Tag Archives: Name of the rose

Is there tinsel in this town?

We seem to get rather fickle on what we see on the big screen and the small screen. We are pushed from event to event by marketing trying to create the new hype, from makers hoping for us to indulge in a new taste of Tinsel and we are letting it happen, we are giving in. We give in too often and we give in to readily. Yet the danger is that in that stream we lose sight of the good stuff, we lose sight of what could be awesome. 

I am not debating whether a series is good or not, it tends to be set to individual tastes, but marketing does not allow for individual taste, it requires clusters, because it is cheaper to tailor to a group. The problem is that it works too well. To give this a spin, lets look at data

In a normal setting we see 

Good ratings – 23
Average ratings – 37
Low ratings – 31
No ratings – 9 
Total – 100

Now consider that marketing sets the stage for people to only see the top 25 percent, in this setting we see that those with good ratings does not cover the 25%, so some over the average series drip in. But marketing hands to us that those with no rating do not count and now we get a different setting through what some call user missing values.

Good ratings – 23 (25%)
Average ratings – 37 (40%)
Low ratings – 31 (33%)
Total – 91
No ratings – 9 
End Total – 100

23 out of 91 is now 25% and as such the threshold is made and ALL the average series are disregarded by the marketing department as as such they fall from your view too. The truth is a little more complex than that, but the setting fits. The problem is that YOU did not vote, 100 people voted in this case. But is that not based on THEIR personal preferences? This is in part the problem with clusters and statistics. Statistics have their purpose, I believe in them, yet if we do not see the danger they pose we will be marginalised into the outliers we are so eager to avoid. 

To see what we might love, we need to see a lot more than we are given and the cluster marketeers are eager to avoid that setting, they represent THEIR client and what that client is bringing and it is now, in the era of Covid that some realise that we are given to shallow a choice, it is the setting of time and the setting of available time that made us look around and now that we see more we wonder what we are missing out on. I personally had reservations when the Name of the Rose was redone a a series, but when I found out it was an amazing journey I took it in. A series largely avoided by too many for all kinds of reasons, but who of you saw The name of the Rose with John Turturro, Rupert Everett, Damian Hardung, Stefano Fresi and others? Explortion is the one thing that tinseltown marketing fears, it disrupts their clusters and changes the way we see series. We are already changing this through Disney Plus, Netflix, Amazon Prime and others, the setting that we pay monthly and get all they offer is a setting that marketing is not completely ready for, but in the era of Covid the setting alters even more, now the entire field is seen and it worries the marketing departments in entertainment, we have too much free time and still that same monthly budget. These departments now fear the power of Churning, especially Netflix and Disney Plus are empowered by churners and the field will get larger. Soon there will be a new players that offers both for a nice price and that is when the field changes even more. Channel Plus and Foxtel faced that stage around 1999-2003 and now we see the first settings where Netflix and Disney Plus might face it soon enough too. In this, I expect that statistics will play a larger impact here. It is nice to see these two players throwing billions a year, but the numbers do not support that stage and a setting where they can work on a 60%-80% budget and share the members is preferred to the stage of losing them. There is still Apple, HBO and a few others. And this is their fear, they claim it is not, but the numbers are out there, because if the others unite the idea of getting 5-7 channels for one fee will overwhelm them and it will cost them over time a lot more, all whilst they still fight each other with new and more exciting IP, IP I equalled in a mere two months as I had some free time. 

As I see it the numbers are working for me and even when that population becomes a whole lot bigger, so will the outliers in the data. I reckon that we will see a first stage in 2023, when 5G becomes a much larger stage and if covid goes on the way it does a change in 2022 is not out of the question. 

You can wonder all you want, or you can wait to see what happens next. In this stage that will work in your favour. In September we were given “Netflix is expected to boost content spending on an amortised basis by a healthy 26% in 2021 to $13.6 billion — and the streamer’s budget could hit $18.9 billion by 2025, as it increasingly shifts the mix toward originals”, now consider that globally, Netflix had in Q3 2021 213,500,000 members. How long do you think this spending continues all whilst churners are now becoming a much larger stage for concern? At $10 a month (and not for the 4K option) we see a monthly stage that goes around $2B a month, so 6-7 months for the spending and we forgot about infrastructure, under those spendings Netflix has a near balanced stage, a stage that goes wrong they get more than one series wrong as a hit. And there is every chance that 2022 will get more people to the cinema, covid might have stopped us, yet we never forgot about the big screen Tom Holland showed that much with his $1B plus view on the new Spiderman and more is coming. Netflix and Disney Plus are in a dangerous stage. Disney might have reserves but when you spend well over $10,000,000,000 there will be hardship and when you add it all together we see that the numbers cannot continue as they are at present, I hope you see that too and when the clustering marketing efforts fall away, when the view digresses to the stage that becomes smaller as time is no longer a luxury we once had, the stage will take another turn, at that point we all wonder what comes next. We wonder what will happen, we all do and that is fine, but in that stage Netflix (Disney too) will need to alter the game they are playing at present. I see no other option for them the game they play now will prove to be too expensive for several players in that game.

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Remaking the past, facing tomorrow

I have been working on my novel, at 58,000 words, I am more likely only 50% done, but there is a lot more to come and as I was considering (creating in the mind) a new IP in the form of a new TV series I realised that the same idea could be an addition to the book I am writing. As such I felt a little bit of a traitor, as such I feel I have to make amends, even as no one has been hurt, I felt that smudge of treason to the idea. As such, my mind decided to take a turn towards the past, not the distant past (Iran in the old days), but a little more present (like the 70’s). I have written about the best drama series that the UK ever made (I Claudius), yet it was not alone, in that age two other series were made, both in the 70’s and both had a Greek origin. The first was Who pays the ferryman and the other was the Aphrodite inheritance. Both (for that time) excellent pieces of work, both based on excellent books and both with a setting that was mesmerising. Who pays the ferryman gave me the interest for Crete an interest that still lives on today, I have seen it three times. 

Cyprus (where the Aphrodite Inheritance was made) was less on my radar, yet the story was fun and gripping. 

I believe that places like Apple and Netflix could turn these two into interesting remakes, put Greece again and more visibly on the map. Even as the episodes are timely, the remake could set the spirit in the now and the issues that grip Greece, the stories could be upgraded and the issues that were skated round can be gripped with connected nearby historic places like Spinalonga, a stronger interaction with Agios Nikolaos and so on. Crete has plenty of stages and plenty of options. 

The Aphrodite Inheritance, started strong and the story takes on a nice turn, yet in today’s environment, the stage could be set with optional IP theft and industrial espionage (on top of the relic part in the story). It all hit me as I saw the Aphrodite inheritance on YouTube the other day, I believe that the older series and especially the mini series are getting more and more views, not because of the lockdown (partially driven by it), but the fact that plenty of Americans are now looking through the UK base of drama and it has them hooked (I agree that is speculative of me). Yet the number of views and the turn that SBS is making with Name of the Rose, shows that there is a growing interest in remaking good drama into something larger and even more astounding. I admit that I was skeptic on seeing the first few episodes of Name of the Rose, but so far that series exceeded whatever I thought was possible and I think that players like Netflix and Apple are always looking towards new IP, yet they too realise that what was made almost half a century ago was often not surpassed in all these years and the two titles I mention are on that list too. 

And in addition, no matter how many franchises there are and how many Marvel movies are coming, the people also want excellent drama and a lot of franchises just do not deliver on that to the degree described (neither do the Marvel movies). This is nothing against the Marvel movies as their origin is very different from many movies and we get that, and we love them. Yet we want more and we seem to want it now. Apple seems to be on top of the New IP with the new shamalamadingdong series (the man who made the Sixth sense) and now with Servant he makes another stab at our dread factor, he does it (as stated by others) in an exceptional way. 

Yet in this day and age, movies and TV series that rely on the Wow factor do not make it very long and that is where the stage of drama can add to the venue. In the first, the rewatchability of any drama is a lot higher than most other series. Yes, we love horror and Science fiction, yet how often will we rewatch them? Consider an American drama series like The West Wing, the fact that even today a lot want to see it again, even as the series ended well over 10 years ago is decently exceptional, there are other series and yes, there are plenty of wow based series that have the same, but the stage of drama is larger, there is no denying it. Whether a drama is dipped in Fantasy, Science Fiction or Horror does not matter, it is the drama effect that draws the people in and I believe that the audience wants to see more of that and there is every chance that Netflix needs to adhere to that part if they do not want to witness a audience transfer towards Apple plus. That will be seen towards the end of the year as more series and remakes hit Apple plus, they took a swing and hit the ball out of the ballpark. The remakes are more than just a choice, series and movies that were quirky and often fun will optionally become the TV series that are drama’s with a coating of wow. There is no way to tell how this will fare, and this is not an attack on Netflix, but Apple took the war to the next stage and they were ready for bear in this fight. To coin a phrase ‘they brought a bazooka to a gunfight’, and that bazooka merely has to be aimed into the vicinity of Netflix, Netflix will get hit no matter what, the amount of damage cannot be foreseen and the entire Covid setting brought it to the forefront. It hastens the setting we see now and even as Netflix has a lot more series, there is every indication that a 10% shift might be enough to get the Netflix investors running for cover and for them to find a way to break even at best. Yes, we see how Netflix shares are rising faster and faster, but lets not forget that as Americans and Europeans get back to work, they will stop using Netflix to a much larger degree, and in all this the internet congestion we see all over the world does not help Netflix, Internet providers were not ready all whilst they claimed they were. I warned people of that fact in 2018, now I am proven correct, even better, there is every chance that the entire congestion stage will increase over the near future and it has nothing to do with gamers. Zoom with its conferencing side will set a much larger international stage and consider how many firms work internationally now and under the strain of a reduced workforce how many more zoom meetings people have to look forward to.

A stage that goes from bad to worse and there is no way to stop that event. Yet this too is a stage we must give value to, as I see it the entire congestion setting is a drama all by itself, a stge of interactions that will not work and will show other wait time and loading icons, but no movie and no shows to see. It is important because it will hit both Apple plus and Netflix. 

There is nothing as hilarious as both offering 4K whilst the internet providers cannot deliver, the entire Corona stage is merely pushing to the foreground what was there all along. So as that stage is debunked more and more all over Europe and the US, we will soon see a stage where the material not the resolution matters and there we see another stage evolve, the quality of the story, because a wow film is only as good as we get to 4K and uninterrupted view and so far there was a lag and has been for almost 2 years, and as we see the congestion pushed to the foreground more and more, because under 5G the matters will only get worse, not less. 

Yet in all that the remakes will give rise to another lag, the stage of crowd control on the internet. Yes, you might laugh yet the stage is already there, the people will demand the full service all whilst Netflix, Google and others are limiting resolutions to appease the covid pressures of online. And in that stage we see a much larger need, the need to deal with congestion right in the middle of the stage of switching between 4G and 5G. Congestion has not been dealt with and cannot be dealt with, not in the immediate future, as such the people will see a much larger shift to appease their demand and the smaller players will now face the hardship of not being able to deliver, it is a drama all by itself.

No matter how we see the coming of more remakes, they are the stuff we demand, for all kinds of reasons, yet enjoying it on a decent quality will remain a question not merely for the direct future, for the larger timespan, even as people will stop to some degree the stage of streaming, the stage of TV series without advertisements is a lot more appealing than most think and when they are confronted with advertisements the entire stage of Apple Plus, Netflix et al will come to the forefront again and still it comes with internet congestion just below the surface, pushing its head above the waterline sooner than ever before. 

A view to face in the sights of tomorrow.

 

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Been there, done that

We all have those moments, we have all seen events where we attend, take notice and basically after 5 seconds we are in the stage of ‘What else is new?‘, that was the stage when I got my fingers on ‘The Name of the Rose review’ by Lucy Mangan. I am not judging her review, the article (at https://www.theguardian.com/tv-and-radio/2019/oct/11/the-name-of-the-rose-review-john-turturro-umberto-eco) seems decent enough, yet the very first part where we could relate to the movie (also based on the book), released in 1986, where Sean Connery is the monk, Christian Slater is his apprentice and the prosecutor is seen in the shape of F. Murray Abraham. It is a wonderful movie and we get the story in less than 2 hours. In addition we see the rise of Ron Perlman as ‘La Idiota di stupido‘ (aka Salvatore) is not to be missed; he really puts his print there. In the movie the entire stage makes sense, the people, the interactions and the squabble (Gui versus William), we see that pride lives on many planes.

So when I see the review missing out on that reflection I wonder how much Lucy knew (perhaps the omission was intentional), yet I believe that when we look at stars the size of Sean Connery and John Turturro, both with very distinguished careers that comparison makes sense. When I see ‘Monk Soup’ (according to the reviewer) it is important to see the cast as it is. In that same stage, the shaping of Adso under William first by Christian Slater and now by Damian Hardung is also important, the movie makes that clear, whether the series will is presently unknown to me. It gives us how knowledge is seen and how some is optionally is wisdom but a lot is not, the presentation of evidence that gives rise to Bernardo Gui as the evil tool, first by F. Murray Abraham and now by Rupert Everett is equally important. And it is interesting that both sides have actors and stars that would be on equal footing. So why is the BBC version seen as ‘Monk Soup’? If I were to judge going by: ‘Episode 1: The Name of the Rose Series 1‘ then it would be that the Name of the Rose would be a great movie, optionally a great mini-series, but a TV series with seasons? Let’s not forget that the entire story plays over the time of around a week, so how are you setting that in multiple seasons? As I did not watch it I would speculate that we would be watching paint dry, making Monk soup a nice change of pace for the viewers.

In the end, I am not reflecting on the BBC series (not until I have seen them and I am curious), especially with this cast. My issue will become, where was the wisdom to do this story in series? Why not a mini-series of 3-4 episodes of 1-2 hours per episode, perhaps even merely one season all 8 episodes, the fact that the entire matter played over a week makes that an option, yet to set the stage of 60-90 minutes to cover a day at an abbey might make it long, slow and optionally dry. Abbeys were famous for an absence of wine and hookers, so whilst pharmacies and scrolls will not get the same result, it might have an impact on the people in the now (opposing those who were around in 1327).

In the end, I did not dislike the view of Lucy Mangan, yet the absence of any mention of the movie, the radio play and so on gives an incomplete view, a view absent of comparison, it was her choice and as such automatically a valid one, I merely would have taken a different look, hoping to give an optional clear view for all those curious to see it.

 

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