Shrinking & Growing

The streaming market is huge. According to Uswitch, over two-thirds of UK households have access to an SVoD service. On average, according to Barclays, customers spend £175 a year on film and TV subscriptions. Netflix is the most popular streaming service. Prime Video, Disney+, Apple TV+, Now TV and BBC iPlayer also have a big reach, with many smaller services also available. Many of these services have access to a sizable library of content. However, this era of streaming has its problems.

Customers now have to pay more for ad-free viewing, which used to be the standard streaming experience. To watch Netflix without ads now costs £12.99 a month, up from £9.99 in 2021. Studios have also increasingly gated off content for their own streaming services, requiring audiences to pay for multiple subscriptions to access all the content they want. The increasing prioritisation of exclusive content owned by streaming companies (e.g. What’s On Netflix says around 54% of Netflix’s UK content is Netflix Originals) means a less diverse selection for viewers. The crackdown on things like password sharing has also restricted access for customers. Plus, considering the average time spent watching an SVoD service (as of 2023) was 38 minutes a day, with live TV watchtime being almost triple that and social media competing for young people’s attention, streaming is looking less worthwhile for many.

Not Just Numbers

Of course, streaming still offers good things for subscribers. It allows you to watch films from the comfort of your home with accessible features (subtitles and audio description) available on many titles. But watching films at home is a fundamentally different experience from the cinema. For one, it is a much more relaxed affair. This means many viewers will be more willing to do other things while watching a film, e.g. phone browsing. This can take away from narrative immersion. Also, an internet connection is not always guaranteed when watching at home. Meaning a film can change quality, buffer or stop, taking viewers out of the experience. 

Additionally, home cinemas still can’t fully replicate the image and sound quality available in theatres. Informal cinema etiquette also encourages viewers to turn off their communication with the outside world to become fully absorbed in a film with others. Communal joys come with watching films at the cinema too. You can experience a film not only with your friends but also with strangers, and have the satisfaction of sharing an experience that brings you close to others.

Streaming or Screening

So, what should you bear in mind when it comes to saving money on watching films? Firstly, stick with a streaming service you are likely to use most. Streaming services are becoming quite expensive, and it’s easy to rack up a huge bill without using all a subscription has to offer. If you need access to another service, consider moving or using a free trial period rather than having multiple ongoing subscriptions.

When it comes to deciding whether to watch a film in the cinema or at home, research what the film is about. If the film is an emotional drama, it is likely to play just as well in a home setting as it would on the big screen. Meanwhile, horror films benefit from the lack of distraction and higher-quality sound provided by cinemas. Furthermore, sci-fi, fantasy, costume and epic dramas benefit from cinema’s better quality image. Cinema trips are also good for spending time with friends or like-minded people and enhancing the art you are already familiar with.

Film is an art form that can be just as powerful on the small and big screens, but with the associated costs, it’s always worth thinking about what way is best for you to experience it. So make sure to look at the cost value: can you afford it/will you get a good amount of use from it? But also remember to factor in the importance of experience and community to your calculations.

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Fandoms: The Loud Partners

Fandoms have often helped to keep TV franchises going. It was through fan work that properties like Star Trek, Sense8, Firefly and more were able to continue beyond their initial runs. Fandoms have also continually brought interest to older shows. See how fans continue to drive interest in properties like The Golden Girls. That said, in the streaming age, fandoms are now much more valuable.

There are so many streaming services competing for viewers’ attention, and many people have complained about a lack of adequate promotion for streaming releases. Viewers’ attention is therefore often skewed in favour of shows that already have marketability. For example, they have a big star or creator attached or are part of a recognisable franchise. The only way to ensure a lesser-known property is renewed is through popular support.

In 2016, Stranger Things became one of Netflix’s biggest properties thanks to word of mouth and social media. Enabling it to gain a huge audience. Since then, media companies have recognised the huge potential of social media to provide them with viewers. A 2025 Deloitte report said 56% of surveyed young people were more likely to watch something if it was discussed on social media. 53% favored recommendations from social media over other forms of marketing. Meaning social media is a site of great interest for companies seeking to engage younger audiences with their projects. Especially since it’s a great way to tap into fan labour.

Labour & Visibility

Some argue that fans creating things for their favourite show is not labour. It is just something done for fun. However, the mindset doesn’t change the fact that fans are using their time to create things that ultimately act as marketing. Which benefits companies by helping them retain and grow their potential customer base. It also betrays a lack of value placed on the work that fans create. Industry workers are rightly paid to write reviews, create art, videos, spinoff stories and more and organise screenings for influencers who will advertise projects. Why should fans doing the same thing through social media not be considered actual work?

It also can’t be discounted that many marginalised audiences (people of colour, women and queer people) contribute greatly to the success of industry projects through various means. Providing different perspectives and a wealth of creations that amplify and enrich the experiences of many projects. Despite the industry itself consistently failing to fairly represent these audiences across the creative process. 

Fandoms help aid the development of both creative people and the creative industry. But, as is the case with unpaid internships, the industry will happily accept the work of those wanting to contribute to it without compensating them for their labour. Which is unacceptable.

Never Do It for Free

Especially when media companies are looking to influence people through social media investment, fans should be entitled to some kind of recompense for helping to promote a project. Though that brings up the argument of authenticity. After all, many people trust fans on social media because they think of them as authentic. Something that can be damaged if people believe creators are only promoting something for a company’s attention.

One base-level industry practice should be for fans to be able to monetise their content without interference from streaming companies. Allowing them to earn something for their efforts. Additionally, if a production is renewed or proven to be successful through ratings, merchandising, etc., things like official creator endorsements, a stake in profits, wider publicisation of work, etc., should be considered for fans who helped drive interest in the property. Another idea could be to have an industry body, funded by profits from streaming giants operating in a given country, that pays fans based on the level of effort they put into fostering fan communities.

These are merely suggestions, but whatever the case, fans deserve some form of payment. The industry isn’t shy about profiting from their work, so they shouldn’t be either.

The post Fans As Workers: The Unpaid Work of Keeping Cult TV Alive appeared first on Big Picture Film Club.

In this article, we look at how TV horror has managed to hook modern viewers. Analysing how the storytelling techniques and content have changed.

Serial Horror Can Work

TV horror has been steadily challenging its established structures for a while. Twin Peaks focused on the long-running, intersecting, surreal and often horrific mysteries and characters connected to the death of Laura Palmer. Now modern shows like American Horror Story choose a new horror genre to explore for each new season’s arc. Meanwhile, The Walking Dead, Yellowjackets, Hannibal, The Last of Us and more unfurl their horrific stories across multiple continuing seasons.

Many of these series have succeeded with viewers for two reasons. Firstly, they use their length and scope to explore a diverse array of characters and the worlds they inhabit in more expansive ways than a standard horror film allows. Plus, the expanded time spent in these characters’ worlds and company builds a sense of temporal familiarity that films can’t easily replicate. This allows moments of horror to potentially have a greater impact because of the connection built with the audience.

Secondly, these shows have successfully mapped horror beats onto long-running serialised storytelling. Those made for broadcast TV use the mini-climaxes before advert breaks to keep viewers on edge. Mainly done through character revelations, sudden shocks that leave us wanting a fuller picture or building up suspenseful situations. Steadily, though, more shows are structuring their episodes like movies, focusing more on building atmosphere and mystery throughout the entire episode. Rather than needing to heighten tension every few minutes. Meaning shows can also revel in a slow build. Both formats craft tension in their own unique ways, and both formats usually end with a finale that shocks us enough to want to continue the narrative. Each episode gradually reveals more about the characters, the story and the overall threat. With no true status quo restored until the season’s end, these shows know just what to do to keep TV audiences watching.

Scary & Engaging

It’s not just the unique style of horror storytelling that is drawing people to these shows. With the restrictions of yesteryear no longer constraining what can be shown on cable and streaming, and rising production budgets TV horror is allowed to be more adult. For example, horror shows can now deliver movie-level effects to meet the needs of the story. Adding another level of immersion and entertainment for both general watchers and horror fans.

These shows are also not afraid to tackle big issues such as addiction (The Haunting of Hill House), climate change (The Last of Us), trauma (Yellowjackets) and more. Horror has, of course, always dealt with big themes, but with restrictions no longer watering them down, these stories can be much more confrontational in how they approach the topic. Many audiences gravitate to these shows because of their ability to showcase dark themes in an honest way.

Small Screen Screams Staying

Horror has shown itself fully capable of working in the world of serialised TV. Through its focus on building engaging characters and settings, adapting the beats of horror to the needs of either broadcast and streaming formats, as well as tackling big themes with horrific effects, horror has shown itself to be a truly unstoppable genre. Time truly is no barrier to scares.

The post Prestige TV Horror: Scary Stories Going Serial appeared first on Big Picture Film Club.

Today, we will look at the stories that are giving physical media enthusiasts a lot of pleasure. We will also analyse why hard discs still hold appeal for audiences. Along with what it could mean for the future entertainment landscape.

Physical Media’s Comeback?

In 2024, Phil Halliday, HMV’s Managing Director, said that the retailer saw visual media sales increase by 5% in 2024’s first quarter, with “4K and Blu-Ray…doing particularly well”. A big deal for a store chain that entered administration twice in the 2010s. Those figures for 4K and Blu-rays proved prophetic of the entire year. The Digital Entertainment Retail Association later reported that 4K and Blu-ray sales had increased from 2023-2024. Blu-ray sales totalled around £81.6 million, with 4K titles bringing in £31.5 million.

Additionally, news like the selling out of Oppenheimer’s 4K release at many major retailers, the continual rise in prominence of high quality physical releases from boutique blu-ray labels such as Arrow Video, Second Sight Entertainment, Radiance Films, 88 Films, Second Run and more, which offer high quality releases of obscure and well-known titles, all packed with extras that provide more insight into the films and who made them, and the physical disc market making £160.8 million (including through rentals), shows that physical media still holds some sway with entertainment lovers.

What is Driving It?

While big streaming platforms still dominate home viewing, there are many reasons physical media remains attractive. Firstly, many titles simply aren’t available on streaming sites. This is especially true when it comes to older, obscure cult films and international releases. So, if an online platform can’t provide, many physical media companies are more than happy to pick up the slack.

Secondly, it provides a sense of security. With rights constantly changing hands, some titles vanishing altogether, film companies gating off their own content for their own platforms, and prices rising for both subscriptions and internet access, access to something is never certain in the streaming age. Some companies, like Disney, even alter projects without making the original version accessible online. Having a hard copy means viewers can always access their favourite properties after one payment, with no danger of them being altered or recalled.

Thirdly, the inclusion of extra materials in physical releases (especially from boutique labels), like commentary tracks, behind-the-scenes documentaries, outtakes, short films and more helps to provide not only more value for money but also gives audiences a much deeper appreciation of the work that goes into making media. Rather than allowing titles to just be seen as content.

Lastly, the disc experience guarantees high quality. Unfortunately, internet connections are still not constant. Many homes have spotty connections, which can lead to constant buffering, quality drops and cut-offs when streaming. There are also many people who still don’t have household internet access (around 2.8 million in the UK alone). Along with this, several big streaming services have now introduced adverts to their platforms, which intrude on the viewing experience. By contrast, barring disc scratches, watching something on a disc means consistent quality with no possibility for interruptions. 

Here To Stay Or Gone Tomorrow?

It’s hard to see streaming losing its market dominance anytime soon. Especially with how streaming services offer convenient access to such a wide variety of work.

However, with all the problems mentioned above, physical media will likely remain a fixture for viewers wanting to access the most artistically satisfying and best quality experience of something they love or can’t access elsewhere.

Physical media may not be able to reclaim its glory days, but as the vinyl revival proves, having a lovingly curated physical version of a beloved piece of art is something that entertainment lovers will always value.

The post Long Live Physical Media: A Rebellion in a Streaming World appeared first on Big Picture Film Club.

Original Offerings

In the past year, the UK’s streaming landscape has seen several changes. TUBI, Fox Corporation’s ad-based streaming service, which doesn’t offer an ad-free experience, was released in the UK. Meanwhile, Lionsgate+ shut down, With its library rolling over to MGM+ (an Amazon subsidiary).

Additionally, big players like Amazon Prime and Disney+ have followed Netflix and offered cheaper access plans, including adverts, While increasing the price of what was originally the default package.

Then there is Apple TV+ whose services senior vice president is pushing to be more careful with original content budgets. So the service can be more sustainable.

All of this indicates that streaming is starting to feel the impact of the market’s current state. As studios all try to set up their own streaming giant by gating off their own content behind paywalls, for many viewers it is starting to become confusing and unaffordable as costs rack up to access everything they want. This has resulted in smaller services closing, cuts being considered and needing to ape television’s model of advert support.

Streaming Packages

One way companies are potentially trying to continue to build their app’s customer base is by partnering with other streaming sites to offer bundles at discounted prices. Recently in the US Disney+, Hulu and Max announced they would join forces on a bundle. This will offer all three services at a cheaper rate than if customers were to pay for them individually.

This will undoubtedly be viewed as a good thing for both Warner Bros and Disney (the owners of these sites) as it will allow both services access to each other’s audiences and will subsidise the cost of things like promotion. As the bundles will advertise both companies, which is a similar model to how cable TV bundles operate. 

It does offer audiences access to a wider range of projects for a cheaper price, however, both companies have increased prices on subscribers before so how long it would remain affordable is uncertain. It must also be noted that access to a wider range of titles is artificial. Both companies gated off their content rather than allowing it to be available on more affordable third-party platforms.

TV & Streaming Become One

However, despite all this talk of streaming becoming more like traditional TV, television is now moving to become more like streaming. Recently Freely was launched by Everyone TV – who are behind Freeview and Freesat. Which essentially aims to move TV channels online, allowing you to watch live and on-demand TV from several of the main UK channels in one place for free.

That said, with only a limited number of channels signed up currently, high-speed internet still not available for some homes, and the cost of running the internet and TV at home for these services all being factored in there are still significant barriers to accessing Freely.

What This Means?

What this showcases is that the industry is slowly starting to feel the grip of economic pressures. Especially in the wake of the historic Hollywood strikes which saw industry workers win big gains in worker protections. This could indicate that the studios have started looking for ways to make back money. This would mean cutting production budgets, partnering with other services to spread costs, seeking funding from advertisers and increasing consumer costs. All this has amounted to streaming becoming very similar to the television models it was meant to be replacing. But with television broadcasting beginning to move to an online model it seems streaming is genuinely just becoming the new television rather than an alternative. Whether it will be a positive or not, only time will tell.

That said, with so much of streaming now replicating problems of TV and presenting its own problems the vision of a more affordable, accessible way to watch whatever you want seems to be a world away.

Also Read: The Paradox of Plenty: How Streaming’s Abundance May Curtail Your Viewing Choices

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Today we are looking at the approaches some third-party platforms that are using to help viewers discover new things outside of a streaming service’s content recommendations.

JustWatch

For those of us with several streaming subscriptions, it can be agonising to log into every one to see what is being recommended. It is even worse if you are looking across several platforms for something specific to watch. JustWatch essentially acts as a streamlined way for you to keep track of, browse and find what is on all the streaming services you have.

Generally, JustWatch tends to be most used when looking for a particular title. To do this you select the region of the world you are in and type the film title you are looking for into the search bar. If the film is on any streaming service in your country, JustWatch will tell you where to find it.

That said JustWatch also has more features available for those who don’t have a certain title in mind to watch. They provide charts that showcase the most popular shows and movies in a particular region. It also showcases which services have said titles. 

Additionally, if users input their streaming service subscriptions they will see what content is trending on all those sites. This removes the need to trawl through every single one individually. The site also provides genre recommendations across all the services that you have access to. In addition, they also provide daily information on what has been added to a given streaming service. Plus if you interact with the movie entries on JustWatch (e.g. by liking them) it will recommend titles that fit with content you have liked from across all the streaming sites you can access.

Moveme TV

Meanwhile, Moveme is another service putting its own spin on how to find new things to watch. Like JustWatch Moveme will recommend media for you (though Moveme focuses more on films than shows) based on the services you have. However, Moveme focuses more on finding stuff for you to watch based on emotive words and emojis.

You essentially tell Moveme what you want to feel and it will then show you films from the streaming services you have that the AI algorithm feels best fits your input. You can then filter these recommendations by release year, IMDb star rating, preferred languages and genre. Allowing you to find recommendations that really fit your specific emotional requirements for the day.

Conclusion

There are of course flaws with both of these systems. JustWatch often features titles with no presence on streaming sites and can mistake projects with similar titles for one another. As well as having a generally quite cluttered interface making using the site sometimes frustrating. To say nothing of how they use user data to allow client companies to better target the audiences they want.

Additionally, Moveme’s attempt to sort films by emotional response is admirable but is open to several critiques. Firstly as these films are sorted by an algorithm which lacks nuance it can lead to some funny results. For example, searching for “feel-good movies” resulted in me being recommended films like A Cure For Wellness and Stella Dallas. Neither of which I would say count as feel-good. But beyond these mistakes, it also offers a shallow analysis of films. Feeling that films can be boiled down to one emotional response rather than the plethora of feelings experienced while watching something ultimately serves to sell something short and can lead to audiences feeling misled and disappointed.

However, the ideas behind these platforms are definitely attractive for users looking to navigate the maze of online streaming. Hopefully, these tools will continue to improve. They will certainly be needed as the industry continues to fragment.

Also Read: Streaming is Becoming More Like Cable TV

Also Read: Gone, But Not Forgotten: The Mysterious Case of Missing Streamed Content

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But with so many platforms available, which one truly offers the best cinematic experiences? This article will do an in-depth look at the streaming apps that have the best movies. Without any further ado, let’s get into it.

Top 3 Best Streaming Apps for Movie Buffs

#1 Disney+

Disney+, the brainchild of the Walt Disney Company, is not just another streaming service in the crowded digital space. It’s an experience that taps into nostalgia while simultaneously catering to the new-age audience. With an expansive library that encompasses everything from the heartwarming classics of the Disney Renaissance era to the thrilling escapades of Marvel superheroes, Disney+ ensures that the magic of storytelling is alive and well. Furthermore, the platform’s dedication to bringing cinematic experiences to the small screen is evident. Fresh releases, behind-the-scenes exclusives, and unique reimaginings like “The Mandalorian” are a testament to Disney’s commitment to quality and innovation.

In a world of fleeting digital content, Disney+ offers permanence. Families can introduce new generations to the joys of “The Little Mermaid” or “Beauty and the Beast,” while also exploring new tales from the Star Wars universe or diving into the complexities of the Marvel multiverse. Beyond these, the platform’s acquisition of Pixar, National Geographic, and 20th Century Studios has further expanded its horizons. From soul-stirring documentaries to spine-tingling adventures, Disney+ is where dreams come alive.

#2 Hulu

Hulu is the embodiment of modern-day entertainment diversity. Initially launched as a hub for catching up on recent TV episodes, it has since transformed into a formidable content powerhouse. It stands out with its blend of current season episodes, complete past seasons of hit shows and a prolific library of movies spanning multiple genres. The platform’s partnership with various major networks ensures that there’s always something fresh to watch. This agility and currency of content make Hulu a go-to choice for those looking to stay updated with the entertainment world. We should also mention that the Hulu free trial offers a great way to watch the latest movies without spending a dime.

However, it’s not just about quantity with Hulu; it’s about groundbreaking quality. Their foray into original content with shows like “The Handmaid’s Tale” and films like “Palm Springs” has garnered critical acclaim. Furthermore, the platform’s willingness to experiment, as evident from its diverse slate of originals and acquired content, is commendable. Whether you’re in the mood for a timeless classic, a gripping documentary, or a fresh-off-the-cinema movie, Hulu promises and delivers variety in spades.

#3 HBO Max

HBO has always been synonymous with top-tier entertainment. Their reputation for delivering hard-hitting series like “Game of Thrones” and “The Sopranos” set the stage for what premium television content should look like. HBO Max takes this legacy and elevates it to new heights. While it boasts the complete HBO library, it doesn’t stop there. The platform introduces Max Originals, a range of content curated for diverse audiences, from riveting dramas to light-hearted comedies. This, coupled with their timeless classics, makes HBO Max a haven for cinephiles.

It’s not just about the past and the present with HBO Max; it’s a bridge to the future of entertainment. Their recent strategy of releasing major cinematic releases on the platform concurrently with theater releases signals a shift in how we perceive movie-watching. Films like “Dune” and “Wonder Woman 1984” are testimonies to their commitment to bringing grand cinematic experiences to the comfort of our homes. Whether you’re a fan of the golden age of cinema or looking forward to the latest blockbuster, HBO Max seamlessly blends the old with the new, ensuring a comprehensive entertainment experience.

Streaming is Taking Over Cable TV

In the last decade, the entertainment landscape has witnessed a tectonic shift. Traditional cable TV, which once dominated our living rooms, is gradually ceding ground to the more flexible and user-centric world of streaming services. The allure of cable TV was undeniably strong, with its curated programming and scheduled slots for favourite shows. However, the digital age brought with it a desire for on-demand content, where viewers wanted to dictate their viewing schedules rather than adhering to the timelines set by broadcasters. Streaming platforms catered to this very demand, providing a buffet of content that users could dive into anytime, anywhere, and on a device of their choice.

The rise of streaming can also be attributed to its adaptive nature. These platforms not only offered the latest movies and TV series but also invested heavily in original content, creating a unique selling proposition. Shows like “Stranger Things” on Netflix or “The Handmaid’s Tale” on Hulu became cultural phenomena, sparking discussions and generating fan theories worldwide. Additionally, the ability to binge-watch, absence of commercial interruptions, and the option to explore a diverse range of international content made streaming platforms an irresistible proposition. As a result, more households are cutting the cable cord, opting for the tailored, rich, and varied experiences that streaming platforms promise.

Final Thoughts

The world of movie streaming is vast and varied. Each platform brings its unique flavour, ensuring that movie enthusiasts have a diverse palette to choose from. While Disney+ is a treasure trove for family-oriented content, Hulu provides a mix of everything, and HBO Max offers cinematic depth. In the end, the best platform largely depends on individual preferences. However, with all these platforms at our disposal, one thing’s for sure – movie nights have never been better!

Also Read: How the Streaming Revolution Has Fuelled Movie Piracy

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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In this article, we will look at the current state of streaming and try to determine if it has resulted in viewers having more or less choice when it comes to accessing their favourite films and TV programmes.

Swimming Through Streaming

The biggest streaming services are currently Netflix (around 232 million subscribers), Amazon Prime Video (over 200 million) and Disney+ (around 146 million).

Other popular services like Max, Paramount+, Hulu, Apple TV+, Starz, Peacock, ITVX and more also have sizable subscriber bases of their own. And more streaming services may be coming further down the line.

Positives

With so many streaming services, each offering original productions and access to a library of classic and modern projects it seems like there is a huge amount of choice available to customers. And there are definitely benefits to the current state of streaming. For example, it ensures many projects are available to wide audiences in accessible ways. And it has encouraged viewers to watch more international media. However, the industry has been accused of using many tactics that have negative consequences for customers.

The Illusion of Choice

The WGA West recently released a report into the anti-competitive practices of the biggest three streaming services. Although some of their critiques also apply to smaller streamers. The document lays out how Disney uses its industry position to constantly acquire new companies (it currently owns the ABC network, Pixar, Marvel, Lucasfilm, 20th Century Fox, and a majority stake in Hulu) increasing its market control. Resulting in an overall decrease in media output. It has also withdrawn content it owns from other streaming sites (something other studio-owned streaming sites are now doing). It limited the content shown on its platforms to mostly Disney-owned work. Also as a result of its market dominance, Disney has been able to pressure viewers to accept price hikes to retain access to their platform. 

The document also says Amazon has been able to disadvantage competitors by demanding fees to allow viewers access to their services through their Fire TV platform (one of the leading ways people access streaming). Thus depriving viewers of any choice that would not result in them collecting extra fees.

Netflix through increasingly making self-produced content rather than collaborating with third-party production companies, its acquisition of other production studios (increasing its market share), and its use of power to increase subscription prices while reducing investment in content is increasingly depriving customers of choices regarding projects and access plans.

There are also egregious examples of streaming services cutting content from their libraries. Leaving viewers no way to access them physically or digitally. As well as some companies restricting access to their site by cracking down on password sharing, not exactly providing a great amount of options for viewers.

What This Means?

If all practices outlined in the WGA report are accurate it’s clear that despite the number of streaming services increasing it has done little to give viewers more choice. In fact, it has taken away a lot of choice by restricting access to media, pushing up prices customers pay for access and increasing the subscriptions needed to access the same content.

What was once considered a disruptive distribution model that would give customers convenient access to a diverse array of media is fast becoming a gatekeeping exercise for big companies to retain control of their films at the expense of customers.

Also Read: How the Streaming Revolution Has Fuelled Movie Piracy

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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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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The Rise of Streaming

With faster and cheaper internet speeds in the 2000s, it was only natural for some entertainment content to start moving from cable to online. At first, it was limited to YouTube and small websites. Then Netflix, a small video subscription service, came online. With House of Cards, it broke the barrier and made TV streaming mainstream.

And yet, with pirated video material getting over 230 billion views a year, we are in the Golden Age of digital piracy. Here’s why;

Subscription Fatigue

Back in the day, you just needed to invest in one really good cable subscription and you were set. Now, video entertainment is split over a dozen online platforms each specializing in different genres. Maybe you’re satisfied with the dramas on Hulu but your spouse wants to watch reality shows on Netflix and your kid simply can’t settle for less than Disney+. Regularly paying for three or more costs far more than cable ever did. So the average person does what they can to cut costs.

Streamers Hiking Prices and Tightening Regulations

Over the last couple of years, most streamers have hiked their prices a couple of bucks. This has put more financial pressure on the subscribers already experiencing subscription fatigue. On top of that, Netflix recently created measures to prevent password sharing outside a subscriber’s household. This extremely unpopular move means that an account (even a family account) can no longer be shared among people who don’t physically live together. Once again, streamers are forcing subscribers to spend more money.

Content Deletions

Perhaps the most egregious of all, many streamers are pulling huge chunks of content off their platforms. Netflix is notorious for cancelling shows only one season after their release. This frustration is causing many people to opt out of streaming altogether. Worse than that is streamers like Disney+ deleting swathes of completed TV shows and classic films that only exist online. Many people see piracy of such content as historical preservation of art which would otherwise be completely erased from living memory.

So, what Are Streamers Doing About It?

While the ethical concerns of piracy can be debated, the fact is that the movie industry loses between $40 and $97.1 billion every year from digital piracy. And, of course, streamers want their cut. A few measures are being taken to curb movie piracy. As anyone who uses Netflix knows, you can’t screenshot or screen record any image on the Netflix app. This is a measure applied by quite a few streaming services. Platforms can also embed invisible digital watermarks in their content which helps to identify whether duplicate content has been stolen. Website blocking is used to limit access to the most notorious TV and movie piracy sites. But despite preventative methods and thousands of take-down notices issued to pirates, the issue persists.

All in All,

Streaming has changed the landscape of movie consumption by making TV and film accessible to thousands of more people. But the increased access to the internet coupled with the pitfalls of streaming has also opened the floodgates to rampant movie piracy. What’s your take?

Also Read: The New Hollywood: Streaming Giants

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Today we’ll look at two factors (advertising and consolidation) that could in the future make streaming resemble the old cable television model.

Ads Will End In…

Streaming services supported by adverts are nothing new. Think of the likes of FreeVee, ITVHub, All4, Pluto TV, YouTube, etc., or the value apps available on smart TV sticks. But surprisingly big streaming players like Netflix are now moving to include a subscription tier on their service that allows you to watch their content for cheaper with adverts. Will audiences accept this shift?

Well, commercial advert-supported services like All4 and ITVHub have a firm foothold in the UK. According to an early 2022 Ofcom survey 45% of online adults/teens aged 13+ had used ITVHub/STV Player and 41% had used All4 in the past 3 months to watch films/tv shows. Outperforming all major SVoD brands except for Amazon Prime and Netflix. The BFI 2021 Statistical Yearbook also showed 31% of UK households using ITVHub and 22% using All4. So adverts don’t necessarily hinder viewer interest.

However, surveys like this one from Morning Consult indicate that a majority of streaming audiences hate this idea. Would this stop people from taking up Netflix’s advertiser-friendly model? Would advertising be seen as more egregious if introduced to a previously ad-free service? Possibly but in the midst of a cost of living crisis, the cheaper advertising-friendly option may prove very attractive.

And Then There Were Fewer

Advertising isn’t the only way streaming is starting to resemble cable TV. Warner Bros Discovery’s boss David Zaslav has announced the plan to merge HBO Max and Discovery+ into one platform in 2023. Consolidating Warner’s streaming service approach. With the aim of reaching around 130 million subscribers by 2025. A bigger market share than what HBO Max and Discovery+ currently have.

With all of Warner’s media available in one place, this move will undoubtedly provide convenience for potential customers. And the consolidation of technology assets could provide a better quality experience.

However, this merger of different streaming services into a single package resembles how media conglomerates consolidated the number of TV stations they owned which meant cable customers had to have specific network subscriptions in order to get what they wanted. If this move is taken up by other conglomerates it could have bad consequences for consumers as customers will be forced to pay for multiple services to access everything they want. It will mean less major media released on third-party services. Many companies would rather retain their projects as a selling point for their service. And if consolidated services gain market power due to their content access they could begin raising prices as they won’t have to worry about competing with rival services.

The New Cable TV?  

With the success of advert-supported streaming services, the adoption of adverts by already established companies and the consolidation of streaming services owned by bigger companies the streaming market is slowly starting to resemble that of cable TV. These measures are undoubtedly being done to make these businesses more profitable and to increase their hold on the streaming market. And it does offer some benefits to consumers in terms of convenience. But it’s also driving customer-unfriendly practices. Ultimately we shall have to see how audiences react to these changes to see if streaming ends up becoming just like its predecessor.

Also Read: The New Hollywood: Streaming Giants

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Where are the original blockbusters? What was the last original blockbuster to make huge amounts at the box office? And can original blockbusters still gain a foothold in the MCU era? Today we’ll try to answer these questions. But first, let’s define what a blockbuster is.

Defining Blockbusters

It’s hard to define everything that makes a “blockbuster”. Industry analysts say it’s any film that takes over $100 million. But The Blair Witch Project isn’t what we think of when discussing blockbusters. Others say a blockbuster is a big-budget, box-office hit that has some involvement with a major studio. They also focus on generating excitement through fast-paced storytelling and big effects/action sequences, leading to repeat viewing. But this definition also has flaws. For example, The Battle of Lake Changjin is currently China’s highest-grossing movie ever and has a $200 million budget. And while it’s produced by major local production companies these companies don’t have a huge worldwide presence like those that produce English-language blockbusters. It also performed well in China but not internationally. So is Lake Changjin a blockbuster or a domestic hit?

For the purposes of this article, we will define a blockbuster as a film produced or distributed by a major studio with a big modern budget that aims to excite audiences. Which makes its budget back at the box office and performs well with worldwide audiences.

Original Blockbusters

So what was the last major studio blockbuster not based on existing IP to truly capture the world’s attention? Some may immediately think of Avatar which for 10 years was the highest-grossing film of all time. That said, Avatar isn’t the only original blockbuster to have captured attention recently. 

In the past decade, we’ve seen several original animated blockbusters score big at the box office. Including Zootopia (2016’s 4th highest-grosser), Inside Out (2015’s 7th highest-grosser), Coco (2017s 11th highest-grosser) Moana (2016’s 12th highest-grosser), and The Croods (2013’s 11th highest-grosser). Films like Interstellar (2014’s 10th highest-grosser) and Gravity (2013’s 8th highest-grosser) also saw success during this time.

Hollywood’s New Ideas?

Unfortunately, this year big original blockbusters didn’t really materialize. Exciting projects like Lost City and Nope did good business but both were mid-budget films rather than big-budget releases. But if original blockbusters can make money why are big studios not making them?

Well, because blockbusters are expensive to produce many major studios need to ensure a return on investment. Also with competition from streaming services and the need to get people back to theatres post-pandemic the industry is looking for ways to keep audiences returning. Therefore, unfortunately, it’s understandable why studios use a well-known IP or figure as a project’s basis as audiences are more likely to watch something with a familiar brand. 2022’s highest-grossing movies seemingly prove this thesis.

Of course, this doesn’t mean there’s no opportunity for original ideas to flourish. Big studios have shown a willingness to fund original work if a director has delivered a hit (like Christopher Nolan). Animation has also proven a great home for original family audience blockbusters. But one thing that might spur more creativity from big studios is competition from smaller independent and international blockbuster-style movies. In 2022 Everything Everywhere All At Once and RRR showed that blockbuster action can be delivered from smaller sources and that audiences still want to watch original exciting titles. Hopefully, these factors will lead to more diversity in blockbuster filmmaking.

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

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Today we will investigate how the average runtime of popular films has changed over the past 15 years. As well as what the data suggests about the current media landscape. To do this we used the Box Office Mojo UK Box Office Top 10 figures from 2007 onwards and film runtimes provided by IMDb.

UK Box Office Top 10 Average Runtimes

One clear trend the data reveals is that the average runtime for UK box office top 10 films has increased between 2007 and 2021. The average runtime of a top 10 movie in 2007 was 120 minutes. Fast-forward to 2021 and the average runtime is around 134 minutes. The highest point in 15 years.

A surprising find was that half or over half the movies in many of the top 10s ran 2 hours or longer. 2008 and 2011 were the only outliers. This appears to buck the assumption that audiences prefer shorter movies and that shorter movies are more successful overall.

In fact, since 2007, no more than 4 movies in each yearly top 10 had a runtime of 100 minutes or less. The highest number of movies with runtimes of 100 minutes or lower was 2009.

We Only Have 100 Minutes

Of the successful movies that ran 100 minutes or shorter a vast majority (over 78%) were rated U or PG. Many are also animated movies (over 69%). This suggests that the shorter movies that generally earn the most are movies accessible to either everyone or family audiences. As animation is generally seen as a medium for children’s stories, which are perfect for family viewing, it is no wonder these results emerged. And with younger viewers having lower attention spans these movies being shorter is understandable.

Conversely, over 80% of the films that ran 120 minutes or longer were rated 12a. With the vast majority being action films of some kind e.g. pure action, sci-fi action, fantasy action, etc. This means the longer films that perform best are aimed primarily at teen audiences. This is understandable as teens spend the most time at the cinema. They are also more likely to be influenced by the advertising of tentpole action films. And because teens will have a more developed attention span a 2-hour runtime or longer may not be seen as a hindrance.

Epic Runtimes In the Age of Binging 

So why are long runtimes not a barrier to popular films like they used to appear? This could be attributed to two primary factors. Firstly, previous successes have encouraged this development. For example, 2009’s Avatar, a sci-fi action blockbuster, had a 162-minute runtime. It also became the highest-grossing film ever at that time (not adjusting for inflation). This showed that long genre-inflected movies could still succeed.

But the most likely reason for this change is the rise of streaming services. Companies like Netflix have provided both competition and opportunities for cinemas. Most notably with the practice of releasing full series all at once to encourage binge-watching having proved quite successful since its implementation, it’s easy to see how an extended runtime would no longer present a problem for a film’s box office. Companies just have to focus on reaching the right audience. And with a bigger audiovisual experience on offer, it’s easy to see why visually intensive stories like action films (and their various subgenres) would attract audiences to the cinema.

Also Read: Time To Rethink The Box Office Film Charts?

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What Is Paramount+?

Paramount+ is actually a relaunch/rebranding of CBS All Access which launched in 2014. After CBS remerged with Viacom in 2019 and began including more of Viacom’s (now Paramount Global) content on All Access it was eventually decided to relaunch the service under the Paramount brand. Paramount+ launched across America in March 2021 and expanded to various territories before reaching the UK on June 22nd 2022.

What Paramount+ Offers?

The new service contains films and TV shows produced by many Paramount Global-owned brands. Including Paramount, the Showtime network, Comedy Central, Nickelodeon/Nick Jr., the Smithsonian Channel, and MTV.

It includes classic movies and shows like Star Trek, Frasier, Avatar: The Last Airbender, Oz, Scream 1-3, and the Mission: Impossible series along with their own original and exclusive content. Which so far includes Halo (based on the game series), Beavis and Butt-Head Do The Universe, 1883 (Yellowstone’s prequel), Star Trek: Strange New Worlds, and The Offer (which depicts the making of The Godfather). 

And the service has announced plans to produce original media in the UK, Spain, Mexico, Germany, France, Italy and more. With the aim of commissioning 150 international projects by 2025.

The Promise Of Paramount+

According to recent figures, Paramount+ has around 40 million subscribers. And its UK availability now means there are huge expansion opportunities for the service. Currently, it’s cheaper than many of its contemporaries. Their originals are also doing well at drawing in viewers. And their commitment to commissioning original international programming, rather than focusing solely on English-speaking territories, could herald a unique path forward for future production company-owned services. As well as offering more opportunities for smaller productions worldwide.

Each Paramount+ brand also has many existing projects that can be added later to appease new subscribers. This would be welcome as the current content slate is lacking. Some film franchise entries are missing e.g. Friday the 13th Parts 1 and 3, the first Transformers and Paranormal Activity, the last two Kelvin Star Trek films etc. Other key franchises are missing altogether (e.g. the Godfather and Indiana Jones). And there isn’t much balance and variety in terms of modern and classic shows and films on offer. Something that needs rectifying.

Streaming’s Future

But there is also a big problem this service represents. The continued proliferation of production company-owned streaming services is harmful to viewers overall. As it will lead to customers having to purchase more services to watch a variety of media. Whereas once you could watch Twin Peaks, Disney movies, and a range of independent and international films through something like Now TV, many films and shows have now been pulled to effectively be held hostage behind their distributors/producers’ paywall. These production company-owned streaming services, therefore, lack diverse ways to keep viewers interested. 

And this results in these services lacking longevity. One key reason for Netflix’s success is its variety. It works with filmmakers across the world to make and promote new stories. It also includes a number of great modern blockbusters and awards contenders. And it contains classic films and TV from production companies all over the world. It offers something for everyone.

Paramount Global owns many beloved properties. And their investment in independent and international productions is good. But its restriction to streaming Paramount Global-owned or distributed projects will always be limiting. For itself and its customers.

Also Read: The New Hollywood: Streaming Giants

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So, I’ve started to rewatch a lot of TV. Texting with a friend recently, I remarked that movies, in this current climate, don’t do it for me. They’re too fleeting, too 90-minutes-and-done. A TV show, however, episode-upon-episode, has the potential to offer a week’s worth of entertainment, or maybe even more. It has familiar characters who can stand in as friends when my actual friends are separated from me by a two-metre distance. It offers romances when I can’t date, sex scenes when I can’t… well, you know. It can give me all that I’m craving without pushing me too far. At times, it felt like rewatching was all I could handle. I didn’t want any surprises, any twists, anything shocking. 

The benefits of rewatching are twofold. Firstly, you know where you are. In these times which are ‘uncertain’ or ‘unprecedented’ (or however you allude to the current hellscape in your work emails), I don’t think I want the stress of something new. Instead, I want comfort, and I want security, but who can offer that these days? Well, Derry Girls, Ru Paul’s Drag Race, The Office, Parks and Recreation, I May Destroy You, and many more – that’s who. These shows, some of which I know by heart, offer me what feels like normalcy on these long locked-down nights. 

That feeling of close-to-normal is the second major benefit. These shows are nostalgic and remind me of the days when I would choose to spend an entire evening watching the first series of Sex and the City in one sitting, as opposed to doing so because the government mandated that I must. Nostalgia, though, is a complicated thing to reckon with. The word’s origins – the Ancient Greek translating to something along the lines of “pain for a journey home” – highlights its darker uses: we feel pain for time passed, for places and people we can no longer return to. This isn’t just felt on a personal level, but it appears routinely in political rhetoric; returning to a simpler time, making a country “great” again. 

The media psychologist Pamala Rutledge said in an interview with NPR last year that “we actually are craving time with our friends, and so these become kind of a proxy for that experience.” This was in response to the news that Friends and The Office had been the most-watched shows during quarantine.

We’re basically exhausted all the time because we’re under the stress of uncertainty. So what do I want to watch that will give me some comfort and some rewards that’s easy, that doesn’t drain my energy but gives me some back? And that makes shows like “The Office” or “Friends” a very good choice.

Pamela Rutledge

This yearning for nostalgia and ease doesn’t feel specific to the pandemic, however. In recent years, nostalgia has been the driving force behind television. Show after show was brought back from the dead, most of them shocked into existence on streaming sites. Will and Grace, Prison Break, Queer Eye, Saved by the Bell, Tales of the City, Full House, The X-Files, and so many more came back to varying degrees of success. Even to the untrained eye, it was clear the past decade had brought on a soft spot for days-gone-by. Most recently, Sex and the City was announced as the latest to make a comeback (with a new name and sans Samantha) and it became one of around 30 rebooted shows currently in development. As a fan of the show, and its new diverse writing staff, I was excited. Yet, I did hear, somewhere deep inside me, a quiet ‘why’ when I read the news before I quickly silenced it and got excited for something that might upset me (can you tell I’m a Carrie?). 

It’s hard not to see the connection between my current rewatching craze and this wider cultural mode of production whose mantra seems to be in the vein of a 90’s era S Club 7 – ‘bring it all back’. In fact, it’s somewhat stunning. I had seen, in recent years, that political craving for nostalgia and had fought ardently against it; things were never great, and the only way is forward. 

During a year that has made comfort paramount, even more so than in previous years, was I more open to the return of familiar faces because, I’m hoping, I’ll soon be able to see my actual friends? As things open up and new shows premiere, I’ll have to apply that to what I’m watching too. I’ll have to shake it off, leave this hibernation, and walk once again amongst original and exciting things. I just hope I haven’t become too comfortable.

Also Read: How Film Changed Me: On It’s A Sin

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1. Star Wars: The Rise of Positivity

The only thing Star Wars fans agree on is that Star Wars (1977) and The Empire Strikes Back are great. However, from there opinions vary wildly. Some find Return of the Jedi either a fitting end to the original trilogy or a dumbed-down entry for kids. Most people initially didn’t like the Prequels and Disney’s handling of the property has produced mixed critical and fan reactions, to say the least. So perhaps the most controversial thing a Star Wars fan can do currently is resist the pull of the dark side and say, “there are zero bad Star Wars movies”. Well, MoviePreviewShow managed it.

2. My Not so Fair Lady

My Fair Lady was a real winner in its time. It won 8 Oscars including Best Director, Best Actor in a Leading Role, and Best Picture. Although, viewed all these years later people like Martin Something-or-other find that My Fair Lady leaves a lot to be desired.

3. Defending Daredevil (2003)

The exact opposite of our last entry. The Ben Affleck Daredevil movie was derided upon its release. However, since then it has gained a cult following. It was also given a director’s cut release which many say makes the film into something special. Because superhero movies are currently taking a break maybe it’s time to revisit Daredevil (2003)? You may find yourself like Retro Gamer.

4. Battle of the Directors

Martin Scorsese is considered one of the best directors of all time. Creating great films like Taxi Driver, Raging Bull, The King of Comedy, Goodfellas, and Wolf of Wall Street to name only a few. But can he compete with Brian De Palma the director of classics like Carrie (1976), Scarface (1983), The Untouchables, and underappreciated gems like Phantom of the Paradise and Dressed to Kill? Not according to RVD the Dudar.

5. Excellent Adventure Vs Bogus Journey

When most people speak about the Bill and Ted films, they talk about the first entry, Bill and Ted’s Excellent Adventure. Which is understandable, because it is the highest-rated and highest-grossing film in the franchise. But Direct Questions thinks the claim that it’s the series’ best film is bogus. He believes Bill and Ted’s Bogus Journey is the superior film.

6. Streaming Wars

With a lot of production companies moving into the streaming market, many are beginning to make their content exclusive to their own services. Which definitely doesn’t sit well with Jonathan Boyd.

7. The Horror of Children

The opinion that children in movies are more annoying than they are effective is nothing new. Though kids in horror films not being scary when movies like The Innocents (1961), The Exorcist, The Omen (1976), and The Shining (1980) exist? Eric S. Kim’s opinion is definitely controversial.

8. Trashing Tarantino

Quentin Tarantino is one of modern cinema’s most acclaimed filmmakers. With several of his films being considered among the best ever made. However, as with anyone who is well acclaimed there are always those who believe them to be overrated. But which camp do you fall into? Are you a true Tarantino aficionado or are you like Global Affairs?

9. Stay Mysterious

Many agree that trailers and reviews sometimes give too much away. But how much should you know about a movie to become interested? To Rigmarole Film a movie is improved vastly when you know as little as possible going in. And therefore, have more of an open mind.

10. Henry Cavill’s Superman

Henry Cavill’s Superman films generally divided opinion among both audiences and critics. However, some people, like (thereal)Chris Grant Jr., consider him to be their favourite Superman portrayal.

So ends our brief look at unpopular film opinions circulating social media. What do you think about some of these controversial opinions? What are some of your film hot takes? Please let us know.

Also Read: The Film Fan’s Guide To Time Travel

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Disney’s Restructuring

Last week Disney announced a huge restructure with its Content creation and distribution being separated. Content creation will now focus on creating big franchise content for theatrical and streaming distribution, as well as general entertainment and sports content for Disney’s streaming platforms and TV networks. Meanwhile the “Media and Entertainment Distribution group” will handle monetisation and distribution of all the company’s projects. And with Disney reporting over 60 million Disney+ subscribers worldwide their efforts have shifted towards creating content for and distributing content on their streaming platforms.

How Will This Affect Cinemas?

Disney movies attract incredibly large cinema audiences. And with Cineworld’s recent closure due to the lack of big releases needed to sustain themselves during the pandemic, this move could be rather damaging. Especially since studios like WarnerMedia and Comcast are seemingly following Disney’s lead. Recently they reorganised to focus on streaming service’s HBO Max and Peacock.

However, despite Disney shifting focus to streaming, analyst Rich Greenfield said, “nothing can achieve the per picture economics that Disney…generate through a global theatrical release”. Showing that Disney still needs cinema distribution to ensure their projects make their money back. This move may be meant to recoup losses further down the line. With projects aimed at attracting new customers to Disney’s subscription services and keeping people subscribed; paying for content, as they proved they could do with Mulan (2020). And as Disney has access to a huge amount of resources, and bankable studios, it’s hard to see this becoming an industry trend. Not every studio has the resources needed to shift towards streaming over cinema. Cinemas still matter but can they remain open without the support of many big tentpole releases?

How Can Cinemas Survive?

There are no concrete answers, but cinemas currently have a lot of avenues available. For example, the largest audience for UK cinema releases is consistently 15-24-year-olds. Other statistics show that BAME and LGBTQ filmgoers, as well as adults with children under 18, make up a high percentage of cinema audiences. Cinemas could target these audiences by providing discounts or exclusive screenings to encourage certain demographics to keep returning (similar to how The Light and Odeon cinemas currently offer discounts for former Cineworld customers). Rewards can also be offered to make customers feel valued. And classic and recent content could be offered to draw in BAME and LGBTQ audiences.

Also, recently smaller movies like After we collided and Unhinged have done relatively well at the UK box office. Showing that smaller films can do well with a bigger platform. And with many smaller releases still on the horizon, cinemas have an opportunity to encourage audiences to try something new. They can do this by increasing social media awareness. Offering discounts/rewards. Or perhaps even organising local cinema clubs, as many of the previously mentioned groups are more likely to respond to the idea of a film club. Plus the localised nature of film clubs could be a great comfort to regions in higher lockdown tiers.

Of course, if cases spike cinemas will have to close. But other options are available. For example, during the lockdown, Sheffield’s Showroom Cinema partnered with various streaming and VoD sites. Offering free trials for their members, and virtual screenings that split the money evenly with the Showroom if you used their site. These options allowed people to watch films safely from home. And helped keep the Showroom on its feet.

Conclusion

Despite Disney’s shift to focus more on streaming, many studios don’t have Disney’s money and resources. So it’s hard to see this becoming an industry trend. Cinema distribution will still be needed to cover big-budget production costs.

But cinemas must adapt to survive without huge tentpole releases. There are many independent productions out there to entice audiences. And offers and rewards, targeted marketing, film clubs, virtual screenings; profit-sharing with VoD, and streaming services are certainly options that can help cinemas to make money. But will they succeed? Only time will tell.

Also Read: What’s Next For Disney?

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Quibi launched right in the middle of the global pandemic when everyone had free time on their hands. With everyone stuck inside, they need longer series to keep invested in, rather than 10 minute long episodes. It is also only available in the US and Canada, although that wasn’t really an issue for Disney+. While it does seem that the release couldn’t really have come at a worse time, there are likely other factors.

Try before you buy

Like most streaming services, Quibi is a paid service. While it does offer a 14-day free trial, it previously offered a 90 day when it first launched. The 90-day trial is a better representation of Quibi, which adds new content weekly. After the two week trial, there are two payment options, a $4.99 which is slightly cheaper than most streaming services but features ads. The other option removes the ads for $7.99. Most paid-for streaming services do not feature ads, with Netflix offering several plans based on how many people use the account.

Another problem unique to Quibi is its content. Because of the “bite-sized” nature of its content, it doesn’t have any existing content to tempt viewers. Whereas Netflix had the likes of Breaking Bad, and Disney has its vast library. Quibi only has original content which can be much harder to sell, especially when you only have 15 minutes of a show. While it might have some top talent involved, it’s hard to get people invested in a show that only has one 15 minute long episode.

(Don’t) Tell your friends

One of the big reasons Netflix gets shows to go viral is because it actively starts conversations. When new shows like Tiger King or Bird Box are released, the twitter account engages with it. By actively encouraging discussion and showing clips or sharing memes, Netflix helps build the conversation around its shows. By contrast, Quibi does not even allow users to take a screenshot whilst in the app, and no sharing onto social media, making it hard to grow buzz for a series without getting people to sign up for it and watch it themselves with little to no context.

Another issue is that Quibi is mobile-only, with no option to watch on a computer or cast to a TV. This has the unfortunate side effect of making it difficult for more than one person to watch any content on there. Watching a funny Youtube clip on a mate’s phone might be good at school, but it doesn’t really work in this context.

Where does Quibi fit in?

In a world where anyone can create short content and upload it to the internet on platforms like YouTube and TikTok, a paid service seems odd. While it has the benefit of big names, most of them are active on other platforms and have other much more exciting projects planned. Actors like Jack Black and Will Smith have their own YouTube channels, which viewers can watch for free, so why sign up for Quibi?

While the actual content on Quibi isn’t the issue, some of the more weird and high concept shows are perfect for the platform. However, a lot of the shows could go onto YouTube, which already has it’s own premium option. Also, YouTube already has access to new content it also allows other benefits.

While Quibi is an interesting idea, it appears that it just doesn’t have enough to make it stand out from existing platforms, it’s a combination of Netflix and YouTube which is interesting, but those platforms offer different things for a reason. Many of the shows on Quibi are well funded and produced, but seems like a lot of money to throw at shows that total little over 2 hours when finished. It still has a chance to recover and be successful, but only time will tell if that happens.

Also Read: Amazon To Own Odeon Cinemas?

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Classic: The Wizard of Oz (1939)

This is the film equivalent of a warm, loving hug. There is nothing I can say about The Wizard of Oz that hasn’t been said a million times. The story of young Dorothy Gale’s (Judy Garland) journey of self-discovery as she is swept away to the land of Oz has inspired many people and continues to inspire many more as years go by. And while it may have its scary parts (The Wicked Witch of the West; her armies of flying monkeys and Winkies continue to scare children to this day) the loveable heroes, beautiful set design, iconic music, and the heart-warming story will ensure that a smile is never far away. If you don’t feel happy inside by the end of the Wizard of Oz, there is something wrong with you.

Documentary: Won’t You Be My Neighbour?

If you need to restore your faith in humanity, this is the film to see. This documentary goes in-depth into the life of children’s TV host Fred Rogers and gives us insight into his world view. How he believed in teaching children about important issues without talking down to them to help them grow and develop into good people. He dealt with topics like the assassination of Robert Kennedy, racism, depression and many other heavy subjects on his show. And the doc even delves into his personal fear that he hadn’t done enough to reach people. It’s a very human portrait of a man who believed in the best of us, which will leave you inspired and much more positive about the world.

Comedy/Drama: Fighting with my Family

The story of Saraya Knight alias Paige (Florence Pugh) and her journey from humble beginnings, wrestling and teaching the sport with her family in Norwich, to WWE Diva’s Champion. Fighting with my Family is a treat for one simple reason, it feels entirely genuine. Everyone can relate to the hardships of trying to chase your dreams and even the hardship of having to give up your dreams for something else, like Paige’s brother Zak (Jack Lowden). And because of that, we route even more for our heroine to succeed. The family dynamic is also tender and affectionate with Nick Frost and Lena Headey providing fantastic turns as Paige’s parents. And a funny bit part for Dwayne Johnson ensures you will come out of the film with a spring in your step.

Animation: My Neighbour Totoro

My Neighbour Totoro is the definition of adorable. Two young girls and their father move to a new house in the countryside while their mother is in hospital. Through a series of chance sightings and some investigating the girls then encounter several woodland spirits. Which includes the eponymous Totoro with whom they proceed to have many adventures. Totoro is a film that is impossible to not love. Showing the world through the eyes of a child, where there is no argument that can’t be solved with kindness and compassion, nothing is ever hopeless, and the world truly is a magical place (coupled with some of the cutest creature designs ever) the film is guaranteed to get you in a good mood.

Netflix Original: To All the Boys I’ve Loved Before

Lara Jean (Lana Condor) has long existed in the margins. Her crush is dating her sister, her former friend is now her worst enemy and her little sister won’t stop criticizing her driving. Her one solace is her letters to all the boys she has had a crush on. Which allows her to get all her feelings out. However, when her letters are sent to her crushes she has to try and fix the problem. And the answer to her problems may lie in her former friend’s ex-boyfriend Peter (Noah Centineo). If you’re looking for a rom-com, full of charming characters, a good sense of humour, a central couple with great chemistry and even a few surprises along the way then do yourself a favour and check out To All the Boys for a reminder of the beauty of young love.

Thus, ends our recommendations list of feel-good film on Netflix. We hope you all enjoy our choices and that they help to add a little joy during this tough time. If you want to recommend any films on Netflix then let us know in the comments.

Also Read: 5 Documentaries To Watch On Netflix

The post 5 Feel-Good Movies on Netflix appeared first on Big Picture Film Club.

Where are the young cinema audiences?

According to Stephen Fellows, some of the main factors hindering young people from going to the cinema are:

• Logistical elements – The time/effort necessary to organise a cinema trip, especially if no cinema is nearby

• Social elements – If friends and family don’t want to go then the cinema experience becomes less attractive

• The lack of films being shown that interest them (a common criticism among women and older young people)

• The cost of attending

Many say that streaming services also greatly contribute to the dropping of young audiences. However, the big streaming services are used primarily to watch TV shows over movies. And waiting to watch new films at home is more often done by infrequent moviegoers. But a big advantage streaming has over the cinema is easy accessibility and it allows for the comfort of home viewing. Whereas young people view the cinema as less relaxing and harder to organize. This means it is harder to encourage young infrequent cinema-goers to come to screenings due to a perceived lack of comfort. So, the cinema experience itself poses more of a barrier to young cinema-goers than streaming.

2018 – Encouraging The Return of Young Audiences?

In a previous article, we showed that 2018 marked the highest number of UK cinema admissions since 1970. Of the 20 highest-grossing movies of 2018, only 3 received a BBFC classification above 12a. These films also told diverse stories that appealed to a broad range of demographics, tastes, and interests. And these films were viewed as events that needed to be seen on the big screen with friends.

2018’s audience figures (at the time of writing) are not available. And while the high year attendance indicates these movies brought in a wide variety of demographics, the encouraging of teenagers and families to come and see the latest releases with low age classification, the telling of a range of stories to encourage interest from groups who may have been previously uninterested; the percieved uptake in value of the overall cinema experience (regarding both the viewing and social experience) indicates that 2018 could have seen a rise in young cinema attendance, as the industry tackled issues pertinent to this demographic.

What Should Cinemas Do?

But no matter what that year’s numbers may show, in the long term the cinema industry must do a lot more to bring young audiences back.

Aside from the family social element and showing more diverse stories aimed at interesting young audiences, consideration must also be given to the cost/perception of attending the cinema, the logistics of organising cinema trips and paying attention to social elements that young people can share with friends.

There are several ways to tackle these problems. Fellows said that young people value cinemas offering rewards for loyalty, as it makes the customer feel valued and also encourages more frequent attendance. Cinemas could also encourage socialisation through ventures like exclusive screenings for young people or film clubs. Frequent hosting and advertising of such events would also encourage good audience organization. Lastly, cinemas must aim to make visits more attractive/obtainable. This can be done by reducing ticket prices (possibly through group offers). Showing that cinemas are good value for their price (offering other incentives for the price of admission). Or constructing more cinemas across the country (allowing more people to easily access the cinema).

This will cost a lot to accomplish. But with more accessible cinemas, incentives geared towards repeat visits and greater social opportunities, it would surely encourage higher attendance from the younger audience.

Also Read: The Biggest Financial Film Flops

The post Where Are All The Young Moviegoers? appeared first on Big Picture Film Club.

Quibi, however, is trying something completely different- all of its programmings will be around 10 minutes or less (The name is a mash-up of “quick bites”). Its content is designed to be watched on a smartphone or tablet, perfect for on your break or waiting for the bus, similar to a lot of Snapchat’s content. but with added production value, as well as wider variety.

Who is supporting it?

The company has raised over $1 billion investment which it plans to spend on content, with 7,000 short episodes as a target. It has even attracted some big names, including Guillermo Del Toro, Sam Raimi, Jason Blum, Anna Kendrick, Laurence Fishburne and Kiefer Sutherland all have projects that will debut on the platform, in a variety of different genres. “Spielberg’s After Dark” (Yes, that Spielberg) will only be available after dark (get it?) and will be unavailable during the daylight.

This kind of experimentation forms much of Quibi’s ethos, as well as most short films in general. The shorter format allows for some interesting results, with filmmakers being put under a short time limit or having a smaller budget they often have to get creative. Quibi hopes to be more creative and unique with its content than other streaming providers like Netflix or Amazon Prime.

Short films have often been an important step on the road to feature films, with many directors honing their skills with shorts before directing their first feature. Films such as Taika Waititi’s “What We Do In The Shadows”, Damien Chazelle’s “Whiplash” and the original “Saw” film all started as short films before finally becoming the films we’re familiar with (The short film versions of these and a few others can be viewed online). These are often submitted to festivals such as the London Short Film Festival or Aesthetica Film Festival, in the hopes of gaining an audience. Some even have their own premieres before being posted online (Big Picture Film Club sometimes helps with this).

How will this change streaming?

With such big creators focusing on short-form entertainment, Quibi could attract a lot of viewers that don’t have time in their lives to sit down and watch a three hour epic like The Irishman or binge all of Mr Robot. People have busy lives and, if Quibli is successful, we could see more content geared towards it. Short films could become much more popular. Feature films get released on platforms like Netflix and Amazon Prime, could we get short films released on there too? Having names like Spielberg, Del Toro would help create buzz, and move away from the “student film” label many shorts are given. It is also giving some projects a new lease of life. “When the Stree Lights Go on” was originally envisioned as a feature, then a series, and will now premiere as a series on Quibi.

How other platforms adapt to Quibi is a mystery, as it will launch in April of 2020, it is unlikely that the big streaming sites will suddenly only have short programming, but we may see a rise in it. As Co-Founder Jeffrey Katzenberg said “Quibi is not a substitute or a competitor for television” rather it aims to have your attention instead of YouTube, Snapchat, or other apps used on your phone during the day. Although some people may rather wait for a full season and watch the short episodes all at once. The main issue it could come across is the subscription. Why would people pay when they can watch YouTube for free? (Which also has it’s own subscription model). Whether people will want to spend their commute watching “Biggest Little Cook-Off” or scrolling through Instagram remains to be seen.

If you would like to sign up to Quibi’s newsletter or apply to be a part of their team, you can do so here

Also Read: British Brown Girls: Short Films Re-Defining British Asian Women On-screen

More: Advice For Firest Time Independent Feature Filmmakers

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It’s therefore interesting that according to the UK Cinema Association, UK cinema attendance in 2018 was at its highest since 1970, with 177 million admissions. This is impressive considering all the factors going against cinema in 2018, including a boiling summer and competition from the World Cup.

But why did cinema attendance decline during the 1970s? And what was it about this past year that encouraged people to return in larger numbers? Well, join me as we dive down the rabbit hole and try to find out.

1970: Starting to decline

1970 was the year the UK saw the general release of many perennial favourites, including Butch Cassidy and the Sundance Kid, Kes and many others. It was also the year when cinema audiences began to decline dramatically in numbers, going from 193 million admissions in 1970 to 176 million in 1971. By the end of 1980, admissions only reached 110 million.

Many blame the expansion of television and the video recorder for the decline. And with Hollywood going through major changes at the time due to several large flops, the big crowd-pleasing spectacles that had been largely used to showcase its superiority to home viewing quickly dropped off. These pictures then took a back seat in the UK, replaced by a mix of personal and experimental projects that appealed to niche audiences as well as television adaptations and sex comedies. From there, although attendance was not always in continual decline, and tentpole blockbusters returned, the audience figures never reached the numbers they once had – until 2018!

In 2018, attendance numbers rose with huge hits like Bohemian Rhapsody, Mamma Mia: Here We Go Again, Avengers: Infinity War and Black Panther.

2018: What has changed?

There are, of course, many factors that could have contributed to the rise in cinema attendance. Some insiders put it down to the value of the cinema experience. Going to the cinema is not just about the film anymore; it’s about the communal experience. The ability to buy food, drink, alcohol and enjoy a film with your family and friends on a large screen with luxury seating without having to spend as much as you would for a night at the opera or a football match.

The number of venues dedicated to showing films across the UK is also growing, in different geographical areas. This means that it is easier for audiences to get to cinemas, no doubt helping to encourage repeat visits.

On the other hand, the rise could be a result of Hollywood using its old hit formulas with a new approach. The big hits of 1970, M*A*S*H, Love Storyand Airport all had pre-existing fanbases, all being based on novels (some specially written to drum up interest for the movie) and stars with name recognition. Airport, starring Burt Lancaster and Dean Martin,M*A*S*H has Donald Sutherland and Love Story having Ali MacGraw and Ryan O’Neal. Hollywood often used these tactics in the past, but these films also covered a range of genres: disaster, romance, war/comedy and demonstrated an attempt to appeal to different tastes. Airport focused on Hollywood spectacle, Love Story on personal character drama and M*A*S*H on anti-establishment humour rampant at the time. Helping to attract different audiences.

All these elements can be seen in the big hits of 2018. The genres range from musical to superhero and biopic. And all demonstrate a commitment to bringing in broad audiences through either brand recognition or having a big name attached to the project.

But these films also tackle modern issues that help them appeal to different audiences. Instead of focusing exclusively on white straight men, we now have stories about black superheroes, LGBTQ icons and women exploring their sexuality and coming to terms with their own identities. With a lot of money spent on these projects, it must be an attractive prospect for underrepresented groups to see representation on the big screen. All the aforementioned films are also rated 12a. And with cinemas being more easily accessible, it makes it easier for every member of the family to watch these diverse tales. The issues of today are being told with old school Hollywood spectacle, which seems to have struck a chord with people, regardless of their opinions on the films.

A long way to go

But despite rising attendance figures, these must be viewed within context. Comparing the populations of the times, the average person in 1970 would have visited the cinema around 3.5 times a year. In comparison, in the higher population, the average person will only visit the cinema around 2.7 times a year. This makes a difference when considering box office takings.

With the average ticket price in the 1970s being £6.83 (45p, adjusted for inflation) the total box office takings of 1970 reached £1,318,190,000. Beating 2018’s takings of £1,277,122,327 despite the higher average ticket price and higher number of cinemas.

The average viewer just does not visit the cinema enough to equal the 1970 numbers. So, if cinema is to return to the high attendances it once had, there is still a long way to go. And with the predicted continuing increase of the population, cinemas will need to do all they can to encourage visitors to return or attendance will continue to fall. This could result in cinema closures or another rise in the average ticket price.

What now?

Despite this, the high attendance figures of the past few years indicate that if cinemas continue to appeal to audiences, through showcasing big films that can be viewed by diverse audiences at affordable prices, then maybe we will reach the attendance figures of cinema’s heyday again.

The post How Cinema Attendance Hit Record Levels In 2018 appeared first on Big Picture Film Club.

Man on the Moon (1999) – Available for five months

A biopic of Andy Kaufman, the Saturday Night Live star, possibly shouldn’t have a history as interesting as the film itself. Starring Jim Carrey, Man on the Moon depicts the life of the Taxi star, from his struggle to “make it” as it were, to his sitcom hating days, to his wrestling career, to the end of his remarkable but short life. In perhaps a bitter twist, after playing tricks on his audience throughout the film, Andy realises in a desperate attempt to save his life, that he too has had the wool pulled over his eyes; and in that moment, he just laughs. It’s a hauntingly tragic performance by Carrey, who threw his all into the role (which is explored in a documentary entitled “Jim and Andy: The Great Beyond”) and it’s one that brings a tear to the eye.

The Eyes of Orson Welles (2018) – Available for thirteen days

Often regarded as one of the most important, or even the best, director of all time, Orson Welles left behind a mysterious legacy and this documentary aims to give you further insight into how Welles’ mind worked. Mark Cousins takes the viewer on a visual journey, showcasing the sketches and artwork Welles’ drew during his time – sketches of the people and places he found vividly intriguing. It’s an entirely new way to view his films and Cousins seems to have nothing but admiration for him. Though it seems to add more to the secrecy of Welles, it also begs to question of where his inspiration came from and of how he viewed his own conscience. Cousins documentary reads like a love-letter to the director creating an awe-inspiring film, for any fan.

Night of the Living Dead (1968) – Available for over a year

In what is often seen as a pivotal film for horror and zombie culture alike, George A. Romero’s classic film follows an unlikely group of allies as they attempt to survive the undead uprising together. It’s an iconic horror, one that has since gone on to inspire many other zombie films, including Edgar Wright’s Shaun of the Dead. Though filmed in 1968, it has remained as gruesome as ever; one scene depicts a failed escape attempt by the group, resulting in two charred bodies being eaten by the undead. The ending of hope for one lucky survivor is also snatched away at the last minute, leaving the audience feeling as hopeless as those trying to survive. It’s a must watch for horror, zombie and classic film fans alike.

I, Daniel Blake (2016) – Available for five days.

A gritty tale of how politics can affect the ‘little guy’, I, Daniel Blake follows its protagonist as he tries to appeal the decision that he is fit for work, after being told by medical specialists he is not. He forms an unlikely friendship with a single mother, helping her to survive on the bare minimum, and attempts to save her from a certain path of desperation, even though she sees no other way to feed her children. The Ken Loach film looks deep into how certain decisions from those in charge, can change us and turn protestors into us all. In one particular scene, after being told he must look harder for work or risk being sanctioned, Blake spray paints “I, Daniel Blake, demand my appeal date before I starve”. It’s a poignant film and one of Loach’s best.

Manchester by the Sea (2016) – Available for twelve days

Casey Affleck gives his best performance to date in Manchester by the Sea, as he plays a troubled handyman by the name of Lee who, after losing his brother, has to try to navigate his way through his grief and the subsequent responsibility of looking after his nephew, Patrick.  The film is often fraught with despair; no matter the choices Lee makes, it never seems to be the right one, and though he wants to be there for his nephew, he also seems to realise that the best thing he can possibly do for Patrick is to not be in his life at all. However, despite all this, the film manages to maintain an air of possibilities – the possibility that Lee and Patrick can keep their new found relationship positive, the possibility that Lee can face his demons and, more importantly, the possibility that Lee can defeat his demons. A tragically beautiful film that will stay with you.

Watch all these films & more on BBC iPlayer.

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