Category Archives: movies

That Lion cliché

Do you remember the time when art was about art? Perhaps you remember the studio that had the lion in their logo? I think that the very same lion was also very active in an old TV series called Daktari (1966, CBS). They had on their logo ‘Ars Gratia Artis‘, although some refer to it as: Arse for the sake of the artists, which is not the same thing.

It means art for art’s sake and that ideology came under assault by the Business Insider through Netflix last year (2 days ago), or did it? The article (at https://amp.businessinsider.com/netflix-bird-box-sparks-debate-over-data-in-hollywood-2018-12) gives a very different light on Hollywood. We initially get: “Netflix said its original movie “Bird Box,” starring Sandra Bullock, was viewed by 45 million accounts in its first seven days on the streaming service, a record for the company“, which is a good achievement, considering that there are 137 million subscribers, we get the setting that 30% watched it, something that should be regarded as a huge success. Yet Business Insider does not think so, it goes on with the quote: “Though Netflix revealed the huge number, it didn’t give specifics. How many of those 45 million watched the movie from beginning to end? What were the demographics of the viewers? Those are the types of stats that movie studios and TV networks release about their content“. Here we have a larger issue; those in the cinema, with rare exceptions will sit out the movie in the cinema, in the digital world we get to consider a new stage: how many watch it completely? Just like Google ads on YouTube where the first 5 seconds is ‘free’, or better stated might not be a viewer, and after 5 seconds the person can skip, so that is not a viewer either, these metrics now count towards the greater need to understand the Netflix viewer, because those who start the movie are optionally not actual viewers, so setting the purchase stage towards those metrics will be the downfall of Netflix soon enough, yet in all this, the viewer, including me, we are all new to the Netflix, Stan and other parts, so we get to switch products, like we switch channels and as such, finding what we like is going to be important to Netflix et al. Also, multiple watching might imply that, or another person at the house was watching, or perhaps I merely nodded off after 24.3 minutes only to realise that a comfy chair and warm weather implies that watching is a lot more challenging? In all this metrics, especially top line metrics with demographics will be increasingly important to all these digital providers. Even as we see: “That 45 million number has not been verified by a third-party measurement company in the way TV ratings and box-office results generally are“, we do not realise that for the most, cinemas have an utter lack of these metrics (other than amount of tickets sold, tickets per purchase and date of purchase), so even as Digital channels have more granularity (a lot more), we can debate and even question these metrics on a few levels. I once heard that a friend has his father drop by every weekend to use his Netflix account and keep up on TV series whilst the sunshine lad was at the beach entertaining his tan and swimming ability, so when he got home, he shared a meal with dad and they talk and watched a little more Netflix. So that implies that for that day the metrics are no longer matching the demographics, merely the member graphics, which again is not the same, not even close.

So when we look back at bird box, we see the interesting quote: “she believes that the latest Netflix news is nothing but a publicity stunt and that Netflix’s lack of transparency about data hurts filmmakers“, which is when the wheels leave the carriage in every direction. If movies are about art, why would data transparency be important? How is a vision or art an indication of data requirement? I get the statement, I get the implied stage where the TV industry is now mimicking Ubisoft when they started claiming another Assassins Creed every year. The implied part is forgotten as soon as you read it, but the danger is there. Those makers who rely on data to form the next hit will never ever get one. You see, the lesson that Ubisoft has been learning the hard way is that a game that appeals to everyone is a game that appeals to no one. The sales figures show that flaw, the ratings of games that at $50 million should have been 90% or better get nowhere beyond the 65%-85%, so basically a products that gets a little more than break even, it is a business model that theoretically works, but it will never produce any diamonds. The 78%-81% for Far Cry 5 is a direct indicator of that, some gave it as little as a 60% rating, a total change from the 90% that AC Origin deserved and that supports my thoughts there.

Yet in TV and movies on digital format we see another shift, we see the lack of materials making the makers a little desperate for choices. Even as we see Bird Box as a massive win, we see that choices are now coming at a much steeper investment curve, making the game a lot more dangerous, and it is pushing these analysts towards the metrics of watchers and optional watchers giving them a dangerous step towards anticipated interest versus real interest. Netflix is the most visible player here, but they are not alone. Stan, Foxtel, Canal Plus and a few others will face their own demons. Disney is the safest player for now as they have the best established brand on any medium, yet over time they too need to face the choices of data use available.

For me this data war is important in other ways too, as we see Bird Box and a title like the Blair Witch project in one box of choices, we see the link of mass media towards creating an inflated hype, yet when we look in another direction we realise that gems like Chilling Adventures of Sabrina would lose their footing into getting a place in creating and release. Sabrina is as I personally see it the true approach to ‘Ars Gratia Artis‘, the moment that data takes over, things will fall apart. It is not the data itself, it is the fact that in the first the data is mostly non-confirmed (member versus actual viewer), anticipated issues on re-watching versus actual reason of re-watching and that list goes on, the inability to properly vet data for a whole league of reasons will diminish the playfield and the Ubisoft stage takes over from the actual artistic stage, it could optionally kill a series like Sabrina overnight and will kill a whole range of other series in the same way in their first seasons too. There is other evidence too, the series Lucifer that got canned in one place, got taken up by Netflix and the fans win, in this case Netflix wins too and they deserve to win, but we need to realise that Lucifer is not unlike Star Trek, a series that initially got canned because the executives did not comprehend their fans (the watchers). We can add Firefly, Dollhouse and several other series to that list. I believe that Dollhouse was going towards the place that Westworld is moving on to and that is great, the stories are still accepted and they evolve for the viewing acceptance and appreciation levels and rightfully so, yet how many TV series were lost to us for the same reason? You see, I believe that the wrong approach to data and the non-comprehension (or wrongful use in dashboards) will make this a much larger issue soon enough, and guess what?

This will not be contained to the Hollywood world, the shift of data and dashboards will push into every realm that uses data soon thereafter. You might not think it now, but you all are part of this, it will affect you all soon enough. 5G is not merely a mobile platform, it is a data platform and we will personally see, feel and experience the impact of data. That impact is not theoretical, it is an actual impact. At Cornell University we saw the creation of a paper in March 2018 called ‘Load Balancing for 5G Ultra-Dense Networks using Device-to-Device Communications‘ by Hongliang Zhang, Lingyang Song, Ying Jun Zhang that gives us that to some degree directly. When we consider: “data traffic can be effectively offloaded from a congested small cell to other underutilized small cells by D2D communications. The problem is naturally formulated as a joint resource allocation and D2D routing problem that maximizes the system sum-rate. To efficiently solve the problem, we decouple the problem into a resource allocation subproblem and a D2D routing subproblem. The two subproblems are solved iteratively as a monotonic optimization problem and a complementary geometric programming problem, respectively. Simulation results show that the data sum-rate in the neighbouring small cells increases 20% on average by offloading the data traffic in the congested small cell to the neighbouring small cell base stations

Say What?

I am geting there the long way round, stick with me, it will soon make sense, as such, let’s look at this from another angle so that it makes a little more sense. Here I use a quote “We also know that the capacity (density) of current macrocellular 4G networks will continue to increase in the foreseeable future since there’s still spectrum available around the world that could be used or reused for mobile broadband“, this is a given, actually more than a given as both Cisco and Alcatel passed through the average barrier by 100%, as well over half a dozen carriers are on the average expectation, the other two crushed it by almost 100%, and that was 4G, the game changes in 5G (yes this is still about art).

Now consider that we are not set in metrics, my viewing pleasure never was, even as early as the late 70’s; that means that the metrics never fitted me and more importantly these metrics are failing a larger population to a much larger degree and it will increasingly fail those relying on them, no matter how good the story sounds. This part is important in a few ways. You see, from my point of view (always debatable whether it is correct), we see the flawed Ubisoft formula and consider that the choice fits 80% of all, this might be seen as a good thing. Yet in art the change is slow learned and even as with a video game the initial payment is done, we see a much larger stack of players going towards pre-owned games (for financial reasons). Now consider that in the Netflix et al world, it is not set into a $99 purchase, it is a $15 per month and everyone bailing after a few months will increase the financial dangers for players like Netflix (and others) as they have amassed a multi-billion dollar debt, whilst the people can leave at any time; even as leaving in the first year (or after the first free month) is not likely, especially at $15 a month, that same given part is not guaranteed after year one, so getting the right series up and running is a lot more important. Now that Netflix is no longer the one option and now that Disney Plus is gaining a global insertion, having the right data is increasingly important, we do get that, yet the Netflix data is lot more debatable than some think and this is where the problem starts. There are several indicators that the data is not that great or that complete. Unless Netflix is gathering data incorrectly (read: ethically immoral), which is not a given and there is no indication that this is happening, we have the direct issue with valid data versus non validated data and there is a much larger hiatus in play.

And now we get to the producer Rebecca Green, now we get to look at the part that is important. (apart from her ludicrous believe that Netflix data needs to be more transparent), we need to look at: “My goal is to create original content for wide audiences, but how do I cater to an audience if I do not know what they are turning in to watch?” she said. “‘It Follows’ has been on Netflix for two years, and I have no idea how many people have viewed the film. ‘I’ll See You in My Dreams’ has been on Amazon Prime for two years as well, and I have no idea how many people have viewed the film on that platform. Why share the stats for one film but not the others, aside from wanting to create buzz?“, right next to “Netflix needs to be more transparent about the performance of its titles so that people can better contextualize the data and to help more of these types of movies get made. I Personally believe that an adaptation from Forest Gump is needed: “Stupid is as Ubisoft does!“.

She is implying that she is out to make sure that she will not create a failure, and as such, she is unlikely to ever help create a true blockbuster. That is how I personally see it and so far my view has been supported with the results by Ubisoft several times over, so I feel decently confident on my view. She needs the right dreamers, the ones that dream the new stuff, not data driven, but vision driven. I dreamt the sequel to Mass Effect Andromeda two nights ago and it is still unsettling me today, I hope I never dream in that direction again, this does not imply a success, but it could potentially show to be a blockbuster to a lot of people, enough to take the Nexus for another spin if the investors are willing to take a (likely huge) risk. It is not merely the risk, the state that if they go all in that they are looking at optional sales of 6-8 million copies. That would be the stage where the game gets to approach the billion dollar mark and I am trying to remain conservative there. You see, it is not about the game, it is about offering something not done in gaming ever before, especially in console gaming. So there is the space to truly shift the field onto another track, a high speed track, but to get vested in that, it will cost the makers to get the right software engineers hat can give view to vision and that is a much larger call than some might think. I did a similar exercise with Elder Scrolls VI (not the one that is being made). It was not about a new story, it was about where can we push the story to and more important, how can we instill additional value, for me that has always been the ability to replay a game, not merely watch an interactive story with a few variables. What if we could evolve the game not merely in size, but in the ability to give a game 100+ hours of challenge and fun? In my mind, I gave that setting a whirl with Elder Scrolls VI: Resurrection by changing the nature of the challenge and by adding the openness of the game. Oblivion had done a terrific job initially, but I learned that in the 4th play through that I went for the anticipated goals too fast, I wanted a change that gave the challenge , but removed grinding to a larger degree (removing grinding 100% in an RPG is pretty much impossible). It is done not by adding more repetitive challenges, but by limiting options. You see, in my view a person cannot join all guilds, they can be members of some (until completed), so mages will auto decline Necromancers, thieves will reject assassins and fighters will not allow for thieves or assassins to enter the guild, so you can do all, but not all at the same time giving an additional layer to the gameplay, because at a later stage one guild will be a lot more challenging than before. Having a long term quest, one that goes on over time, even as you are working other challenges is also a path to set the stage and a third one is seen in choice. In my view The shrines were no more, the [main quest challenge] had undone something and we get to choose whether we fix that, and also having to decide what goes where, or continue on the path Tamriel was on, in that stage I have set 5 main quest lines in a different path, optionally giving a severe different view to how Tamriel continues as a nation, whether the initial main quest is resolved one way or another, that is the shape of close to 50-100 hours of additional playtime, will people like that? What happens when you really give the option of choice a new dimension?

I do not think that those bragging on how they cleared Skyrim in 2 hours will like it, but I am not making it for those few, I thought up ES-Resurrection for those who loved travelling in Skyrim (and beyond), those who create additional content and loved the time they had in Skyrim, the true RPG players that want to see it all. That same situation exists on any RPG (read: Mass Effect) and those value art and the creation of art by software engineers and graphical artists, gamers will bend over backwards buying such a game the very moment it arrives.

This is the same for movies and TV series, You merely have to watch fans going nuts on social media regarding Chilling Adventures of Sabrina to see my point proven; in addition, we saw a mere 3 weeks ago: “‘Firefly’ Fans Are Upset That Trending Hashtag Isn’t About the Show Being Revived“, when we see such impacts, we know that something is missed and some of these metrics will merely increase the amount missed by series makers (read: initial funders) and producers (read: investors). In this it is important to see the view of Robert Bianco (USA Today) with: “that Joss Whedon’s most devoted fans will debate and embrace, and a mass audience just won’t get“, that view is fair enough and the makers invest in the series, so as we see that there was a drop of 50% in viewers, it made sense to them not continue, yet a lot of the story was lost in the end. Could this have been prevented if data drove the choices of writing? I do not believe that to be the case, if anything, when we look at the Netflix setting, data would have made it worse; the series might have fallen over quicker. That is the setting for Rebecca Green (as I personally saw it). She might adhere to data transparency, yet there we see the most likely failure to be a choice made on non-validated data making matters worse, shying actual fans away because of adherence to the masses, which in my personal view makes matters worse, not better. Consider that 5 series with an 80% score, what are the chances that overlapping groups of people that end up no liking 2+ series released? How many members will that cost them in the months 13 and onward? In a stage where they invest $8 billion, how many losses will that ensue?

In all this (a very personal view) when we stop adhering to art for the sake of art, we see the path of data driven art and it will be nothing more than mere marketing of brand, viewers created through awareness, a dangerous setting in any form of art, video games have proven that; how long do you think it will take for people to switch away from 45 minute branding shows? How quickly will we switch to another provider? I believe that this stage will be reached sooner than we think. We might still adore and worship Game of Thrones, yet what will happen in season 8? Will it keep us on the edge? I am not handing the same values to GoT as we have had 7 seasons of GoT already, and a following will continue the story for now; more important at what point will see that there is a stage for season 10? Even if season 8 flops, there will be a drive to end the story lines at this point handing the need for a season 9 at the beginning of season 8, yet for new series that premise does not exist, so how can a series survive when it becomes data driven in a stage where the quality of data is debatable to a much larger degree at the very least.

This is not in the same range as the TV series were, it seems that the new digital series are effectively marketing driven and that might depend on data, but in all that, how many people would have given the Chilling Adventures of Sabrina a proper vetting in the initial hours? As the choice of streaming digital TV companies’ increases the timespan given to vet series changes as well. That is where my reference of that 4G paper comes into play. The stage of “Using higher modulations is a proven, reliable, and well-understood method to increase capacity in a given communication channel, but it has clear limits“, you see for people it is not bandwidth, it is time, yet the equation is basically the same, we have a finite 24 hours, minus 6-8 hours of sleep, minus time for food, hygiene, travel and work. Time is an absolute here and many forget that part; it is equally an issue in gaming. That part is even more so an issue as the digital age is trying to get attention from gamers (and vice versa) in the same way, more than you think. Marketing, TV marketeers and investors are trying to create hype’s anyway that they can and it gives an additional increase, but the personal impact is spread all over the board, so these people are trying to get towards data driven solutions forgetting about art to the larger degree and in that way losing an audience to a much larger degree than they could fathom. that is hard to prove in any direction, yet I feel that (when we translate this to movies), my part is proven by Joe Morgenstern in the Wall Street Journal with: “Spider-Man: Into the Spider-Verse; It’s as if everyone had set out to make the best Spider-Man movie ever, which is exactly what they’ve done“, the mere stage of a movie, an animated movie that is showing to be a comic book that has been close to truly been brought to life, I personally hope that Stan Lee had been able to see the final result whilst he was still alive (he might have done that), the fact that his visionary view on comic books took on a life of its own, data would never have gotten us there, it required art to get there, the fact that Channel 18 gave the people: “This may be the first Spider-Man feature to qualify as a great New York movie, drawn from the life of the city rather than outdated stereotypes“, I personally believe that this was achieved with art, not through data, or data as a mere assistant, not a driver.

We might think of the MGM lion as a cliché, but their slogan is still a driving force in entertainment and arts, it will most likely survive the data farmers for at least two generation, it is only when AI evolves through insight leading to wisdom that we will see a 90% appreciation level through data on arts, I doubt I will live that long, but part of me hopes to see that day where the quantum computer is asked what the state of the cloud is and it answers with an image of a Cumulus or a Cirrostratus with a defined point of arrival. It is my personal believe that people like producer Rebecca Green will always have a place in Hollywood, yet they will never become the Whedon’s, the Howard’s or the Russo’s, they got there by artistic vision, yet that too remains the issue of debate, how will the producers and directors see eye to eye on art versus data? It is something we will see a lot more in 2019, as it will drive the digital providers, as well as their content makers to a much larger degree than ever before.

 

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A screen made with real silver

Forbes gave us the news on Monday. Many expected it; many saw it coming and no one is really surprised. It’s ‘Netflix’s Worst Nightmare Is Coming True‘. Stephen McBride gives us: “If you’ve been reading RiskHedge, you know I’ve been warning to keep money out of stock market darling Netflix (NFLX)“, he was of course correct, yet I would not go there for different reasons, reasons he actually mentions in part. As we are treated to: “It comes down to the lifecycle of disruptive businesses. Netflix pioneered “streaming” video where you watch shows through the Internet rather than on cable TV. For years, it was the only streaming service in town. Early investors rode this first-mover advantage to 10,000% gains from 2008 to July of this year.” Many, for the most the investors rejoiced. I saw the loaded cannon in another direction. As Forbes gives us, we are treated to: “Netflix had planned to spend $8 billion on shows and series this year… now it’ll spend roughly $12 billion. It now invests more in content than any other American TV network” that is where the danger is. You see, the cold hearted calculation is: 137 million users worldwide. This gets us on average $24 billion a year, it looks good, but it is not great. You see, this only works if this goes on in the long run, whilst it requires growth, it also requires people to stay with Netflix for a long time. Now, both are an option, but they have muddied the waters in another way. First there are the loans and the interest is due, as well as the principle of the matter (aka, the loan). It is optionally not a big thing if things were great moving forward, yet they are not. I had an idea earlier this year and I thought that handing it to Netflix is a great way to gain momentum. You see, I have written 1100 articles within the last 6 years alone and as such I do have a few ideas running around in my head.

Yet Netflix has a no-unsolicited submissions policy, so until you have an agent and such, there is no option. They only accept submissions through a licensed literary agent or from a producer, attorney, manager or entertainment executive with the players that Netflix has a pre-existing relationship. This makes total sense, yet it also gives rise to a much more expensive track, and $12 billion shows part of that. From my point of view new ideas and optionally the most profitable ones are found in what some would call ‘the geek corner’, these people can often not relate, cannot present but they tell great stories, they are most often really cheap and original. It is a much harder sell, yet the entire expense track could be down by at least 10%, saving Netflix $1.2 billion on the spot. Then there is the international concept. Some TV series became great in their own way. Sweden had Pipi Longstocking and that become a much loved character on a very global stage. Another Swedish treasure was a 70’s series called the White Stone, based on the book by Gunnel Linde, Sweden had its own share of successes down the track and we realise that some might seem less interesting nowadays. The Netherlands had the legendary series ‘Kunt U mij de weg naar Hamelen vertellen meneer?‘ It was a song story by children based on the Grimm story of the ratcatcher of Hameln. The series apart from some a few episodes is lost forever, which is a shame as this was a cultural highlight for the Dutch. The French had Thierry la Fronde, La demoiselle d’Avignon and several more, all unseen by a global audience. It is an option, but is that the case?

No it is not.

Netflix has shown that their money is well spent; series like Sabrina, The Haunting of Hill House and Altered Carbon are amazing achievements. We can clearly see that billions were well spend, yet in this donuts for dollars world, the overall stage (non-advertising space mind you), the annual setting for their audience is set to a requirement of close to 365 to 700 hours of TV entertainment a year to keep them, which that adds up to Sabrina, Star Trek Discovery, Haunting of Hill house, the Good Witch, Marvel’s The Punisher, Lost In Space, The OA, Seven Seconds, The Rain, Requiem, 3%, The Innocents, Sense 8, Grace and Frankie, Godless, The Mechanism, Dark, The Crown, Marvel’s Daredevil, A Series of Unfortunate Events, Stranger Things, Lady Dynamite, Glow, Sabrina, Altered Carbon, Mindhunter and at least 20 movies. They need to pull this off each year, and that pressure with Disney+ also increases, as the chance of switching to someone else is more and more likely.

We get that there are series that will always take the cake (Game of Thrones), and in this we see that there is some space to manoeuvre, but it is not a lot. You see, if someone loses the interest for 3 days, they will wonder what Netflix is for and optionally cancel, especially in this economy. That is the clear math I saw at the very beginning. It is not the price; $15 (the medium option) is more often than not a really acceptable price to most people. Netflix got that right, they merely need to find another additional venue for materials, because the well of creation will soon dry up, not merely because there are other players on the field, it is that Free to air TV, and other medium are vying for that same pool of viewers. Netflix as the first one has an advantage, but for how long?

Stephen McBride, a professional fund manager and the chief analyst at RiskHedge makes his financial case and that adds up to the findings I have. I am not sure on what the share price needs to be, yet his financial case and my mere view of the low average viewer gives light to a Netflix in trouble, how much is a clear unknown. Netflix has shown that with Sabrina and The Haunting of Hill House a new level of creepiness can be reached. Sabrina is a new take on what was fluffy, whilst The Haunting of Hill House had most of my friends scared beyond belief, so that series hit the mark. I saw the interesting catch on Lost in Space that after the original series and a movie can capture hearts all over the place, so Netflix is bringing the good stuff, no doubt about it. However, the entire setting is still low on hours. Even if year one for the audience is great, they will want more, or at least no less in the stage of year two and that is where I see trouble for Netflix. This business model will not work pumping billion after billion in a stage that grows ever more, and the path gets worse as more and more is borrowed.

That is the business case that is lost from the very start. This is all before we all realise that the need for Internet and 4K grows, so their infrastructure will shift within the next two years as well and their cloud will need a serious amount of cash to deal with that. I speculatively reckon that by 2021 (if Netflix makes it that long) will equal the NSA data server site at Camp Williams (Utah), so please take a moment to reflect on this. Netflix will in three years require the systems to facilitate to an audience and its hardware will be bigger than the Comprehensive National Cybersecurity Initiative (CNCI), with the ability to serve optionally a little over half a billion people. That is the path that Netflix is on and people wonder why I am overly negative. Well, overly negative is a stretch. It is the old fashioned sales pitch. A man sells his soul to the devil, the devil agrees and the deal is that he needs to grow his customer base by 20%. Those who know of the value of a chess set might know that one too. That man required as payment one grain the first tile, and double one the next one and so on, until all 64 tiles were paid for. 1,2,4,8,16,32,64,128 (totaling 255 grains) and that is merely the first row, after that it goes fast and by the last row it the tile payment equalled the total grain production of Russia. In customer base you require a customer base that surpasses the total population, or in this specific case the hardware of a former super power. Also consider that over time Netflix needs to open a similar base in Europe and Asia to maximise the streaming within the time zones. How much will that cost? Oh and before you think that this is it, how much power will it take to keep that running? It is set to be $50 million a year in energy cost and 1 million gallons of water a day (per base). That is if there are no power surges and other calamities giving hardship to all this. Now we see more and more providers handing out one year of free Netflix, they will have a deal with Netflix, yet year one is not the problem, year two is the bigger issue, content makes that a challenge and as is stated in Forbes: “Netflix has three bad choices: continue borrowing billions and bury itself deeper in debt… dramatically raise its subscription prices… or cut back on making new content“, if we see the three, we wonder what impact monthly increases does, I reckon that they could go for the option of one price (HD, 4K) at the same price of $16. Basically get rid of Normal and merely have basic and premium (for $5 more), it will give a boost and most people might not worry about the $5, knowing that they could always upgrade their hardware and get better viewing. Borrowing billions is a non-starter as I see it, it merely lowers the lifespan, yet the final option ‘cut back on making new content‘, is not set in stone. What if we go by ‘making different new content‘, are they exploring that? This is where the golden oldies might bring life to the amount of materials they get at a much lesser expense. Disney is all about the family and the younger viewers. Disney rules that land, yet in the 70’s we saw that Scandinavia had its share of series appreciated by kids all over Europe and that might lower the edge that Disney has (to a small extent).

In addition, making different new content might also increase the amount of content that can be made with $12 billion. I hope Netflix pulls through, when we are confronted with The Haunting of Hill House we see that they have amazing diamonds to offer any crown viewer and I am curious what else they can come up with, especially after Sabrina.

When we consider this, how many have taken a look for the best TV series from the 70’s? I did and I reckon that this is not where we find the answers, there will be too many people remembering those, yet the international field where a local TV series makes it into the global population will be for the most real new stuff to many, there will be a risk, you see, for every remake like Three man and a baby there is the risk of having at least two mediocre versions like ‘the Birdcage’, and with an audience of 135 million moving towards 200 million diversity will be key. I am not sure how it is to be solved and the makers will have their challenge cut out for them, but the takings for them will be huge if they pull it off. In the end, the search for originality goes on and as we go for books, movies and optional video games (Alicia Vikander or Michael Fassbender anyone?) we see options. Yet how does it go when we go dark, really dark and we take a night at the museum into a very different direction? What if we push the nightwatchman into the Night watch and he has to survive the events of The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch in 1640, where he has to survive the night, not get shot for optional accusation of theft of the 100 florins that each of the 16 members had brought as payment to Rembrandt van Rijn and get back out without leaving a mark. We might think it is fun to walk in on Hortense Mancini by Jacob Fredinand Voet, yet what happens when you end up in The Wayfarer by Hieronymus Bosch (1503) and you have to get back then?

We can add twists on nearly any TV series, but will it work? It is not for us to solve, it is for Netflix to find a solution and that is where the problem starts, I might phrase it wrong, the problem did not start there. We were informed last year that Netflix cancelled 21 series, it does not really matter why, number of viewers tends to be the most likely reason, it merely adds the pressure for new content to be created, remember that they need between 365 and 700 hours per viewer for them to remain decently content. And in that picture, creating new content is a lot harder than merely creating a new season, the ante is up for the creators and so is the pressure for Netflix.

At least that is how I see it, and in this, the cinema has a silver screen, Netflix will need gold to score and they have to do it 20 times over each year making the effort unfathomable and each year that they do pull it off will add to the legend that started as Netflix.

 

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Taught by the past

There will always be one TV channel that remains in my heart. It does not matter how they go, what series they have and whether they stop existing. They had one thing right, the one thing above it all was their slogan ‘the story is everything‘, it still reverberates in my heart, and for years (when I had cable) they proved that they understood their own premise. The story was indeed everything and they stood by it. It should be the cornerstone in entertainment, but it is not (for some). Some have a setting that is nowhere near there. It does not matter how they go that journey, how they pass the time in their product, they forgot that one truth that makes all the difference.

This takes us to Eidos. I had a good connection there for the longest time, so when I got an early copy in the summer of 1996 to take a look at some game called Tomb Raider I had no idea what I was in for. I loved it, apart from the part that the hero was a woman, the game was new, it was different and we all wanted more, that would be delivered a little over a year alter and for the most we were all hooked, not merely because of Lara, little Lara, but the setting from the first to the second became a much larger leap. Even as the story for both was not the greatest, the levels, the design and the challenges made up for that. Over time we saw that the story become much more important and as we went through the stages, on PlayStation, PC, PlayStation 2, Dreamcast, PlayStation 3, PlayStation 4 and Xbox One the story evolved and it became to some degree a real story. In all this there was an evolution (to some degree). Now we are confronted with ‘Tomb Raider – makes Lara Croft look boring‘. The Guardian gives us (at https://www.theguardian.com/games/2018/sep/10/shadow-of-the-tomb-raider-review-lara-croft) “This game revels in its own beauty, but the plot collapses under the slightest scrutiny“, now first the important part. I did not play it myself, but I saw a large amount of videos. First the bad part, a few games back. When the definitive version on PS4 was launched, I became very upset. Not only was the game shallow, too easy (on hard) and way too small. It became the first game I ever returned to the shop. I had finished the game in hard mode under 10 hours. It was perhaps one of the most upsetting acts I ever did, mainly because my gaming experience with Lara Croft over 4 systems had been so good. When we look deeper into that game we see something that was perfectly placed on an island, the setting could have propelled in many direction and the graphics were amazing, even now I look back (in my mind) to that level when you arrive near the ocean and you see that large tugboat in the sea, I need to acknowledge that graphically it was an amazing feat, so when we see the setting where we could have had at least 20 hours of additional play, but the makers overlooked or ignored that opportunity. In a gaming sidestep, I realised the same with Assassins Creed Rogue, the remastered edition. What could have been nice story to side missions ended up being merely the setting of running to a marker and press the dig button or simply violently resolve it. All opportunities missed (in that case) by Ubisoft. So back to Lara, after that disappointing episode, I decided to give the second game a miss, something I partially regret now, because the third game (for hat I saw was a pretty amazing result). The graphics were still really good, yet the story is, as I saw it better and they took effort with the stealth part. A much better game overall (comparing to the first relaunched PS4 game). I liked Lucy O’Brien’s review in IGN giving us the parts that count (at https://www.youtube.com/watch?v=tdEfROL2Wx8). If there is one part that I personally do not like is the use of ‘scripted moments‘. I get it that it essentially needs to be there (especially in the introduction), but in the end, the best game does not require scripted events, or requires them to be minimised to the biggest possible degree. Even as the stories are better, we need to address the Guardian verdict. We see the first quote “Shadow of the Tomb Raider nails the former, with sumptuous South American locations to climb, dive and rappel around, ranging from ancient Inca cities and missionary crypts to modern-day Peruvian jungles and towns. But it does Lara a disservice, turning her into a deadly mud-camouflaged jungle warrior without much interesting to say, pushed along by a plot that’s more concerned with prophecies and supernatural artefacts than with its main character“, so was that not always the case? I personally like the entire stealth upgrade, but is that just me? It might be, I was merely in that setting of trying to figure parts out. Yet I saw too many references towards Uncharted and Far Cry 5, which makes sense and it is not a bad thing, yet when we look back at what was and what should be, going through the other titles is not what I hoped for. Still Tomb Raider for all I saw remains Tomb Raider, so why did the Guardian give me that jump?

There were two parts in that. The first was: “Shadow of the Tomb Raider’s series of amazing places is held together by a plot that collapses under the slightest scrutiny. The narrative is an incoherent mess that goes well beyond the usual action movie/video game suspension of disbelief” and “when Lara shows up in an undisturbed native settlement filled with people who have somehow avoided the outside world for hundreds of years, is she instantly welcomed into their midst and put to work resolving their disputes? How does she communicate fluently with them? At first, Shadow of the Tomb Raider’s narrative inconsistencies are ignorable, but with every new convenient riddle or magical artefact, pointless revelation or paper-thin character, my tolerance for nonsense wore thinner“. Now, I need to tell you that I do not always agree with the assessment of the reviewer Keza MacDonald, yet that level of disagreement is more about our preference for gaming. Keza is a good reviewer, hence her view matters to me, and I have absolutely no issue accepting her view on the Tomb Raider game. I like her two issues as I saw a similar setting as an optional solution towards Watch Dogs 3. Just like I designed what might optionally become Elder Scrolls VII (6 is being made now). My setting for my version of a new Elder scrolls would have been three times the size of Skyrim with optional story lines worth 150-200 hours of gameplay. In addition, if possible I could pull it off with Watch Dogs 3 as well. This is where the FX part comes in, the story is indeed everything!

So if I can add 100% to the first PS4 Tomb Raider, which merely took me an hour or so to come up with, why can some designers not do a much better job? In case of the new Tomb Raider, we see the optional shortage, but we also see that all the Far Cry games (3 and later) gave us similar parts and so did Far Cry Primal, and the less said on the story failings of Assassins Creed (except for Origin and optionally Odyssee) the better.

The setting is extremely important, as the current Shadow of the Tomb Raider could have been 90% instead of the 81% that Metacritic gives it now, and if we translate that to the three stars Keza rating, it would translate to an optional 70% at best. This gets us back to the story is everything, when we see that this translates to an optional 15%-25% more, ignoring that element is just too weird. It is to some extent the one element that Games and movies have in common. So if we translate that to the now, we see that the right story makes the larger impact. Merely see Dev Patel in Hotel Mumbai, rated by IMDB at 93% to see how the right story makes for the impact. This translates to games as well, the better the story, the better the game. It is visible on nearly every level. Yet, that is not the only part in Tomb Raider and We see the goods on the negative side of the game as Keza gives it to us with: “Salvaged outfits for Lara offer meaningless bonuses (“gain more experience for assault kills”), crafting materials are so plentiful that they are not an exciting reward, and new skills or weapons are seldom used. Oddly, items such as lockpicks that open up new treasure-hunting possibilities are sold by merchants, not earned through exploration. It is very weird that so much of this optional content is incorporated so badly“, as well as “The places Lara visits and the things that she does, especially when she doesn’t have a gun in her hands, are beautiful and entertaining. But it lacks a coherent plot or creative vision to hold it all together, and the opportunity to make an interesting character out of Lara Croft is squandered“, that does grasp the heart in a not so good way and it matters a parts could have been dealt with in a better story setting and parts would never have been better. That negative part is exactly the impact that Ubisoft missed with AC Rogue. There we run for Viking swords, crosses on the map, opening bars with thugs, merely points to run to, yet the ‘rescuing’ of a bar from thugs could have been the start of a side quest line and in all this, much more could have been reached, when one leads to the other, instead of running over the island, from chest to chest, glitch to glitch and sometimes doing a Prince of Persia for some pirate shanty, meaningless actions that could have been a dimension all by itself in the game, all options lost and even as both franchises have amazing graphics, we see that this alone does not hold a game. I wonder how many developers are revisiting the current setting of their game that is in development, because if they are not then it does not matter to anyone how many games are being released between now and December 2019. If they do not up the ante for their own game, they will merely release something that is good, not great and it sits on the shelf until the game retail store has a large sale and the game is up for grabs at 50% or less, or people merely wait for one of the producers to add it to the ‘for free’ subscription monthly download bonus, what a waste! Merely because the simplest of all lessons was ignored by too many; It all starts with a good story, not with ‘Lara needs to look cool (or different) in the jungle, how can we do that?‘, or ‘Where is the next Assassins Creed story? When have we not yet been?

 

That is the part given to us in complete contrast when we realise that with the end of God of War we were treated to: [CENSORED TEXT REDACTING SPOILERS]. When I saw that unfold on my screen, my jaw dropped on the floor. It was not merely some twist, it was the setting for at least two more games in a way I never saw coming and I do remember my Nordic mythology. It was brilliant, indeed the story was everything and Santa Monica Studio’s treated us to the perfect meal (listening to Bear McCreary was an added desert that is just too surreal).

In the end, I know that I am a goof, I am creative and I can weave a tale like no one in my mind at the speed of the Deep Blue Super Mainframe, but overall, I cannot fathom why the game makers are not better at this, I never got that, because until lately I never thought I was on their level, yet recently I was shown (confirmed by a few sources) that I am on their level and even higher, but I am not a programmer. So when I see the lack of a storyline, I merely get sad, when opportunities are missed I get frustrated and when too much scripted issues show up, I tend to get angry. I do get the fact that some part requires scripted events. A certain boss fight, the introduction to one is the setting that cannot remains unscripted, yet at times it is too scripted deflating the tense moments it had been built to and the first PS4 Lara Croft had that flaw too much (as well as the shortness of the game).

So how can they do it better? Well this is seen in several clips in Shadow of the Tomb Raider and you might have missed them. Consider an optional reality, a reality we missed in the Far Cry, Assassins Creed and other games. You pick them off one at a time, I get that part. What I do not get is that when you are on a patrol and You are in a team, when one falls away their nerves are up (like in the Arkham games), yet in the earlier games, often enough they relax and go to their old ‘relaxed’ setting. In reality, my nerves would be in the stratosphere, so there will be no lapse and even as you can get the drop on others, only the first one is ‘free’, the others need to be close to perfect or all hell breaks loose. That part was never learned correctly, not in one decade of stealth gaming, weird is it not? OK, Far Cry did get that part right (to some degree). And even as the setting evolves over an act, a larger level or a chapter in the storyline, we see that some opponents are harder, yet the overall setting no longer gets to be more complex, which is also weird. It seems to me that only Far Cry 3 got that part better the most other games and here too Lara had her lesson to learn, or better stated her opponents. So even as we see her take out the enemy, in most cases when other vanished nerves did not get that much bothered, a missed opportunity.

Even if this is the optional end of Lara Croft, we see that there was a lot more to be had and it was missed. Will that lesson not be learned? The story is everything, but how to set the story properly in the frame of it all. That part will remain a challenge and solving it, or finding some level of a better solution will aid the game makers as well as the player, a win-win for all. In this, the loss is already there, but not setting the in-game bar higher, we see what looks really well is merely a 70% game, yet with the insight that should have been there, it could have been a 90% game which makes me sad. Yet I do acknowledge is that this game is a good game, everything shows that there is positive growth in several places and in many ways (especially the underwater parts, they were awesome), yet I feel that it is steps short of being a great game, whilst it could have been a great game. It is hard to put my finger on it without playing the game through until the end, but all reviews do support my view, the story could have been better making it overall better, and this game is not the only one that had that ‘flaw’.

So, as we agree that the past is a good tutor we see that partially the past is used to make this game better, that is good, some of the levels and the natural view that these levels seem to give is always good and this game got to be better at it and that matters too. In the end, on everything I faced, I regard this to be a 80%-85% game, whilst I feel that the setting and upgrade of the game would have made it a 90% game at least, and they should have done better than I would have been able to be and that makes me sad, especially as it might be the end of the Tomb Raider games for now. It will not ever be the death of the Franchise; it is in comparison very much a better game than that first relaunched game and several other Lara titles, which is a good thing. In my personal views, after seeing the play parts, seeing the reviews and watching the cut scenes, I get to the end conclusion that this is not the game to buy on day one, especially with Spiderman PS4 available, yet on special, Christmas sales and at discount sales? Yes! At that point it will definitely be my game of choice.

What a difference a stronger story makes.

I wonder if the makers will catch up to that part down the line, because higher ratings turns that, down the track to buy outright and in the end, that is still the name of the game in gaming, and not merely gaming. There is in my view every indication that the entire Chris Pine mess (OK, mess is a perhaps too strong a word), is not entirely about the money (what some sources indicated), I believe that the story is part of that too. Do you think that some starts would have given any ‘eff’ (censored) on money if they had the chance of becoming a main player in The Usual Suspects, or Silence of the Lambs? You have got to be kidding!

Yes, you want some decent remuneration. When you are a lead player in MI-Fallout, costing $178M to make, whilst the return at present is $726,386,554, one would hope that their income is slightly better than $73,559 for their part. If you are an extra, then you need to shut up, when you carry the family name Cruise, Cavill, or Pegg the amount should be larger (I have no idea what they are making, and I personally do not care either). Yet if the story would have been a legendary one, would you care? That is the part that matters in the long run, because over time, we will forget the MI titles, however we will forever remember titles like Ghandi and The Usual Suspects and that can drive a career (especially in the beginning as well). Star Trek showed in the Movie Star Trek Beyond that it did not consider that part too strong (even as I enjoyed watching it, and it had fresh looks), it did fall short of Star Trek Into Darkness and that was a shame. I have no illusions, getting to the Wrath of Khan levels is not to be expected, yet the relaunch in 2009 did pull it off (based on Rotten Tomatoes), so in that it had options and started to fall flat after that, I believe that this is also part of the decision for some actors to feel worried, Star Trek (2009) opened door, yet I personally believe that Beyond started to close doors, even with Idris Elba upping the ante by a decent amount, also in my personal view largely the reason it got an 85% rating and not an 80% rating. So when the actor is the pillar and not the story, we see a much larger flaw in all this and even as I do have idea’s to fix it, they will need a specific person to fix that for them over two movies (as I see it) and get the rating back to 94%, the number that the 2009 movie pulled off. The question is can they afford him and more important, are they willing to stick their necks out? In my personal view they have the option of doubling the 2009 box office revenue twice over and with two movies the overall cost goes down as well making it even more appealing, but in the end, their saviour will not be special effects or merely a good cast, it will be the story, it will be everything. Are people like JJ Abrams and Damon Lindelof willing to make that $250M splurge? In the end it remains an actual risk whether that $250M becomes $1.3B (hopefully better), and it the one factor is the one writer who can pull it off. It has never been done in any Sci-Fi ever, making it not merely novel, if it does work, will it be the game changer that brings 1,635% of cost (Jurassic Park), or an Iron Man 2 giving a mere 312%? Yet, what if we consider that it is like Gravity, ‘only’ 716%, yet regarded as the 4# best Science fiction movies of all time, would you still not do it?

How strong is the story in all that? I personally remain with the faith that the story will forever be everything, yet when it is all about the box office and $1 billion versus $600 million, what path would you take? In this games and movies are more alike than not; making it a fascinating setting, but also a very personal, and set on one’s own perspective. It is the ultimate objective versus subjective view and I am not sure what the best path is for either game or movie, making the setting for a movie of gaming score harder, not correct or incorrect, merely harder.

 

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A different day

This is a different day. It started bright and early when I woke up at 06:30 thinking of a new movie, an anti-anti-Islam movie. The idea I started with a few days ago called ‘How to assassinate a politician‘ is now called ‘The Essay‘. A setting in regards to what some people call ‘Freedom of speech’ and whilst some are calling it debatable by organising a cartoon competition, where the best drawing of the prophet Mohammed wins, the entire matter is in even worse taste as the event is taking place on the grounds of Dutch parliament.

The setting is so disgusting because Muslim faith is clearly defined as that there will be no image of Mohammed ever. We get from various sources “The Quran does not explicitly forbid images of Muhammad, but there are a few hadith (supplemental teachings) which have explicitly prohibited Muslims from creating visual depictions of figures. It is agreed on all sides that there is no authentic visual tradition as to the appearance of Muhammad, although there are early legends of portraits of him, and written physical descriptions whose authenticity is often accepted“, even as Wiki gives us the goods; they refer to the quality stuff we require. In this Sahih al-Bukhariis one of the Kutub al-Sittah of Sunni Islam. Bukhari finished his work around 846/232 AH, and spent the last twenty-four years of his life visiting other cities and scholars, teaching the hadith he had collected. In every city that Bukhari visited, thousands of people would gather in the main mosque to listen to him recite traditions. Bukhari finished his work around 846/232 AH, and spent the last decades of his life visiting other cities and scholars, teaching the hadith he had collected. In every city that Bukhari visited, thousands of people would gather in the main mosque to listen to him recite traditions. The authenticity of his work has been widely accepted by Islam scholars. So in light of this, we need to consider that certain actions are just not acceptable. Even as a Catholic, I have for the most little knowledge of Islam, but the little I know clearly shows the Dutch Politician to act in intentional travesty and hides behind what some refer to as ‘freedoms’ to insult Islam religion and whilst that is happening the Dutch government is still trying to wield ‘diplomacy’ to gain large multi-billion euro contracts all over the middle east, in Muslim nations, yielding to ‘it is out of our hands‘ whilst letting the parliament building facilitate to such biased events of hatred. So at this point, can anyone explain to me why Egyptians are considering the Dutch in ‘Dutch engineering consultancy Arcadis selected to build tunnel under Suez Canal‘, there are several alternatives available and they are willing to give Islam the respect it deserves. Egypt, Saudi Arabia, Qatar, Oman, UAE, Indonesia and several others are confronted with the insults against Islam like the Tweet shown here. Even as we accept that there will always be people who are not merely biased, they tend to be individuals, yet when Dutch Parliament is used as the host of such an event, what does that say? Why would you want to cater to a nation that willingly allows its governmental buildings be used for anti-Islam events? The fact that the official complaint by Pakistan was kept out of the large papers for well over 2 days is also a clear setting that they are setting the stage of what is a very Dutch setting of ‘toleration policy‘ of anti-Islamic events. Dutch politicians like Stef Blok who seems to embrace (to some extent) the bluntness of Geert Wilders. A larger population is now being made aware (they already knew it) that to some extent a multicultural society is for the most a dream at best, yet ‘hallucination’ is actually more appropriate in this environment.

The Dutch newspaper gives it best in an article by Hakan Kulcu. Here we see ‘Ik ben bang voor het Nederland van morgen. Zullen mijn kinderen hier nog welkom zijn?‘ (Translate: I am afraid for the Netherlands of tomorrow, will it be a welcoming place to my children?), it is a little paraphrased. The setting is that there are more and more indicators that multicultural are no longer a given, they are at best a hopeful dream. But do you feel that you are investing in what was to be an acceptable setting for the future?

In this the foreign office ‘El Jefe’ Stef Blok is making his bluntness and open wound and a drastic mistake for whatever policy seems to be in effect. So when we are treated to ‘unfortunate and careless‘ speech bubbles of non-consideration, we must accept that there is a larger issue and that is going on whilst the Dutch are hiding in their PowerPoint on settings of tolerance and multi-cultural events. A presentation in falsehood, is that not a decent reason to change that 9 figure contract to someone who is honestly merely about the money (America), or at least trying to be truly multicultural (Sweden and Switzerland)?

In all this my brain is still processing the setting for the movie concept of ‘The Essay‘. Perhaps that idea could be sold in Abu Dhabi or Riyadh, plenty of rich fish in the sea who would love to be a movie producer. A movie part tongue in cheek, so that there is plenty of satire in consideration (when assassinating a politician), having alternative explanatory paths is a good thing. Some politicians look very Arian and we can use that Germany concept easy enough. o, and I must be certain that their movie states at the beginning: ‘Any Resemblance to Actual Persons, Living or Dead, is Purely Coincidental‘, which works with the Arian look works especially well as every German dreamed of being one and there are 83 million Germans, so I should get away with it 50% of the time.

The setting should be like …better keep the rest to me, myself and I for the movie sale. That is unless I can get 3.75% of 16 billion Euros in Dutch international contacts. If I pull that off, I will just finance the movie myself. Yet even as I check, the newspapers in many nations are still taking a large detour away from Geert Wilders and the cartoon competition. I reckon that they are hoping that it passes with anyone noticing. The Dutch Parool gives us an actual view that is a lot better, an opinion piece by Frits Bosch. Here we see: “It is brewing under the shiny surface of our prosperity. The elite withdraw into a bubble and deny all existing social problems“. That is actually a lot more accurate than I expected, yet the so called powers that be, the decision makers are for the most these people in a bubble, they include the one percentage incomes and the politicians who seem to be hiding away in The Hague after they got elected, it is in this atmosphere where anti-Islam can grow unchecked and for the most unopposed.

Why should I care as a catholic?

That would be a good question; you see I believe in fair play, for the most i have always adhered to it. I was never greed driven, but the times are not merely changing, the times were never fair, so it is only fair that those hiding behind intentional miscommunication, those hiding through greed driven Status Quo are put into the limelight. Those big businesses that hide behind the corporate cloak whilst whispering at governments via facilitators need to be given the limelight. And if that deprives them of close to 17 billion so much the better. As it is essential for them to be given the option to speech on lost revenue due to ‘unfortunate miscommunications‘, it is fun to see them having to grovel to the settings of their actions and inaction. It will give me more entertainment in the end, because they now facilitate to nations willing to spend close to a trillion dollars in several fields whilst their own wells dried up long ago. Would it not be fair that those knowingly linked to anti-Islam events; that these places are now denied a seat at the table in the Middle East? It seems only fair to me, does that seem fair to you?

Consider that the Catholic bastion Italy, that nation has close to 2 million Muslims, yet in all this, I cannot be anywhere in metropolitan Italy without any church, chapel or cathedral to be within 500 metres, yet in all Italy there are only eight official mosques in that country, does that not seem odd to you?

Why should the Middle East cater to anti-Islamic presence in their country when plenty of other many not anti-Islamic are willing to cater to them?

The world is upside down, so I think it is time that we inform the people on what is actually up and what is actually down, let’s start doing that through a movie, a movie that I call ‘The Essay‘.

 

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Circling the wagons

I had not expected a follow through on yesterday’s thoughts, but here we are. It seems that there is a business dispute between UKTV and Virgin Media. The Guardian (at https://www.theguardian.com/media/2018/jul/22/four-million-virgin-media-customers-lose-uktv-channels-dave) gives us: “after Virgin sought what UKTV called a multimillion pound cut in fees, leaves fans of shows including Judge Romesh, Harrow and Red Dwarf unable to watch some of their favourite programmes“. Let’s be clear, this is a business decision, so when Virgin wants a 7 figure fee cut, there must be something behind it, should there not? In addition, we need to offer in opposition, that reporting on (as quoted) “According to UKTV, “around 4 million households” were no longer able to access the channels after the midnight deadline passed” should also have an impact on advertising, as you are broadcasting to 4 million less viewers, so there is that in the mix too. Is it merely pricing?

The quotes: “Virgin Media has accused the broadcaster of seeking “inflated sums” to provide its paid channels and linking those to provision of free channels such as Dave and Home“, as well as “Steve North, the head of comedy and entertainment for UKTV, said the company provided thousands of hours of on-demand content to Virgin, with viewings of its programmes, such as Taskmaster, via the service up by a third over the year“, finally we need to add the part mentioned much earlier in the story. With: “The BBC holds back the video-on-demand rights to its programming, instead selling them to players such as Netflix. Virgin Media said this strategy was no longer acceptable as viewers expect to be able to watch shows on demand” we see a linked part in all this, and perhaps also the part where Virgin Media dropped the ball. You see when we see ‘viewers expect to be able to watch shows on demand‘, which I thought was a silly thing to mention, because of the mere fact that Virgin Media was unable to manage the expectations of their customers is a much larger fail. It is a first duty in support and customer care to manage expectations, some use SLA’s, some use other methods (like pricing), but managing expectations was never on the plate of UKTV. We can argue in addition that as viewing was up by 34%, fees would go up, but in addition, so would advertisement revenue. When you report that programmes are watched be an additional 34%, you have an advertising selling point. The question becomes was this merely about fees?

The BBC mentions the Netflix challenge, as well as a picture of a relaxed Greg Davies sitting in a chair (who is apparently no longer trying to destroy the city of Tokyo). Yet the article gives us two points, the first is: “On Twitter, Darren Woodward said he was “gutted” not to be able to see Taskmaster, while Tom Langdon was one of a number of subscribers to wonder whether his monthly bill would be reduced because they could no longer watch the show“, and the second is: “Richard Blunt from Birmingham told the BBC: “Practically all the stations we watch on Virgin have now been withdrawn. I think we will give it a couple of weeks, hoping that the decision is reversed, before deciding whether to stay or to go.”” The entire setting could now escalate in very different manners, not all good for Virgin, actually none of them good for virgin. Even as the Guardian article ends with: “The 10 channels are still available on other TV platforms including Sky, BT, Talk Talk, as well as Freeview and Freesat. Viewers can also watch them online via UKTV Play“, we need to see that this is merely a first step. I personally believe that UKTV has figured out a few things and in this, it has options that go further than merely a fee. The fact that 4 million users are in a setting where there is 34% growth, that is a section that Netflix (and others need), so this is not merely about money, I believe that there is a shift happening. I knew that this would happen, that part is clearly seen in the Netflix pressures. That we would see it shown the very next day was not on my calendar.

So when I decided to dig a little deeper, I found an article (at http://www.gizmodo.co.uk/2018/07/uk-tv-networks-are-looking-at-creating-a-british-netflix-to-combat-falling-viewing-figures/), which gave us 5 days ago: ‘UK TV Networks Are Looking at Creating a ‘British Netflix’ to Combat Falling Viewing Figures‘, so was that a self-fulfilling prophecy or not? So as the article ends with “BBC News reports that the BBC, ITV and Channel 4 have already had early conversations about the possibility of working together to create a combined streaming service with the potential to compete with the likes of Netflix and Amazon Prime TV. Whether such a thing will come to fruition currently remains a mystery, but considering the shifting trend to online media, it seems a likely step that broadcasters will eventually have to take to remain relevant“, we see exactly the play that seems to be unfolding now, and from the pressures shown, there is every chance that through pressures applied, this new venture starts with a rather delicious slice of 4 million viewers leaving Virgin. Even as some stated that they will see in a couple of weeks, the sooner this shift happens, the more power Virgin loses, implying that Netflix will not merely grow business, it has the option to grow an advertisement branch much larger overnight as well giving them more options.

Even as we agree that some changes are about to happen, we need to realise that the UK will have a new venture in ‘package deals‘. The quicker that Sky TV and other shops include the UKFlix side of things, the quicker momentum can be gained. It is in this setting that it can grow in the UK as well as gain momentum in Western Europe, where UKTV has always found happy recipients of the series that UKTV fathered and promoted.

It does set a new tone on where places like Virgin Media are going. The UK always had a little saturated niche in all this, the fact that the Netflix equation unsettled the walls in place making it a dog-eat-dog battle field, is both good and bad, the good is that overall the pricing will become interesting to households, the bad is that those with the larger budgets can overturn whatever independence remains. It will be a fight where those with the biggest wallets will be able to out buy whatever is in play and that is not always the positive outcome for households on a budget. The issues that follow soon after that is as one is diminished, how far can it go abroad? The direct setting for the Netherlands, Belgium, France and Scandinavia is also added to the board, because a shift like that tends to move outside of the borders. for example in Sweden where 50% is set by SVT1, SVT2 and TV4 gives options for growth, especially when you consider that Disney and Fox each have less than 1%. The same we see in Norway where 50% is with NRK1 and TV2. They are all markets with options for growth; from an advertising view Norway is more of a nightmare. The two large cities merely represent 14%, whilst the villages 11th in size and smaller are less than 50,000. This is different in Sweden where the four largest cities are 25% of the population and a chunk of the smaller places are still a lot larger than most places in Norway, Sweden has twice the population, but they also have that population in larger communities. These are all elements that have an impact on growth, so that is one side and merely one side. You see Netflix and their methods are rubbing off on the other players and that is where Scandinavia becomes a much more interesting market. The land that gave us Maj Sjöwall and Per Wahlöö and their fiction in the 60’s and 70’s; the land that had Pippi Longstocking and the White Stone for the kids, whilst giving the adults Beck and Swedish Dicks is a treasure trove of IP and that is very much on the mind of the decision makers behind the screens. You see, getting the right IP is half the distance towards profitable series, and there is plenty to find in places like Scandinavia and Australia. They have built quite the score list. That setting needs to be on the forefront of all the board member minds. Getting decent writers for new series is one thing, resettling an existing gem comes at 40% less cost, whilst upgrading a series to today can score places like Netflix millions of viewers with minimum expenditure, when we consider the 8 billion that they are setting in now, delaying one series and replacing that with 10 retrenches that are unknown in the bulk of their places is a way to quickly fill needs, to up the amount of IP and the value it represents as well as open up new doors to other ventures. You merely have to see the impact of the TV series Humans, which got the makers the British Academy Television Craft Award for Best Digital Creativity, as well as a 94% rating is what matters to those in the boardrooms and even as they missed out on Humans, there is plenty to find in some of these places. The relaunch in Sweden of Beck is one part, getting that to the Netflix audience is potentially an additional market to tap in to. In the end, merely buying IP is an option and I personally see is again as short sighted, it is the interaction and engagement of these markets where new innovative IP becomes an option. You merely have to look at the past on the history of the 70’s series Kung Fu to see that the creation of IP that shines for decades is seen. And they are not alone, especially when it comes to TV series for the younger viewers. Sweden had several series like the ones mentioned earlier, the Dutch had the still immortal ‘Kunt U mij de weg naar Hamelen vertellen meneer?’ loosely based upon the ‘Pied Piper of Hamelin’, even as the materials were lost over time, that TV Series is still remembered 48 years later, that’s IP that sets a provider apart from all the other players! As such growing interactive markets, not merely acquiring IP, whilst at the same time investigating what IP is close to readily available is what pushes the Netflix investment invoice of $8 billion a year down, whilst creating content that will be around for a long time. As I mentioned in yesterday’s blog ‘Chivalry vs Rivalry‘ (at https://lawlordtobe.com/2018/07/22/chivalry-vs-rivalry/), we need to consider “The value of those rights has now spiralled, which has pushed up Netflix’s content budgets and fuelled its drive to produce its own content“, that is still going on, so the one moving fast into areas and setting the stage to acquire the IP, that is where it will be at in 3-4 years, so whomever moves now ends up having the home field advantage, giving additional rise to production settings that are currently a steal at twice the price, yet as the impact of digital content and growth becomes more and more visible, the other players will circle their wagons faster and more determined to get either much better prices, or become players in this field themselves. the moment that all this IP hits 5G and goes global, at that point the entire game changes for all the players involved, so getting there sooner is what it will be about and from what I personally expect that visible push will be all over the news with some frequency no later than 2019.

 

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Oven for (a) Turkey

Yes, normally the life of a turkey is not good, not in the week preceding November 22nd. Yet, that is not the only case, if you are not covered in feathers and let’s say a nation in Europe, at present; your chances are not that much better.

This we see in several settings.

We have all seen the news, the issues around Turkey, their hatred of Kurdistan and the acts that followed through that hatred. Not just the Erdogan setting where one president has been playing any end against the middle in Europe, Yemen and Syria. The simple setting where Saide Inac, 47, who goes by the artistic name Hozan Cane has been detained on June 22 in the western province of Edirne while attending campaign events of the pro-Kurdish People’s Democratic Party (HDP) leading up to Sunday’s parliamentary and presidential elections. Yet, that is not enough, yes this comedy (or is that tragedy) is set where this German-Kurdish singer has been remanded in custody in Turkey on terrorism-related charges. Normally, we would await more info. Yet the Deutsche Welle gives us in addition: “The terror charges against her reportedly relate to scenes she plays in a movie about genocide against Yazidis in Iraq”. That reads as hilarious as optionally reading in the Washington Post that: ‘Emily Blunt was arrested today on suspicion of Manslaughter against her husband and famous movie director John Krasinski, she had reportedly taken him to ‘A Quiet Place’; the man has not been seen for some time‘, so yes, when we compare the issues, where a 35 year young-ling a mere 171 cm tall, took out 191 cm John Krasinsky, who, if I need to remind you looked so gung-ho in the movie 13 hours: The Secret Soldiers of Benghazi that he made Dwayne Johnson look like a pussy. That is the reflective truth of what Saide Inac is going through. Arrested for terrorism and because she played scenes in a movie. So as the Deutsche Welle gives us the goods (at https://www.dw.com/en/kurdish-german-singer-hozan-cane-arrested-in-turkey-on-terrorism-charges/a-44420346), we are wondering whether this is an act of pure stupidity, or is it the Turkish way of saber rattling making Germany give in on some other point of argument they couldn’t win in any other way.

So that is what Turkey has become. Instilling xenophobia, which might be another way to instill the Turkish need for racism and discrimination. It goes even further when we consider the Al Jazeera, where we see: ‘Jordan, Palestine and Saudi Arabia warn Israel against Turkey‘, the influence is apparently growing in Eastern Jerusalem. We can argue that this is merely Turkey seeking the limelight in any way they can, or we can go with the presumption that this is Turkey showing itself to be the tool of Iran.

So when we are treated to: “The report notes that senior officials from the three Arab countries told Israel that Turkey was “extending its influence in Arab neighbourhoods of Jerusalem” which they said was “part of an attempt by Turkish President Recep Tayyip Erdogan to “claim ownership over the Jerusalem issue.”“, we need to see that there are different issues in play here. As the Jerusalem Post reported 3 weeks ago, the economic part of “They were at about $2.5 billion in 2016, and in the first 10 months of 2017, Turkish exports to Israel went up another 14%. Turkey’s state air carrier, Turkish Airlines, is also the second most popular airline out of Tel Aviv after El Al, Joseph Dana reported in an opinion piece written for The National.“, it seems strange that such levels of export are endangered as there are plenty of European nations willing to take over such a lucrative contract and as European facilitators replace Turkish Airlines, the state coffers would get an additional hit in a time that they cannot afford to report additional economic bad news, so what gives?

On one side it seems far-fetched that Turkey would make a rash move on such fronts. We can accept to some degree that the setting of opening an embassy is one setting, yet the quote we see is: “Turkey intends to open an embassy in east Jerusalem, President Tayyip Erdogan said on Sunday, days after leading calls at a summit of Muslim leaders for the world to recognize it as the capital of Palestine“, an interesting setting, as history gives us: “Jerusalem is an ancient city located in ancient Judah that is now the capital of Israel. The city has a history that goes back to the 4th millennium BCE, making it one of the oldest cities in the world“, so not only does President Erdogan not have a case, we could equally offer the setting that after that it was property of Italy (and the people of Rome), so there is a second claim, then we get Caliph Umar who decided to travel to Jerusalem in person to receive the submission of the city in April 637, he came from a family that originally controlled Mecca. The Quraysh opposed Muhammad until converting to Islam, giving Saudi Arabia the next claim. After that Pope Urban II at the Council of Clermont in 1095 decided that it was Christian holy land and began the first Crusades. In all this, Turkey has no right of proclamation in any way, so why set the stage for economic segregation? If we are to give any value to George Antonius, founder of modern Arab nationalist history, who wrote in his 1938 publication The Arab Awakening: “the term ‘Arab’ in Palestine denotes nowadays not merely the incomers from the Arabian Peninsula who occupied the country in the seventh century, but also the older populations who intermarried with their conquerors, acquired their speech, customs and ways of thought and became permanently arabised“, so a blend of other identities. Whilst Bernard Lewis gives us: “the original inhabitants were never entirely obliterated, but in the course of time they were successively Judaized, Christianized, and Islamized. Their language was transformed to Hebrew, then to Aramaic, then to Arabic“, so an adjusted population, we cannot fault these people to that a pragmatic approach to the situation, yet the given in the centuries before does not give the statement that President Erdogan give any value at all, merely an impressed point of view, which he is welcome to have in Turkey.

So form the setting, this is not about Palestine, their cause, their choices or their belief; it is the Turkish setting we see here. Even as we see changes, we see positive ones and dangerous ones. Reuters gave us this week ‘Erdogan says Turkey will continue advancing in Syria’, with the setting “Turkey will continue to “liberate Syrian lands” so that refugees can return to Syria safely, President Tayyip Erdogan said in an election victory speech on Monday“, so how does the Syrian President ‘feel’ about the Turkish version of ‘liberation’?

As Reuters gave us: “Assad, who said in the same interview he would not accept Western funds to rebuild his country, was speaking after Damascus said it rejected the presence of Turkish and U.S. forces around the northern town of Manbij, a day after soldiers of the two countries began patrolling the area” last Sunday, the question becomes why is Turkey still there. If they are there to accept President Assad, is not his word the one that counts? My views are supported by Newsweek as we see their part from yesterday (at http://www.newsweek.com/why-wont-us-stop-russia-iran-syria-asks-opposition-leader-government-moves-1000312). The quote is “Nasr al-Hariri, the secretary-general of the National Coalition for Syrian Revolutionary and Opposition Forces, told reporters Thursday in the Saudi capital of Riyadh that it was “shameful” for the U.S. not to act as a ceasefire brokered last year between Syrian President Bashar al-Assad’s top military ally Russia and opposition supporters the U.S. and Jordan collapsed, the Associated Press reported“, the US actions are not in question, the issue becomes that Iran is the transgressor here, as is optionally Russia. Yet the setting is that Turkey was singled out as not welcome, Iran and Russia were not, that sets a different stage and even as we accept that Iran is the greater threat. Syrian forces have not proclaimed them to be not welcome.

In addition, Turkey makes even more waves in Israel as see (at https://www.israelnationalnews.com/News/News.aspx/246156), where we are given “Jerusalem City Councilman Aryeh King tells Arutz Sheva correspondent how Turkey is posting illegal signs in and around Old City“, in addition we see ““The Turkish government that daily attacks Israel and collaborates with the terrorists in Gaza – they are putting signs around the walls of the Old City, and the Israeli government and the municipality of Jerusalem … are not taking care of these Illegal signs,” King said“, so we hear the video state that there are allegation against Turkey, yet is this truly a Turkish act, or is it an act from Hezbollah to start a military flame that cannot be stopped too easily.

So there is caution that needs to be set, a sign in Turkish with a Turkish government proclamation does not make it so and we need to realise that it is equally likely that Iran is playing the ‘tool’ card here and if the reactions are not careful the outfall may be a lot larger than we can correct for.

The entire month we have been treated to the interactions and it is important to play the game with caution, because at present, we must recognise that Turkey is merely planning to open an embassy in eastern Jerusalem, whilst on the same front they are stating ‘the capital of Palestine’, a wrongful opinion, that is still their right to make (whether correct or not), the Embassy play is possible because the US opened one there, so that puts the state of Israel in an awkward light if the Turkish embassy is suddenly rejected. The rest is a different kind of ginger. Who are the actual players? Is it Turkey, Iran or Hezbollah? That part is not easily answered and until the evidence is brought to light, no actual finding can be regarded as absolute.

Another place where Turkey is active is off course anything related to Iran. The setting is that Turkey refuses to stop importing Iranian crude oil and we might side one way or another yet is there any legal recourse? With India stopping the Iranian import, the Iranian economic outlook is even worse than the worst settings we saw earlier, in this is Turkey playing too dangerously? In the setting where we see Economy Minister Nihat Zeybekci giving us: ““The decisions taken by the United States on this issue are not binding for us. Of course, we will follow the United Nations on its decision. Other than this, we will only follow our own national interests,” Turkey’s Economy Minister Nihat Zeybekci said as quoted by daily Hurriyet, adding that “we will pay attention so our friend Iran will not face any unfair actions.”“, the academic question becomes ‘Does Economy Minister Nihat Zeybekci have a point?

The UN removed the trade restriction, even as the US and EU are enforcing them, what legal foundation is there? You see, at the heart of the matter is that United Nations Security Council Resolution 2231 where the removal of UN sanctions against Iran were removed. Even when we consider the Deutsche Welle 2 years ago with ‘Iran missile tests defied UN resolution, say US and European allies‘, the setting is that this was not illegal, the quotes “Council diplomats said the case for new UN sanctions on Iran was weak. Moreover, Western officials said that although the launches went against 2231, they were not a violation of the core nuclear agreement between Iran, Britain, China, France, Germany, Russia and the United States” and “The letter from the four powers stopped short of calling the Iranian launches a “violation” of the resolution, which calls for Iran to refrain for up to eight years from activity, including launches, related to nuclear-capable ballistic missiles. Diplomats say key powers agree the resolution’s language is not legally binding and cannot be enforced through the use of sanctions or military force” these two are directly the setting. We cannot state as evidence as it is or is not nuclear advancements and as elected legal minds more experienced than me state that the setting is not legally binding, Turkey has a case that it can continue. That is the setting we see ourselves in and even as we see more and more flak coming from the US and the EU, there is no given that Turkey is actually out of bounds on this one setting. It seems that the setting is to some extent hypocrite in actions against Turkey and that too must be stated. The reasoning is that the quotes given by Turkey are also confirmed with “At the same time, oil importers including Japan, South Korea, and India, as well as European countries have said they will continue buying Iranian crude“, even as India is turning that setting back, Japan is not and exactly how many sanctions is America now imposing on Japan?

In all fairness, that too must be stated and even as I think that Turkey has been playing a much too dangerous game involving themselves with Iran on other fronts, we need to scale back some of the dialogues and find the accepted legal frames that are in play, if we do not do that, then we are merely catering to the EU and US to what refer to as their bully tactics and we should be better than that.

The complications seen on the political arena are expanding and as such whatever chance there was for EU ascension, the cold legal light should have clearly communicated that there was no chance for EU membership for Turkey, they undid the small chances they had long before the previous election s were held, so the French ‘special status’ remarks were all hot air with no direction and even less substance. It is seen through Reuters as they gave us “In a statement, the EU General Affairs Council said Brussels could not open any more ‘chapters’ or policy areas in accession talks or modernise the EU-Turkey customs union due to Ankara’s failure to meet European standards in various areas” yesterday, yet that setting had been clear for well over a year, so the end signal is merely a small light of cowardice from several political players.

In all this, part if the hardship that Turkey s facing is due to their own reactions, over reactions, as well as some non-actions in too many political fields. Turkey has every right to do them, yet they are held to account and the balance at this point is not good. Just how bad things will get is depending on some of the events playing out in Jerusalem right now. Whatever happens next, they will also see red lights coming from the US and not merely on their oil activities, even as that might be the one most media will be loudly referring to.

 

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The Sun shines regardless

There is a setting that we forge, the setting we do not see. It is the setting we experience by becoming a politically correct hive of sleepy minds. We are in a setting where yesterday is forgotten and tomorrow needs to be planned for. After spending time in the Middle East, and after seeing things you cannot fathom in nightmares, we are confronted on the edge of what we call civilisation bolstered by the reality of events. The guardian gives us (at https://www.theguardian.com/film/2018/may/15/vomitive-pathetic-lars-von-trier-film-prompts-mass-walkouts-at-cannes), the view of perhaps one of the most controversial Danes in history. I got introduced to his films in 2002 or 2003; it was Dancer in the Dark. The movie had such an impact on me that I ended up being depressed for over a week. Never before had a movie impacted me to such a degree. Bjork and David Morse were diamonds in a foul soaked universe of corruption and perceived presentations of what people want others to be like, an awesome experience. There would be another movie that would shake me to the core. Gaspar Noé would ‘grace’ us in 2002 with Irreversible. It was interesting in just one part, apart from the overly jumping between time frames, it was stated as “a movie so violent and cruel that most people will find it unwatchable“, yet it was not unwatchable, because when I grew up, this is what my father did to my mother and in the end it would quite literally be the death of him, but not before he caused her death 25 years earlier. The Dutch courts were unable to protect her until it was much too late. It sets the stage of a growing essential need towards the exposure of these ‘softies’ and their inactivity and denial towards domestic violence. To throw some facts at you, 25% of ALL women in the UK will experience domestic violence that means that 8 million women will be gotten at. That is a frightening number and that is only the UK, it is actually much worse, this is gotten from Professor Sylvia Walby as we get: “Whilst this number is shocking, we also know it is grossly underestimated. The cap on the number of violent crimes published, set at five per victim, means that even if a woman experienced 100 incidents of domestic violence, only five would make it into the official data“. The entire setting of ‘capping’ of victim events makes it even worse. It shows a nation in denial, too fixed on not acting, and it goes a lot further than the UK, in this it is a global issue and globally governments are not actually doing anything, merely painting the rooms red so that the blood is not noticed when guests arrive, so in that we see our own denial.

This year, as the Guardian shows us, we might see Lars von Trier shine again, because if a movie can make a man like me truly depressed on watching an event, it means that he is getting his point across, a point that we deny ourselves from grasping. In all this he does not work with beginners or amateurs. In the movie we see Matt Dillon and Uma Thurman. The trailer alone shows that this might be not just the highlight for Matt Dillon; it might end up being one of the most challenging roles in his life. So when we see some of the feedbacks, other thoughts go through my mind. You see, when I see “Al Jazeera’s Charlie Angela also left the screening early” with the response “seeing children being shot and killed is not art or entertainment“, it becomes an issue of debate, you see, from that point Kramer versus Kramer is not art either, neither is the Deer hunter. Yet I am willing to take Charlie Angela on a small tour into Yemen, I can take her for a small walk through Taiz, where we can look at the dozens of children cadavers, we can also look at women and men all shot dead, the reality of war, it is not art or entertainment, we can agree on that, yet it is the reality of life, a reality millions shy away from on a daily basis. The deaths in US schools, not by the NRA, but by really confused people, the mere impact of mental health issues where the government is in denial of the events, all caught in political correctness and inaction. Perhaps it is really good for people to get direct exposure to such things. So for all those people running out of that cinema, I would state: ‘Welcome to real life!‘, in a bus full of people, when you travel on it, realise that each week, one of 10-12 trips, you would have shared a bus with a person just like Jack, so when you look around in that bus, knowing that one of these men is just such a Jack, would you still travel per bus? Instead of making domestic violence and spousal abuse an element of the Human Rights Act article 3, where we would optionally see: “In prosecution spousal abuse and domestic violence will be seen as a transgression of Article 3 of the Human Rights Act as a form of torture, torture of body and mind“, so when that transgressor (mostly men) are prosecuted for beating up his partner merely because he got a little crazy as his football team lost, just how much better will the safety of any woman suddenly become when he goes to prison 5-15 years, when he loses his house, access to his children and no further future? I reckon that the unemployment numbers will suddenly drop to zero. The evidence shown by the Guardian (at https://www.theguardian.com/society/2014/jun/08/police-fear-rise-domestic-violence-world-cup), where we see: “The most detailed research into the links between the football World Cup and domestic abuse rates has revealed that in one force area in England and Wales, violent incidents increased by 38% when England lost – but also rose by 26% when they won“, so when we know that this evidence has been there for 5 years and still we see no change, is it not strange that inaction prevails?

One review (one of many) gave us: “Nicolas Barber gave the film four stars out of five and said “Undoubtedly a bold and stimulating film which no one but Denmark’s notorious provocateur-auteur could have made”” Nicholas Barber of the BBC is right.

If there is one part clear in me is that the movie has the ability of waking up the people drowning in political correctness. They need to be woken up because there is too much data showing that inaction has not worked for decades and we need to step away from it, if only to push change and t push those acting in unacceptable ways to be pushed into the limelight and then out of visibility. If those ‘Christian souls‘ are suddenly visibly forced to embrace people wearing sweaters with the term ‘Domestic abusers’, will they still be Christians? Will they act of keep silent, because the wearer is a boss, their boss or someone really wealthy? There is supporting evidence for that. In that regard we can look at Jeffrey Epstein. When we realise that the evidence which included “the FBI received accounts from about 40 girls whose allegations of molestation by Epstein included overlapping details“, when we see “In May 2006, Palm Beach police filed a probable cause affidavit saying that Epstein should be charged with four counts of unlawful sex with minors and one molestation count“, did we expect what was coming? When we see “escaped a prosecution that could have seen him jailed for the rest of his life“, now consider that the conviction: “he was sentenced to 18 months in prison. He served 13 months before being released” and no one seems surprised, is there anyone still surprised?

So when we see the dialogue of Jack in the movie, where we hear (it is in the trailer) “When I think about all the things I’ve done in my life, without it in any way resulting in punishment“, we need to realise the nightmare scenario. What happens if every domestic abusing man becomes another Jeffrey Epstein, and if caught merely needs to wait 13 months to do again what his dark soul demands of him, when we realise that our inactions are the cause of our undoing, our politically correctness gives us the setting of something so incorrect that it can no longer be corrected for. What then will you do? When we realise that it was not the gun that killed, as is the truth, but our sense of righteousness send us targeting the people and the evil that they do. What will the life of the US attorney general be like when he wakes up in some future and that morning he learns that 10 Wall street executives were shot in the head, a one clip 10 rounds magazine, one bullet per executive? Will his motivation be that these Wall Street executives had rights, that there was the onus of presented evidence against the 175,000 people they made homeless or the optionally missed taxable $293 million in revenue that the state of New York is now missing out on. What would drive him (or her) that day you think?

The House that Jack built is a very different wake up call, reality expressed through art. to some it is a very valid thought that it is not entertainment, yet now look back at Kramer versus Kramer and wonder who comprehended even in the slightest the plight of the child in Kramer versus Kramer? Now ask yourself, what else have we missed out on? What did we sleep through in our politically correct driven universe and think of 8 million women in the UK alone, battered and bruised? How would you like to wake up like that at least one day a month, after month, after month? Most people including me will not consider the House that Jack built entertainment, yet, just like the Deer hunter, can we avoid seeing it, can we turn our backs on levels of reality we are unable to deal with? Consider Wolf Creek and the reality of what happened, so when we see: “criticizing it for its realistic and unrelenting depictions of violence” and now consider “the July 2001 abduction of British tourist Peter Falconio and the assault of his girlfriend Joanne Lees by Bradley John Murdoch“, who got a life sentence for the murder of Peter Falconio. When you were unaware of the reality of it and the impact that some people made on the reality of life of their victims, we need to remain aware that at some stage we must take notice and realise that the legal system to a much larger degree is flawed, perhaps even permanently broken. I reckon I can get no less than 8 million witnesses of that fact. In addition when we see that the victim Joanne Rachael Lees was willing to do an interview as: ‘she felt the public profile of the case had diminished‘, that took merely 4 years, 4 years for people to forget what a couple had to go through in a rich world setting like Australia, not Myanmar, not Thailand or Yemen, Australia! It is a setting that is unsettling and perhaps it requires Lars von Trier to make sure that we forever remember that the reality of some settings exist through political correctness and inactions. Even as some defence goes up as the culprit in Australia was caught, take a look at this short advertisement (at https://www.youtube.com/watch?v=g9DQgai4-C0) and wonder how many did not get caught and how many events are we turning our backs on so that we need not take notice of our inaction on all of it?

They sometimes state that the rain falls on the just and unjust alike, as well as the sun shines regardless of good and evil, yet will it truly do that in the long run? Whether through politically correctness, or inactions, we are slowly turning our world into a place that is less and less liveable, perhaps it is required to give it a rude awakening every now and then, and the movie the House that Jack built is merely (a lot more than merely) a reminder to wake up every now and then.

This is reflected in other news too. When we consider the Jerusalem Post we see the words of Haim Tomer, words I actually disagree with. Haim Tomer, formerly a top official at Mossad believes that the situation is that Israel, the US and Saudi Arabia can secretly help advance Iranian regime change. I believe his thoughts are folly. They are wishful and not very realistic. The play we see ongoing as Mahmout Ahmadinejad was not re-elected is not an elected official (President Rouhani), but a person that the Clerical and military side of Iran allowed to elected in accordance to their needs, the inactions that the President showed to have as Iran military provided (speculatively with the blessing of Iranian Clerics), is that Hezbollah is provided for, in Yemen Houthi’s are provided with missiles and in all likelihood training from Iranian military advisors. The rest of the world did not intervene in any way as we saw actions in Yemen and merely the outbursts against Saudi Arabia and merely soft whispers for any Iranian missile fired from Yemen aimed at civilian populations in Riyadh. Our inactions, the inactions of elected governments; governments that sat on their hands for years whilst the slaughter in Syria continued, all inactions that have long term impacts, we merely ignore them.

So when I kill 12 people, I am a serial killer, as Hezbollah kills hundreds as quoted through “In Syria, Iran’s special forces and its mercenary recruits — Hezbollah militiamen from Lebanon and Shiite hired guns from Central Asia — have helped President Bashar al-Assad perpetrate a ruthless genocide against Syrian Sunnis, including the use of poison gas, in order to maintain a pro-Shiite, pro-Iranian dictatorship in Damascus” (source: NY Times), they are now referred to as ‘militiamen‘, not terrorists, not mass murderers, no: ‘militiamen‘. Is this merely political correctness, or a way to set the stage for inaction? How much actions against events must happen for things to truly change from bad to worse?

I think that when you coldly look at the House that Jack built, when you realise that these inhuman acts are actually happening on a near daily basis and we do nothing, we are stopped to talk about it via political correctness and the politicians and elected governments, elected by people like yourself are setting stages of inactions, will the movie not be the wakeup call that you need to make a first change?

In all this EU governments are setting the stage to keep a nuclear deal going, a nuclear deal with a nation that has visibly shown that it will act out in inhumane ways towards civilians, through the Hezbollah puppet that they fund. In the end, consider that your inaction left no trace on your soul, you still sleep like a baby because the issues in Syria did not matter and they still do not matter for the thousands dead in Yemen, so when you consider that the House that Jack built was too revolting for words, consider that your inactions have made that setting an optional reality, because in the end, those who do survive Syria and Yemen grow up, do you think that they end up being balanced people? Do you think that the watched atrocities by children in Yemen and Syria will create happy people? In the end the real difference between a soldier, a mass murderer and a serial killer is merely the willingness to wear a uniform and the willingness to end the life of another person. Two elements driven by a lack of empathy and morality, merely two elements that has seen flaws as it is impacted by political correctness on the outside of the issue and forgotten as well as ignored by those who faced the issue; in that light it became flawed, some revert to stating that political correctness is merely ‘Moral Decency‘, yet that decency is set by the masses and they are too often very willing to remain in a state of inaction (Chemical attacks in Syria is clear evidence), so in that light, how was decency served?

I wonder how long it will take for religious speakers to get to the street and force inaction to give way to ‘social radicalism‘, when that happens, do not cry, you wanted that all along, that is what we see through the inaction of too many. When those political principles make waves and hit the limelight, make no mistake, social media like Facebook will drive it to very different levels of hypes and there is no way to block it, so when you hear that there is no social radicalism, you are in error. It is already happening in the UK, in Australia, in the Netherlands, in Sweden and Germany, France has it as well as Italy and Spain; it is pretty much everywhere. The Odyssey (not the book) gives us “freedom of speech allows us to speak openly about whatever our interests may be. I feel that many people take this to the extreme, spouting bigotry and ignorance without reason“, there is also “Many people are not willing to postpone particular standpoints in order to evaluate what stands outside their own perceptive bubbles“, which I personally believe to be the driving bubble in all this. The media at large uses this to their ‘circulation advantage‘ by focussing on the emotional drive in this, like the bulk of Murdoch media has done for the longest time (not just them though, it is a globally large community that is just like Murdoch, or envisions to become like them). They focus on getting emotionally driven hypes and in absence of filtering and non-emotional evaluation, we get a collective of angry people speaking out, normally it is a good thing, yet there are globally more and more angry people and that drives another wave of chaos, fuelled by inactions we see more and more people willing to become extreme in one way or another and in that we see social behaviour in decline, empathy falls as angry people tend to not consider or allow empathy and that is where we create a larger mess.

Perhaps angry or not, sitting down and taking serious notice of a movie like the House that Jack built is essential to create a wave of opposition, a wave that shocks us to a degree where we consider our perspective on what we consider to be real and actionable and when we consider the bettered woman and consider that this was once our mother, how can we not become protective of the victim we see?

In finality, when you consider that the FBI defines mass murder as murdering four or more persons during an event with no “cooling-off period” between the murders, now consider the amount of angry people, people pushed onto the edges for various reasons, some very valid and consider that they merely need to reach the point where they are willing to take a human life. Now realise that this was not the NRA, or its members promoting this, guns do not kill people. People kill people! We allowed the setting for so many to become and remain so angry often due to inaction. We are our own worst enemy and until that situation changes, we ourselves are the driving force to create more and more victims.

The sun will shine regardless we do this actively, or whilst we remain inert and inactive to the events around us, and politicians love to mention that the sun is shining, they don’t even have to actively achieve anything for that.

This setting gets a larger exposure when we see (at https://www.theguardian.com/australia-news/2018/may/14/margaret-river-shooting-murder-suicide-could-not-be-predicted-wa-premier-says) “The murder-suicide of seven people at a rural property in Western Australia could never have been predicted and the cause may never be known, the state’s premier has said”. I do not believe that to be true. When we see: “Peter Miles, 61, his 58-year-old wife Cynda, their daughter Katrina, 35, and her four children – daughter Taye, 13, and sons Rylan, 12, Arye, 10 and Kadyn, eight – were found dead at Forever Dreaming Farm in Osmington on Friday”, we see the loss of 7 lives, something like that does not merely happen. When I see ‘embroiled in a bitter dispute with Katrina about access to the children’, I see it is not that simple, but it is still, to some part a larger issue that involves frustration and anger, the smallest of settings for what we now see evolve (compared to Syria and Yemen). In light of what I wrote earlier, I believe that anger and frustration in light of ‘political correctness’ become unwanted emotions, we turn away from them, filter them away. I believe that this is merely one additional factor in all of this, we turn away from the realistic cold light of day from what displeases us and as such we miss the dangers that grow within our very communities, it is a global issue and it is growing. Yet in the northern hemisphere, it is May, it is spring and the sun shines, it will shine regardless in too many places and what we see will happen again, on several levels. When you watch the trailer of the House that Jack built in the Guardian article (or at https://www.youtube.com/watch?v=eA0pI_k-Dmo), now consider the one scene at 1:35, where we see merely a flash, in addition consider Lukas Moodysson’s Lilya4ever. I lived in an apartment building like that, it happens for real to people around us under our very noses and we no longer see it happen. The movie Lilya4ever was loosely based on the true case of Danguolė Rasalaitė, and examines the issue of human trafficking and sexual slavery. I think that the House that Jack built is more important than we realise, if only to realise on how we react to it and when we realise that there is reality on several levels shown, consider how much in denial we all really are, regardless whether the sun shines or not.

 

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