I also don’t think he’s breaking any new ground by saying sending movies direct to streaming makes it easier for to get lost in the shuffle

I’d rather consume something new to me than to rehash older content

“Waah! Waaah! Why isn’t everything exactly like The Witcher 3? Uh... I mean, the books (that I haven’t read).”

The season ending cliffhanger is one of the most stupid things about TV. There are only a handful of examples of them getting enough people talking to result in notably higher viewing figures the following season — presumably because the only people talking about them are already watching the damn show. If anything,…

Devilreaux, a Voodoo slasher movie boasting an extended flashback scene with Tony Todd

Trying to hold it back would be so awkward in a visual medium. I expect “fans” to whine incessantly about what a huge mistake it is to reveal it early anyway (despite 99% of them having not actually read the books).

I think that’s just a tier thing. At the basic tier you can’t watch simultaneously on different devices. I think it’s been that way for a while, so I’m surprised if you only ran into it recently.

Neither story can support itself without the original villain concept to refer to.

Exactly. Obi-Wan and Yoda were already clear precedent for the idea that individual Jedi had survived the purge and gone into hiding by themselves. There doesn’t need to be a secret community of them somewhere to explain if and when any more reappear. And some of them may well have been helping fight the Empire…

You realise Fast X is not a Disney film, right? You think Disney is paying this site to have someone point out that Universal’s film is doing decent business (and that Super Mario Bros., another Universal film, did really great business)? Just, wow.

What are you talking about? Disney do release their movies for review before opening. The review embargo for The Little Mermaid lifts later today, I believe, and the film doesn’t come out until Friday. That’s an entirely unremarkable schedule.

Also...

I think it’s treated as an afterthought because it literally is one. At that point, all the characters are still focused on saving Rocket, and by the time events have slowed down enough for them to reflect, there’s considerable narrative distance, and going back to it would feel either clumsy or half-hearted.

And yet I would still be shocked if they really said it to Devlin and Emmerich.

the[y] told us, ‘This is the best first draft we’ve ever read of any script.’

What you’re missing is that they’re paying residuals to Willow and The Falcon and the Winter Soldier, regardless of whether you watch them. Residual payments for streaming have nothing to do with if people are actually watching the show or how many are, just that the show is available to be watched.

Fixed might have been the wrong word, but if a show you made is licensed to a streaming service, your residuals are tied to the overall subscriber base of that service rather than the performance of your show.

Kasdan’s comments screamed desperate optimism from the off. It may not have officially been dead when he made them, but it might as well have been.

You’d think that the answer is that residuals should be tied to primarily to views rather than subscriber base. Popular shows are what earn those subscription fees, and should be reflected in residuals to the people who make them.

I wonder how much of it is that they’ve shown a lot of behind the scenes stuff already, so you know exactly what is and isn’t real. Although I suspect that the smooth ride along the very conveniently ramp-shaped rock formation has a fair bit to do with it too.