking on a room full of bad guys comes up a lot, and with good reason. It shows our hero’s skills and usually looks cool. What is less cool is watching those heroes, fumble around in their pockets for spare bullets. So, the simple solution? Just activate an infinite ammo cheat! Some films go even further and don’t even require our heroes to reload, able to defeat all their enemies with just a pistol. Except, that’s not quite true. Because there are many crucial moments when our hero has the villain in their sights (or vice versa), pulls the trigger and- click. If only they’d brought one extra bullet.

The Most Important Meal of the Day

Breakfast in movies look amazing. So many film families get a full spread of waffles, toast, pancakes, orange juice etc. Barely any of it gets eaten of course, as a character is inevitably running late and will hurry out the door after nothing more than a quick bite of toast. What’s more impressive is that all of these characters are up, awake and still have a reasonable amount of time before their day starts. Do they not start work until the afternoon? Is someone getting up at the crack of dawn to prepare all this food?

Underwater Vision

Most people in the real world struggle with keeping their eyes open in the shower, but somehow, everyone can keep their eyes open underwater. Even if you do manage to open your eyes, it’s usually not for very long. Certainly not long enough to save someone from a sinking car. It’s not like you can see particularly well when underwater either, what with all the water in your eyes. It’s usually not very good for you either. And that’s not even mentioning how long people can hold their breath…

When and Where?

When arranging to meet someone, there’s usually a whole conversation about it. One of you is probably working, and on days you aren’t working, they are. Then you have to decide on a time and place to meet. Not so in the world of movies though! Chances are, the protagonist’s best friend or love interest is also free Saturday night, and magically knows exactly where to be and when to be there without further discussion.

Same Bat-Time, Same Bat-Channel

As well as people knowing exactly where to be, they also know exactly where to tune TV’s and Radios. When someone rushes home and yells “Turn on the TV”, it’s always on exactly the right channel. It’s always exactly at the important bit, with the character’s favourite show being interrupted for breaking news. Not even an advert or more important news, it’s like the TV is sentient. Still, if characters did have to wait for the important bit, it could be awkward.

Super Hearing

Night clubs are loud. Shootouts are also loud. Yet somehow, our heroes manage to have full conversations in both of these situations, or anywhere full of loud noise, and hear each other perfectly or even eavesdrop on a private conversation from a distance. Some films do get around this with earpieces or some other technology, but many would just have us believe that the characters can hear mice’s footsteps. Yet somehow they don’t go deaf

Also Read: Seven Creative Movies Dealing With Memory Loss

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Just Getting Started

In 2022, Netflix spent around $17 Billion on content. While it’s unclear if that is just on original content or includes licensed content as well, it’s safe to assume the majority is on originals. As the streaming wars have gone on, streamers have increasingly focused on original and exclusive series that aren’t available anywhere else. Netflix was arguably the first streamer to have success with this, shows like Orange Is The New Black, House Of Cards might not be in the conversation as much now, but were huge hits that got others scrambling to compete at the time. Netflix gave shows a chance that didn’t fit the norm of what was being shown on TV at the time.

Not every show finds an audience straight away. Breaking Bad, a show that despite critical acclaim was a modest ratings hit, blossomed when it was put on Netflix. The wide availability raised awareness of the show and increased viewership for the final series. The first seasons of Parks and Recreation saw mixed reviews, with many citing it as a watered-down version of The Office. However the creators were able to learn from this, and the second season onwards is much beloved. Netflix’s own Bojack Horseman, took almost a whole season to find its feet, but it is now regarded as one of the best-animated shows of all time. Netflix obviously believed that shows like Everything Sucks!, The Get Down and Archive 81 had potential. Looking at reviews, critics and audiences clearly agreed, so why were they cut short?

Gone Too Soon

So what does Netflix consider a success if not good reviews? Emily In Paris has been met with middling reviews every season, and recently dropped its third season. Neil Gaiman, who wrote the graphic novels The Sandman series is based on, gave a rare insight while waiting to find out if the show was being renewed. The Sandman was released in August 2022 and a second season was confirmed in November. It was the eighth most-watched English Language show on the platform and spent seven weeks in the global top 10’s. Despite this, there was still doubt about a second season. Gaiman explained that part of the reason for the delay was because of the cost to produce it.

Gaiman also explained that part of the “data harvesting” Netflix do involves completion rate. This means how quickly viewers finish a series is a factor. “Bingeable” series, like the various reality or game shows, that are designed to be watched in one sitting, is looked at more favourably. This is likely a huge factor in why 1899 was not renewed, as although it was popular, its slow and thoughtful story is not designed for watching in one sitting.

To Be Continued?

Netflix has lost its reputation slightly in recent years, with many feeling that its price increase and cracking down on password sharing are not justified because so many shows are cancelled. Its approach of making several shows and hoping one goes viral appears to be wearing thin. While Disney+ has some massive IPs to work with, Amazon is willing to take a chance on more of its catalogue. Netflix has made some monster hits worth paying for, but with the likes of Stranger Things and The Umbrella Academy in their final seasons, they might have to work hard to find their next big hit.

Also Read: The New Hollywood: Streaming Giants

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With all that in mind, it seems like a sequel would be a slam dunk for success. But 13 years on, the landscape is very different. Cinemas are still struggling to recover from the effects of Covid, and there was much less competition back then. Cameron has gone on record saying it needs to gross around $2 Billion to break even, but can it? And can he go one further and beat his own record?

A Whole New World

The first Avatar film was released in 2009. At the time, the MCU was still in its infancy, with The Avengers still a few years away. Shared universes weren’t even a thing at the time, with every studio looking to cash in on Harry Potter‘s success and find their own YA novel series to adapt. Transformers and the Fast and Furious franchises were two of the biggest films that year, while Star Trek rebooted itself for the next generation.

Thirteen years on, the MCU is one of the most successful film franchises ever, and recently announced a slate going into 2026. Every studio is trying to make a shared universe, the Wizarding World, as it is now known, has stalled three films into a planned five series, with the author now a very controversial figure. Not to mention several other franchises that have spawned in the years since.

Audiences also may be suffering from franchise fatigue, with many newer ones dominating the box office, along with original films. The rise of streaming services, something that has exploded in popularity in recent years, has also contributed. Even Star Wars has mainly moved to streaming after the mixed reception to the sequel trilogy and Solo being considered a disappointment. The pandemic has made streaming more powerful than ever, with many films getting a smaller theatrical window or none – whilst appearing on on-demand services much quicker.

Return To Pandora

At the time of writing, Avatar: The Way of Water is around the $1.7 Billion mark. After being in theatres for less than a month. Coming out towards the end of December, it not only had the Christmas season to take advantage of but also January, which traditionally is a quiet month for cinemas, as there are few new releases (in the UK, there are often awards contenders that we have yet to receive). Barring any unexpected hits, Avatar is still poised to be the big film for the first few months. Perhaps the best, recent film to compare it to is Top Gun: Maverick. A sequel coming years after the original, making use of its now much older star and advanced technology. It became the second highest-grossing of the year and the highest-grossing of Tom Cruise’s career.

Like Maverick, word of mouth and curiosity will work in Avatar‘s favour. Some audiences will turn up because there is nothing else on and also to see what Cameron has been up to all these years. Good reviews will also convince people that may have been on the fence about the film before now. Box Office numbers are often a marathon, rather than a sprint. While Avengers: Endgame Hulk-Smashed its way to the top spot fairly quickly, it was the culmination of ten years worth of films, and followed up on a huge cliffhanger, with many fans seeing it early to avoid spoilers. By contrast, The Way of Water is much more accessible, as it is set many years after the original, and focuses on new characters.

Can Cameron Do It?

Absolutely. Despite its perceived lack of “cultural impact” Avatar has remained the biggest film for close to a decade. Its brief time being dethroned was the result of ten years and over twenty films leading into it. With only five films grossing over $2 billion ever, The Way of Water is well on track to join the ranks. Depending on how long it is until there is some serious competition, it could even beat the original film. The only film that looks to be a threat is a re-release of Cameron’s own Titanic.

Also Read: Why James Cameron’s Avatar Sequel Has Come At The Right Time

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Spooky Season

2022 has seen at least one horror film hit theatres or a big Netflix release (Texas Chainsaw Massacre) a month, with March having the horror-coded Morbius. So there were plenty of options. Some of these were returning franchises, like Scream or Halloween Ends, some were original stories from directors familiar with the genre, like Nope or The Black Phone, and others had more cult followings such as Men or X. While many of these have been commercially successful, critically, some films that seemed like sure hits have been met with a more mixed response. Scream was mostly positive, and did well enough to warrant a 6th entry (without Neve Campbell), but it much of it revolves around knowledge of previous films, especially the first.

By contrast, Halloween Ends was mostly considered a disappointment by audiences and critics, although some did appreciate it for trying to do something different. Despite the first entry being praised, the second part of the trilogy Halloween Kills was polarising. For the most part, audiences loved it, while the critics didn’t. This latest entry seems to have pleased neither, but it does have fans on both sides.

Jordan Peele‘s Nope on the other hand did better with critics than audiences, being less of a horror like his previous efforts Get Out and Us, instead having more in common with Speilberg’s Jaws. While Alex Garland’s Men was widely regarded as one of the director’s weakest efforts, even by its fans.

A New Breed of Terror

While the above may have had much hype and marketing around them, they were not the biggest success stories for horror. Although they all did respectably at the box office, many lower-budget horrors have dominated both the conversation and the box office this year. Films such as The Black Phone, Smile and Barbarian have all earned far more than their budget, and have been well received by audiences.

The likes of Cocaine Bear and Blood and Honey seem to be following this trend, a lower budget, focusing on a simple (even if absurd) premise. Terrifier 2 has proven to be in the same vein. While the original film has become a cult classic, the sequel has received attention from a much wider audience and is considered an improvement. Perhaps the rise in these smaller-budget horrors could help induct some more villains into pop culture. It’s been a while since a slasher villain has entered the conversation alongside the likes of Michael Myers, Freddie Kruger or Jason. Perhaps Art, the Clown could join Pennywise, while Cocaine Bear and Pooh enter the conversation.

Also Read: Horror Films To Enjoy During The Long Dark Winter Months

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Change, My Dear

When faced with the option of recasting, some series are faced with another question: actually recast, or introduce a new character? Sitcoms often opt for the latter, with varying results. Everything from The Office, That 70’s Show to Only Fools and Horses and Community has had to deal with cast members leaving for other opportunities, behind-the-scenes drama, or an actor’s death. While the first two of these examples were less than successful, their replacements didn’t quite have the same chemistry as the regulars. The latter two did create some much-loved characters. A key part of the success is that, while they may fill the same role, they do not have to be the same character to do so. For Only Fools and Horses, Grandad and Uncle Albert, both fill the role of an incompetent elder member of the family, but their characters are very different, both in how they are treated and how they act. Jokes that work for one character would not work for the other, and vice versa, which the show embraces.

We already know that Hemsworth is going to be playing the same character. For all intents and purposes, Geralt will be the same. What remains to be seen is whether the show chooses to acknowledge it, and how Hemsworth approaches the role. With all the magic and mutations going on in The Witcher, there are certainly ways the showrunners could acknowledge the change if they wished too. Doctor Who writes the changing of it’s lead actor into the story with regeneration, which has not only allowed the show to carry on for 60 years, but also semi-reboot itself every few years. Every actor puts their own spin on the role, but they all play the same character. The act of regeneration allows for a change in personality, which helps every portrayal be different.

You Look Different

Of course, many famous characters have changed faces. Batman, James Bond, Spider-Man to name a few. There may be similarities between each version of the character, something that Spider-Man: No Way Home explored, but each actor isn’t trying to copy what came before. These are often considered reboots, with each version being disconnected from other versions (although there are exceptions). This allows actors greater freedom, as they do not have to fit their version into an existing world. For example, it’s hard to imagine Daniel Craig’s Bond in Moonraker or Christian Bales’ Batman in Batman & Robin. A challenge that a recast on TV faces is putting a new version of the character in a world established by the previous actor.

One of the more successful recasts is of the title character in Spartacus. After a successful first season, star Andy Whitfield was diagnosed with early-stage non-Hodgkin lymphoma, meaning he was unavailable for filming a second season. After a prequel season that featured him less, he gave his blessing for the role to be recast and passed away before the third season aired. Liam McIntyre leads the series for the rest of its run. Upon being cast, he realised he could not simply recreate Whitfield’s performance. As a result, he opted for the “emotional core” of the character. Playing the same character, in the same world, but in his way, rather than an impression of what came before.

This is likely the space Hemsworth’s version of Geralt will occupy. While his relationship with characters like Ciri and Yennifer will not change, we will see some different sides to him. This is one aspect that has been explored in the games. Unlike most games in the genre, Geralt is a character, not a blank slate. However the player can still make choices that can affect the plot, but these are presented in a way that they are still in character for him. Cavill is iconic as Geralt for a reason, but Hemsworth can certainly bring something new to the character.

Also Read: Small Screen To Big Screen: TV Shows That Deserve A Movie

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Recently a story of Bruce Willis selling his likeness to a deepfake company did the rounds. This has been reported as false, but the news was not far-fetched. With technology advancing, and even deceased actors being signed for new films, could this become a common thing? And if it could, does that mean it should?

“No one’s ever really gone” – Luke Skywalker

Darth Vader isn’t the only Star Wars character that could live on for as long as the franchise goes on. Several characters from the original trilogy have made appearances in projects made decades after but canonically set around the same time. Leia appeared de-aged in a cameo at the end of Rogue One, set moments before the opening of A New Hope.

Due to the (relative) poor box office of Solo, Lucasfilm moved away from films, instead focusing on series, such as The Mandalorian. They also decided they will no longer recast legacy characters, with Luke Skywalker being the most notable example. Luke has made celebrated appearances in The Mandalorian and The Book of Boba Fett. Using a combination of Mark Hamill’s performance and a younger body double to create a version of the character as he would appear in his 30s.

The technology has improved very quickly. In the year between Luke’s appearances, the character looks much better, even if not seamless. The voice is also synthesised via a program called Respeecher, the same program used to recreate Vader’s voice. Given the comments about not recasting legacy characters, it is likely that this approach will be used in the future, in theory meaning that Luke Skywalker could be appearing in Star Wars projects, long after Mark Hamill is retired or has passed. The reactions to the “casting” of James Dean were overwhelmingly negative. But given the attachment people have to the franchise and Luke Skywalker in particular, would this still be seen as a negative? Especially when, currently, Hamill is still involved in the portrayal and it has his blessing

Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should – Ian Malcolm

This does lead to a larger discussion of why? Of course, if the industry wasn’t so focused on Intellectual Property and nostalgia, we’d probably have a lot fewer prequels in the first place. But the question remains, why not just recast? Many successful franchises have recast, including Star Wars, with Ewan McGregor’s Obi-Wan Kenobi. Star Trek: Strange New Worlds, recently recast one of its iconic roles – Captain Kirk. The challenge any actor faces with these roles is whether to imitate the original or offer their own interpretation. If an actor is just going to imitate the original, then a digital double makes some sense, it’s as close to the original as you can get. An exception to this rule is in voice acting, where actors taking on a role will often do an impression of the previous actor. Robin Williams famously went the extra mile to safeguard his likeness against being recreated after his death. This has resulted in his iconic Genie character always being played by an actor doing an impression of his performance.

So could this become the norm for actors in the future? Many actors avoided roles in the MCU because of lengthy contracts. Chris Evans almost turned down the role of Captain America because of the number of films he had to make, it’s hard to imagine including his likeness forever helping with that decision. Marvel also quickly clarified that Chadwick Boseman would not be recreated for Black Panther: Wakanda Forever, following his death in 2020. So clearly some of the ethical decisions are considered with the technology. Ultimately, the final decision likely rests with the actors themselves, or their estate if they have passed. On one hand, it allows their iconic role to live on and ensure their legacy (as well as likely providing for their family after they’ve gone). On the other, it stops anyone else from putting their own spin on the role. Franchises like Doctor Who and the Bond films would probably not have had the longevity they enjoyed if the original lead was being recreated for every entry.

As technology will only improve, it is unlikely that this debate will go away. The decision will likely be up to individual actors, who will agree or disagree for a variety of personal reasons. Posthumous Stan Lee cameos might be a nice way for him to be remembered, but it’s hard to imagine Harrison Ford being pleased about new Indiana Jones entries with him as a younger man.

Also Read: A.I Generated Art & Movies: A Collision Course

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And Another Thing…

The main problem with the fourth entry is finding the right story. Many franchises will instead opt for a prequel, spin-off or even a full reboot, rather than a fourth chapter. A reboot is often the preferred option if the last instalment wasn’t well received. After the poor reception to Spider-Man 3, director Sam Raimi was more determined than ever to make the next entry as good as it could be. Unfortunately, he couldn’t quite crack it in time to meet the release date set by Sony, leading them to reboot the franchise instead.

Another popular option is the legacy sequel or a “rebootquel”. Often arriving a few years after the original trilogy has ended, these types of sequels often introduce new characters, interacting with the old guard who eventually “pass the torch” onto the next generation. These sometimes lead to other trilogies of their own such as the Jurassic World series (even if the original characters didn’t meet until the third film). Alternatively, the fourth film can be used to shake up the existing formula if things are beginning to grow stale. Fast & Furious took this approach, focusing on heists rather than street racing, and transforming the franchise into the behemoth it is today, at a time when the studio was considering making any sequels direct to DVD.

One Last Ride

Of course, for some franchises, each entry is its own adventure, with little to no ongoing story. Making fourth entries in the Mission Impossible or Star Trek series is in theory simpler, as each film is often mostly standalone. However, this is not always easier. As seen with Indiana Jones and the Kingdom of the Crystal Skull, which was released 19 years after the third entry, finding a story can still be a problem. The extended wait can also lead to dissapointment from fans as they build up unrealistic expectations. Especially when it turns out to be more of the same.

An extended hiatus of the franchise often leads to a rethink. Actors get older and the industry moves on, meaning that any new entries can’t just do the same thing again. The Matrix Resurrections, has a slightly meta approach, acknowledging that audiences want to be amazed like they were with the original but that doing the same thing is boring and unfulfilling. Instead, the film tries to do something different, while it achieved mixed results, it is certainly not a rehash of the previous three. It acts as a look back on the franchise as well as an update. Toy Story 4 acts as an epilogue to the franchise, closing out Woody’s story and introducing new characters. Shrek Forever After offers an ending where Shrek looks at how much he has grown since the first film. Being trapped in an alternate reality where he was never born, and a look at a different outcome for the characters. While not the best in the franchise, it was a step up from the third entry, and a fitting ending.

Epilogue

Fourth films offer a chance to reboot an ailing series, offer a closing chapter to beloved characters, or even make up for a disappointing third film. However, there is a danger that the film is just a retread, or steers too far from what was great about the series in the first place. It’s important for any fourth instalment to look at what works and what doesn’t about the series, and think about the journey of the characters. A fourth entry is always risky, but can be exactly what the series needs.

Also Read: Top 5 Movies That Don’t Need a Sequel, Reboot or Remake

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The New Warner Brothers President and CEO, David Zaslav, has made some very controversial decisions. After cancelling several projects at various stages of production, including Batgirl, Zaslav has confirmed that there is a 10-year plan in place for the DCEU going forward. With DC feeling they are treading water, and the confusing place of the Snyder Cut in the universe, what exactly is the plan?

The Original Plan

The DCEU has taken many detours from its original plan. Originally supposed to begin with Green Lantern in 2011, this was scrapped due to the film’s poor reception. Instead, it began with Man of Steel in 2013, with Zack Snyder kicking off the universe before other directors took over for different heroes. A planned sequel was morphed into Batman V Superman: Dawn of Justice, which kicked off the universe and hastily introduced heroes in a quick scene. David Ayer’s Suicide Squad meant that two out of the three entries had received poor reviews, prompting WB to rethink their plans. Justice League had an infamously troubled production, resulting in the #ReleaseTheSnyderCut movement.

Had things followed this plan, Justice League would have been the first of a trilogy, eventually culminating in the heroes battling Darkseid and Superman being controlled via the Anti-life equation. Heroes would get standalone movies in between these team-ups, while other heroes would be introduced. In the aftermath of Justice League, many films were delayed or cancelled, and the ones that have been released since have little connection or reference to previous entries. Entries that have included references to other heroes have been vague, with Shazam! and Peacemaker using stand-ins for members of the Justice League in cameos.

After the release of the Snyder Cut, some fans were hoping that the original plan would continue, but this doesn’t seem to be the case. For one thing, it’s not entirely clear which version of the film is “canon”. The status of some characters is up in the air, such as Henry Cavill’s Superman and Ben Affleck’s Batman is unknown, with varying reports on whether the actors will return. WB reportedly regrets the Snyder Cut, so it is unlikely that the Snyderverse will continue, but it’s possible The Flash will fix some continuity issues. It also seems likely that the sequels to Shazam! and Aquaman will happen, as these were both critically and commercially successful. Third entries are also likely planned, with Shazam being teased to fight Black Adam, and Aquaman grossing over $1 Billion.

The Current State

DC seems to be taking an Elseworlds approach, with some films not part of the main DCEU. Three different versions of Batman are heading to cinemas, with Robert Pattinson, Ben Affleck and Micheal Keaton all appearing in various projects. Keaton is appearing in The Flash reprising his role from the Tim Burton films, hinting at the film’s multiverse jumping. Affleck is also set to appear in some capacity, as his Batman from the main DCEU, and may appear in the Aquaman sequel. Pattinson meanwhile appears to be his own thing (despite originally being a younger version of Affleck). A Joker sequel is also in the works, although this will also likely be its own thing, like the first.

Various other projects have been announced at various stages of development, with some stuck in development hell for years. A third Wonder Woman seems a sure bet, while Cyborg announced as part of the original plan in 2014, seems much less likely. Films based on Static Shock, Nightwing, Lobo, Black Canary and New Gods have all been announced, some with stars or directors attached, but many of these were announced years ago with no news since. A Man Of Steel sequel has been in the works for years, but it is unclear if Cavill will return.

Dwayne Johnson seems to be hyping up Black Adam as the main face of the universe going forward, stating that the “hierarchy” is about to change. Johnson has also teased a battle with Superman “depending on who’s playing him”, suggesting this project hasn’t been signed off on yet. WB’s reaction to the Ezra Miller situation suggests that The Flash is a big part of whatever the plan is, suggesting it could lead to a semi-reboot. It’s also been hinted that DC is going to take cues from the MCU, which is currently in the “Multiverse Saga”, which further supports this. Hopefully, when these two have been released we will have a clearer picture of the future of the DCEU.

Also Read: Who Will Replace Ezra Miller As The Flash?

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As well as directing, Peele has made a name for himself producing under his production company, Monkeypaw Productions. His company has been responsible for many other projects, including the recent Candyman, The Twilight Zone and Spike Lee’s BlackKklansman.

Get Out

Peele’s directorial debut propelled him into a household name, alongside its star Daniel Kaluuya. A horror/ thriller focusing on racial tensions, the film follows Chris (Kaluuya) as he meets his white girlfriend’s family. Despite some initial reservations, it turns out Chris has a lot more to be worried about than he first thought. The film was a massive hit, earning over $255 million and becoming the tenth most profitable film of 2017. It was nominated for 3 Academy Awards: Best Picture, Best Director and Best Actor for Kaluuya, it won the award for Best Orginal Screenplay. Critics have cited it as one of the best films of the 21st Century, and it has remained in the public conversation, thanks to its themes of racial tension.

Us

For his second feature, Peele once again turned to the horror genre. This time leaning fully into the genre as a response to the “genre confusion” of his previous effort. It follows a family who, while on a beach house vacation, are stalked by their doppelgangers. Peele was inspired by an episode of The Twilight Zone and a dark underpass he used to cross as a teenager. Us was also a huge success, bringing in around $255 million and earning praise from critics and audiences, with praise for the direction and Nyong’o’s performance.

Nope

Branching out into science fiction for his third outing, Peele stated that the title was a reference to the reaction he wanted from audiences. Partly inspired by the Covid-19 lockdowns and barrage of negative news headlines in 2020, it follows two siblings who attempt to capture evidence of a UFO. It opened to positive reviews and around $19.5 million on the first day of release. With some reviews noting the Speilbergian feel. Nope has divided some audiences over its story and is unlikely to do as well as his previous efforts due to cinemas still recovering from the pandemic.

What’s Next?

Peele hasn’t given any hints as to his next film, as it’s likely a few years away. It will probably be horror mixed with another genre, although he could feel like moving away from horror, as Nope feels more like an ode to exploratory science fiction films such as Close Encounters of the Third Kind. Whatever Peele’s next project ends up being, it is likely to have something to say and reflect modern life, and something wholly unique.

Also Read: Inside the Mind of Jordan Peele

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After a few false starts production on the film finally got underway. Current reports suggest that the film is over 90% completed, and seems on track to hit its current release date. But there’s one big problem looming over it. The Flash himself…

We Need To Talk About Ezra

Ezra Miller (who identifies as non-binary and uses they/them pronouns) has been involved in several alleged criminal incidents over the years. First breaking out in We Need To Talk About Kevin, the star then went on to feature in The Perks of Being A Wallflower. During the filming of the latter, they were charged with drug possession, but instead faced two counts of disorderly conduct. A relatively minor offence, and was not looked on harshly. Miller continued to appear in various projects, including the Fantastic Beasts franchise, started a band, and became an ambassador for Greenpeace.

As Miller’s role in The Flash thrust them into the spotlight, more press interviews came, leading to this one where they give an in-character interview as Toadette. They were also interviewed by a child activist: Gibson (formerly Tokata) Iron Eyes, who Miller had met during a protest. The actor talked about sexual harassment in several interviews and offers to show the crossbow from We Need To Talk About Kevin. In 2020 a video surfaced of them strangling a woman. No charges were brought and Miller has never commented on the incident. At the start of 2022, they posted a rant aimed at an alleged chapter of the Klu Klux Klan

Later in the year, they were arrested for throwing a chair and threatening a woman in Hawaii. Perhaps most seriously they have been accused of grooming and endangering a child. Miller allegedly supplied Iron Eyes with LSD, Marijuana, and alcohol during their friendship. A court has been unable to locate Miller, with the actor posting a bizarre video on their Instagram before deactivating it.

Flashpoint

Warner Brothers has officially “paused” all projects featuring the star, with the main two being The Flash and any potential Fantastic Beasts 4. With The Flash almost finished it is unlikely that they will reshoot. Miller is reportedly in most scenes, sometimes as multiple characters. So what could they do? Many fans have expressed a desire to see the role recast, with Grant Gustin, who plays the character in the Arrowverse, in the film. If the role is to be recast, it would likely be for future projects or a plot point towards the end of the film. Recasting would require a lot of time and money, as well as having to get actors back (such as Micheal Keaton, reprising his role as Batman).

If they choose not to recast, WB really only has two options. Either release the film or don’t. The film isn’t due for release until 2023, so it’s possible they’re hoping the situation calms down and that it impacts the box office so much, although any press tour would likely be very awkward. To not release the film in theatres, would also be a massive waste, and potentially lead to another Snyder Cut situation. If Miller decides to get help, it could lead to a delay but would mean that the film would not have a huge cloud hanging over it, and its star would be front and centre.

The film is still a way off, so there is still time for the situation to change, but hopefully, it works out for the best, for fans as well as everyone involved.

Also Read: Flashpoint: The Defining Film of DCEU?

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Is Netflix Dying?

Netflix isn’t going anywhere anytime soon. They have reportedly lost subscribers in recent months though. After a record year in 2020, they have steadily lost subscribers throughout 2022. This boom is likely due to the pandemic when many people were forced inside and had lots of time to watch Netflix. As life slowly starts to return to some sort of normal, those subscribers would naturally drop off.

But some of those losses are long-term subscribers, losing around 200,000 in the first quarter of 2022 (increasing to 970,000 in Q2 of 2022). There could be several reasons why longtime subscribers have left. Like other streaming services like Disney+ and Paramount+, Netflix has lost content. Previously these companies would sell their content to Netflix but have now decided to host it on their own services instead. This has led to some big shows and movies that have left for other streaming homes. In response, Netflix has invested in its own original content and has found huge success with shows like Squid Game, Bridgerton, The Umbrella Academy and of course Stranger Things.

While these shows and others are incredibly popular, Netflix has a habit of cancelling its original shows. It’s almost a running joke that shows never last more than three seasons. Popular shows like Santa Clarita Diet, Daredevil and GLOW, were all big hitters for the streamer, but only lasted three seasons. In the case of GLOW, it actually was renewed, but the fourth season was cancelled due to the pandemic. Many viewers find it difficult to get invested in a show that is likely to be cancelled, and as shows viewers were invested in they have likely used the service less.

Could Live Content Help?

Netflix is reportedly looking at offering some live content. It would be for its unscripted and stand-up content. For stand-up, they would be able to live-stream them, potentially bringing back their “Netflix is a Joke” comedy festival. Perhaps this could extend beyond stand-up, with a show similar to Saturday Night Live. They could also host their post-season talk shows, such as Beyond Stranger Things and the various Afterparty specials. Hosting these live would make the show more of an event, with viewers wanting to finish the series before the afterparty. A live event would also mean that viewers could send in questions, with the potential to answer them on the show.

The other format that could benefit from live broadcasts is reality shows. Netflix has a variety of them, such as Selling Sunset and Too Hot to Handle. The main way these shows could benefit is from audience voting. Many reality shows that air on regular television feature votes for who stays in the competition or does a challenge. Netflix adopting this model could really benefit their shows, especially if it could be done via Netflix itself. Taking a queue from its interactive titles like Black Mirror: Bandersnatch, could easily allow viewers to vote for their favourites and chart engagement.

Ironically, one of the selling points for Netflix was that it was on an individual’s schedule. Viewers no longer had to wait until their favourite show came on, they could just watch it, whole seasons at a time if they wished. Now things are almost coming full circle with Netflix looking at live content. With so many streaming services it is almost like having to buy various TV packages again. Who knows what the future holds?

Also Read: Paramount+ Comes To The UK

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“Eat my shorts”

When most people think of animation, they think of Saturday morning cartoons like Transformers, Teenage Mutant Ninja Turtles or G.I. Joe, squarely aimed at children, either to sell toys or like Arthur and Bluey, to be educational. Some of these are made for slightly older audiences than others or have a large adult following, such as Adventure Time or the celebrated Batman: The Animated Series. Shows like Ren & Stimpy, Beavis and Butt-head often caused controversy for some of their antics. Over in Japan, however, many anime were adult in nature, showing violence or sexual content, with films like Akira and Ghost in the Shell making anime international and showing there was an appetite for adult animation.

Arguably the first big animated show aimed at adults in the west is, of course, The Simpsons (cue theme tune). Taking the form of a sitcom about a dysfunctional family, the show doesn’t feature adult content, with most episodes rated PG in the UK. Despite the bright colours and physical comedy, it is aimed at adults. Specifically the average middle-class American family (although whether it still does is up for debate). It’s closer to compare it to Cheers, Seinfeld or Friends than to some other animated shows of the era. Like many other animated shows, The Simpsons began as a series of shorts, before being expanded.

“Let’s get weird!”

The success of The Simpsons led to several other animated sitcoms, like King of the Hill, Family Guy and South Park. The latter two of these took advantage of their medium, with Family Guy featuring countless cut-away gags, and South Park going for gross-out and absurd gags. South Park in particular has the kind of humour many would associate with “adult animation”. The ’90s saw a big boom in adult animation, with some of them still running or getting a revival soon. The release of The Bob’s Burgers Movie, from the show of the same name, has renewed interest in the genre.

The rise of streaming services has seen adult animation rise to a new level of popularity, as many platforms look to fill out their content. Rick and Morty, about a mad scientist and his anxious grandson going on inter-dimensional adventures, took the world by storm. The show inspired countless memes and even brought McDonald’s Szechuan sauce back. Netflix’s Bojack Horseman, was nominated for several Emmies, and opened up conversations about mental health and satirized Hollywood while starring an anthropomorphic horse. These two shows, along with Adventure Time have become big hits with millennials thanks to their absurdist sense of humour and complex themes.

Streaming services are also looking toward existing IPs to flesh out their animated content. Mindy Kailing is developing and starring in a Velma series, which is looking much more adult than expected. Amazon recently released an anthology based on its hit The Boys, which features much of the live-action series’ gore and humour. Even the Star Trek franchise has Lower Decks, focusing on the unseen crew of starships, and full of in-jokes and references.

Animation has long been looked down on and will likely continue to do so for a long time but the popularity of shows like these means there is clearly an interest not just from children.

Also Read: Even More #UnpopularOpinions From #FilmTwitter

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Prelude To Axanar

Axanar represents an important moment in Trek history, both in and out of the universe. As the title suggests, this was a taster for a film centred around the battle of Axanar, the Federation’s first battle with the Klingons. Shot as a fictional documentary, it was designed to show that great fan films didn’t need huge budgets, as well as act as a showcase for the film itself. However, Paramount and CBS, who own the copyright, got wind of the efforts and threatened to sue the team. It was eventually settled, after harsh guidelines and restrictions on fan productions were introduced, but meant that the project would now be released as two 15-minute parts, rather than a 90-minute feature.

Star Trek- Horizon

Set in the prequel era of Star Trek: Enterprise, this impressive fan film focuses on the Discovery and its mission to help a Romulan defector and keep an ancient doomsday weapon out of their hands. While not the most original premise, the draw here is that, for a fan project, it’s very impressive. The effects are good for its small budget, and various elements from Trek canon make it feel like part of the universe in a seamless way. A sequel was planned but was reworked into an original project after the fan fiction guidelines changed.

Star Trek Continues

As Kirk says in the iconic intro to the original series, the Enterprise is on a 5-year mission. Although changes to the airing of episodes meant that the dates didn’t always go in order, the series chronicles three of those years. Star Trek Continues shows some of the events of the final year, giving the series a proper conclusion. The look and feel of the original series is lovingly recreated, with sets built from the original blueprints and filmed in the same aspect ratio. It also features a stellar cast including Mythbusters Grant Imahara as Sulu, and the son of original Scotty, Chris Doohan playing the role of his father. Many Trek alumni cameo, such as Micheal Dorn and Jason Isaacs. It also features cameos from other sci-fi projects such as former Doctor Who Colin Baker and Battlestar Galactica‘s Jaimie Bamber.

A Long Way From Home

The Covid-19 Pandemic disrupted everyone’s daily life, with many people unable to work or leave their houses. Film and TV projects were disrupted, with many films delayed and series shortened. This fan film was made during the 2020/2021 lockdowns in the UK. With only a few actors and locations, this fan film manages to stand alone, whilst also featuring nods and easter eggs to many other series, and films both official and fan-made.

Of Gods and Men

An unofficial 40th Anniversary celebration, this mini-series focuses on Uhura and Chekov (with the original actors reprising their roles) as they find themselves in an alternate timeline where Captain Kirk was never born, as an act of vengeance from one of his enemies. Despite not being officially endorsed by the rights holders, it did have lots of coverage on the official website. As well as several former cast members reprising their roles from various instalments of the franchise, it also credits creator Gene Roddenberry’s son as an executive producer.

Also Read: May The Fan Film Be With You

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The First Cannes

Cannes got it’s start in 1938, as direct competition to the Venice Film Festival, which at the time had heavy fascist leanings. At the 1938 festival, the jurors were overruled to award an Italian war film produced by Mussolini’s son and a German documentary about the 1936 Olympics, produced in association with Nazi Ministry of Public Enlightenment and Propaganda, despite rules meaning documentaries weren’t eligible. In protest, French, American and British jurors resigned. On May 1st 1939, the city of Cannes was chosen to host the festival.

The opening gala took place on August 31st, with a contemporary Hollywood screening of the American The Hunchback of Notre Dame. However, the next day, Germany invaded Poland, suspending the festival. On the 3rd of September, France and the UK declared war on Germany, beginning the Second World War, as a result, the festival was cancelled. When it finally relaunched after the war in 1946, it saw films from 21 different countries for two weeks.

The Rise To Fame

During the early years, the festival attracted attention with high profile stars and the resulting scandals, like affairs. Films from directors like Alfred Hitchcock and Ingmar Bergman helped to establish its credibility and prestige, while the prestige of these films and directors grew due to their association. As the artistic side grew, the festival began to hand out prizes, with annually changing juries handing out the awards each year. The Special Jury Prize was awarded for the first time in 1954, and the Palme d’Or, the festival’s top prize, the following year. Award winners at Cannes often go on to at least awards conversation, with films like Parasite and Pulp Fiction getting a lot of attention.

In 1957, Dolores del Rio was the first female member of the jury. Despite the reputation, some films well regarded films, like Hiroshima, My Love, were excluded from the festival for diplomatic reasons. 1962 saw the introduction of International Critic’s week, which focused on director’s debuts and sophomore efforts, rather than commercial films. The festival was the subject of several protests in 1968, both in support of students and labour on strike in France, as well as protesting the eviction of the president of the Cinémathèque Française, one of the largest film archives in the world.

Marché Du Film

Over the next few decades, many changes would see diplomatic pressures reduced, helping some filmmakers overcome censorship in their own countries. In the 2000s, the festival focused on technological advancements in films, with Cannes Classics, restorations of historical films, debuted in 2004.

Aside from the prestige of the event, one of the other great things about Cannes is the Marché Du Film or Film Market. Responsible for screening and selling thousands of movies each year, the market has run since 1956. Like the festival itself, the market has embraced new technologies. Perhaps most essential of these is Cinando, a massive database, that allows filmmakers to show their films to and chat with distributors. The 2020 edition the festival was conducted virtually, because of the pandemic.

Also Read: Oscars: Ranking The Best Picture Winners of The Last Decade

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Consider this your spoiler warning!

Little Shop of Horrors (1986)

Based on the stage musical of the same name, the theatrical ending sees Seymour (Rick Moranis) survive his encounter with the carnivorous plant Audrey II, and whisk Audrey away to an idyllic suburban life, with a small Audrey II plant in the garden. This ending differs from both the original musical and intended ending, where the plant eats the leads, and, along with other Audrey II’s, goes on a War of the Worlds style rampage. Despite being beloved by theatre-goers, test audiences were not as keen on the segment, which reportedly cost around $5 million. Although long since thought lost, it was eventually restored and can be viewed on the blu-ray version, as originally planned

Army of Darkness

The third Evil Dead film sees Ash trapped in the Middle Ages. After defeating the evil dead once again, Ash is given a potion that will allow him to travel home. After reciting an incantation, he arrives back in the present day and tells his story to a fellow S-Mart employee. In the original ending, it is explained that the potion allows him to sleep for a hundred years for every drop he consumes. While Ash needs six to return home, he accidentally consumes seven and wakes up in a post-apocalyptic future where humanity has been destroyed. The studio found this ending to be too negative and dark, so the ending was changed for the theatrical release.

I Am Legend

Based on the book of the same name, it follows Robert Neville as he tries to find a cure for an infection that has turned most of the population into vampire-like monsters. In the theatrical ending, Neville sacrifices himself to allow two other humans to escape with the cure, in the hopes they may eventually create one. The alternate ending is slightly closer to the book, which reveals that the monsters are intelligent, and have come looking for him in revenge for all of the ones he has kidnapped or killed, viewing Neville as the monster. With the announcement of a sequel, this may now become the canon ending.

Clue

One of the great things about the board game is that the ending changes every game. This means that you don’t know who the answer is just because you’ve played it before. When Clue was originally released in theatres in 1985, it actually had three different endings, so neither did the audience! A fourth ending was also filmed, in which the butler Wadsworth was behind all the murders, but it was removed.

Scott Pilgrim Vs The World

One of the challenges of adapting a story that is still ongoing is not knowing how it ends. While the graphic novel series had started in 2004, the final volume was still being written while the film was being made. In the original ending, Scott let Ramona go, instead of getting back together with Knives. Creator Bryan Lee O’Malley disliked this ending, as he felt it wasn’t right for Knives. After the release of the final graphic novel, which has Scott end up with Ramona, the ending was redone to match this change. Ellen Wong, who plays Knives, approved of the change, with the character pointing out “I’m too cool for you anyway” in the final film.

Get Out

While not exactly cheerful, the original ending is cathartic. As Daniel is choking Rose, a police car shows up, and Chris realises how this looks, resigning himself to his fate. In the theatrical cut, Rod gets out of the car, and Chris (as well as the audience) breathes a sigh of relief. In the alternate ending, it’s the actual police that turns up, and Chris is promptly arrested. When Rod visits him in prison, trying to help release him, Chris is resigned to his fate, content that he stopped the family. Peele later decided that the film needed a happier ending, but wanted to preserve that initial moment where the car pulls up.

Terminator: Salvation

Although this ending hasn’t officially been released (if it was ever filmed) the leaked original ending has been confirmed several times. During the final battle with the T-800, John Connor is mortally wounded. In the final version, Marcus sacrifices himself to keep Connor alive with his cybernetic body. However, the original plan was for Connor to die of his injuries, and the resistance would graft his skin onto Marcus so that he could live on as John Connor and lead the resistance as a reformed terminator in disguise. Another version had the now Terminator John Connor call his closest allies, including his wife and Kyle Reese, to his bedside before killing them all. While it may not have improved the film, it would certainly have been an interesting twist

Also Read: Netflix and The Science of Recommendations

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While Netflix is notoriously secretive about its inner workings, never revealing viewing or subscriber numbers, there are a few tidbits of info to explain how exactly the recommendation system works, they have a long list of patents, but what exactly do these all mean?

“Who’s watching?”

Netflix is actually quite transparent when it comes to the data it uses to curate its library to an individual’s taste. When first signing up (or adding a new user) the user is invited to select shows that they know and enjoy. This is used to “jumpstart” the recommendations, looking at genre, actors and other common data points like the year of release. These form a basic list of recommendations, often bolstered by what is currently trending or popular.”

As a viewer watches more of Netflix’s content, it will become more refined, and showcase content tailored more to their personal interests. As well as what you watch, the algorithm also takes into account how you watch. Things like the time of day, the device you use and how long you watch are all factors that recommend different content to you. For example. If you often watch on a tablet or mobile for an hour while commuting to work, you are likely to get more half-hour comedies than feature-length films for example.

Recommended For You

Netflix doesn’t just look at your viewing habits though, it compares you to other people. If you’ve been watching a show that lots of other people have been watching, the system will look at what those people watched next, and suggest the same for you. This also applies to different users on the same account. So if your mum is a big fan of The Crown, you might get suggested it a lot too.

Perhaps most interesting is that Netflix not only tailors suggestions to an individual’s preferences but also the homepage as well. Netflix often sorts things into categories such as “1980’s” “Sci-Fi” or “Sitcom” but as it gets to know you better these will move around and change. For example, more niche categories may appear such as “Docs about Film & TV” while existing categories will change in the order that they appear to you in. “Sitcoms” may appear first if you watch a lot of them, while it will move further down the page if you don’t watch many. The thumbnails may even change based on your viewing habits

Netflix has been the streaming service for a long time, in large part due to how it analyses and shapes itself around a user’s taste. While it remains to be seen how the streaming wars go, Netflix certainly has an edge.

Also Read: The New Hollywood: Streaming Giants

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While the film tells a complete story and isn’t connected to any prior DC or Batman films, that doesn’t mean this is the last we’ve seen of this version of the caped crusader. Having seemingly thrown out its plans for an MCU rivalling connected universe, what’s next for DC?

The Age Of Heroes

While The Batman doesn’t have a post-credits tease like we’re used to, there’s still a reason to stay in your seat. The “Age of Heroes” trailer that showcases several upcoming projects and can be viewed online follows the film. The trailer features footage from The Batman, as well as Black Adam, The Flash and Aquaman and The Lost Kingdom. Although the trailer promises that these are coming in 2022, this is no longer the case, as the latter three have all been delayed until 2023.

Batman isn’t the only DC hero on our screens this year though. Shazam: Fury of the Gods, has been bumped up to December, while DC League of Super-Pets (also featuring Batman, this time voiced by Keanu Reeves) is set to debut this summer. While no specific reason was given for these delays, they are likely covid related, as the world is still adapting to living with the virus

DC films are in a strange state, with some seemingly connected to the ongoing universe featured in Justice League, such as Aquaman. However, these links seem to be looser all the time, with The Batman having no links at all. With The Flash having some multiversal goings on and featuring multiple Batmen, perhaps the universe could be “cleaned up” and streamlined.

Become something more

Despite not being in the main DC continuity, it’s unlikely we’ve seen the last of Robert Pattinson’s version of the caped crusader and his world. The cast and crew have spoken about other villains they would like to include, such as Mr. Freeze, the Court of Owls and a teenage Robin. Reeves has said he would be interested in making more, with a scene towards the end, as well as a deleted scene, featuring Barry Keoghan as the Joker. The box office and reception make a sequel seem inevitable.

A prequel spin-off based on Colin Farrell’s Penguin is also reportedly in the works. As well as rumours about one based around Catwoman. A Batgirl film is also in the works, with Leslie Grace in the title role, although it is unlikely this will connect to the current series. While a Gotham PD and an Arkham Asylum were also pitched, these appear to have stalled or been cancelled. The Riddler is also getting his own comic series, announced via the Rataalada site used in the film and as a promotional site.

Although DC’s film slate might not be going exactly as planned this year, there is still plenty to look forward to, and it seems certain that Pattinson’s Batman will return at some point.

Also Read: The Perfect Batman: A Look At The Actor & Director Duos Behind The Films

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