By “lose anybody”, I mean as a customer/sale. You set the price of the seat by the amount people value it. If people aren’t sitting in the first few rows, then their price is too high. The classic example of monopolies being less efficient than perfect competition typically requires a lack of price discrimination: if…

Easy way around that problem: choose the cheaper option so the audience knows you paid for a worse seat!

They might indeed raise their prices, merely due to inflation. But a simple price increase can cost the most marginal customers, whereas price discrimination can increase profits without losing anybody.

Elijah Woods isn’t an historian? I’m shocked. The AV Club told me he “gets it”!

“The movie theater is and always has been a sacred democratic space for all,” he wrote.

He really should get someone to punch up his dialogue.

“If you touch your hand to a hot stove, you will learn why it’s a bad idea” is not actually a suggestion to touch your hand to a hot stove.

Batman is in the wrong in BVS.

the shame-faced, “Let’s pretend this never happened” masterminds over at Universal, who had to Old Yeller their abortive Dark Universe movie monster franchise after one misguided Mummy movie a few years back

“So bad it’s good” has never made sense to me.

Old was better than Glass. Sure, it had some lousy dialogue delivery, but it gets freaky rather than stranding us in a pointless talk-therapy session.

I would have seen it, but when I got notified about an advance screening I was out of town for Christmas. She Said seemed less interesting, but had better timing for my purposes.

At first the new band had trouble getting repeat bookings and they took to changing their name frequently to continue playing the London club circuit. A few of the names include Navy Blue, Ian Henderson’s Bag o’ Nails, and Candy Coloured Rain. Anderson recalled looking at a poster at a club and concluding that…

There would be an error code in the middle of the screen, which a message underneath saying no series matched that titleid.

Nice to see AVC fixed the issue of this url going to a 404.

Time to fess up: I produced every film covered on Nathan Rabin’s My World of Flops. Like Jethro Tull, I just changed my name after every flop in order to keep working, although unlike them I was never successful enough to stick with one. I think Megalopolis will be the hit that makes it all worth it though.

We were like children then. Time really flies.

Just don’t try that in animation, where we want the onscreen character to seem just like the actor so the audience knows we shelled out a lot for said actor.

Really? I thought the Sixth Sense was better. I remember when I watched Old thinking “Maybe the English language is making dialogue delivery more awkward for some of these actors”. Then I remembered Vicky Krieps didn’t seem nearly so awkward in Phantom Thread.

I would phrase that “in terms of actors” rather than “in terms of acting”, because those were far from the best performances of that cast.