Tag Archives: Netflix

A night with Clio and Alecto

It started 2 days ago, I have been wondering about the news (no actual new news, just the rehash) and what to write about. I heard snippets all over the place on ‘more of the same‘ and ‘lack of originality‘, yet until yesterday (around 03:30) I had no idea what to consider when the article (at https://www.inverse.com/article/58121-google-stadia-launch-games-6-aaa-titles-to-get-in-november) hid behind ‘6 Huge Google Stadia Launch Games That Will Make You Rethink Consoles‘ to invoke interest in the Google Stadia.

It was the sight of 6 titles that had been available for some time that made me wonder if some people at Google had any idea what they are doing, so I decided now to counter it.

When we look at these games, we see a first person need, no one denies this, yet if the power is applied, we can go so much further. For example, we might see the RPG giant System Shock in a new light (it is being remade). We might look at the Citadel (Mass Effect Series) and consider it is too big (or the death star for that matter), but the situation is nice and contained. What if we set up a large space station, fill it with crew, not spawning them at certain stages, but a station with the amount of people that would ordinary fill a space station. Now the Death Star has been rumoured to contain a crew of 265,675, as well as 52,276 gunners, 607,360 troops, 30,984 storm troopers, 42,782 ship support staff, and 180,216 pilots and support crew, so too large. Yet is the idea too far-fetched? What if we scoop back to Citadel Station (System Shock version) and we have to contain a situation with 5300 people? Now the numbers start making sense. The game has difficulty settings impacting available ammunition, health food and so on and in addition, we can set the scenario to Contagion (zombie apocalypse), Competitor (sabotage), Patent run (thief) and Entity removal (assassin), each with their own issues, challenges and options. The ability to blend in, to not be seen, to steal stuff and more important to remain hidden whilst you optionally kill (or incapacitate) a specific target. Yet the station is different, the crew is completely managed by the system and in some cases it has to be done within a time frame (any except the zombie apocalypse). The option to do it alone, do it together and the fact that this location can be reused gives it all a larger replayability value on a long term premise.

To some extent System Shock had many parts, yet the original had floors and the enemy would not pass that boundary. What if that is not a constraint? What happens when a place that big becomes its complete environment? Like the station on IO in the movie Outland (excellent role by Sean Connery). What if we had a station where the ‘AI’ error of waves of people do not panic (like in AC Unity, repeated to some extent in Syndicate), what if a proper hidden body does not set off alarms immediatly, but what if a missed shift does alert security to seek for the person, a station requiring ID badges becomes a new challenge.

How is this original?

Because the template might have been used to give rise to the environment, it can be any space station. Games like Destiny, Doom, are all about trigger point, all about spawn points and all about flag points. Yet what happens when it is already all there, how do we get through the game when we set off alarms, when we alert security by giving rise to an alarm. I think that this is the part that Hitman 2 really got right. Some will raise concern, but a lot of NPC should not notice, and that is at the centre of a much larger interaction. What if we consider that the stages of Hitman 2 are too confined (not for the story they had mind you), what if an entire city is the premise; do you think that every cop known everyone? They react to the badge, the uniform (medic), the identity (clearance) beyond that they often do not. So to set the ‘futuristic’ stage, millions of gaming fans have voiced the desire to actually walk around the Death Star, On Babylon 5, on the Enterprise, on Citadel Station and so on, yet no one pushed to make it happen to the degree possible, even Mass Effect Andromeda dropped to ball to the greatest extent there, an original game that allowed for (non IP secured locations) to be addressed. Locations to be originally designed, all with the option of giving a run, a challenge and optionally a group of friends united to stop an infection ramping through thousands. We now have the technology (we have had it for 5+ years) and yet they all rehash IP that has been done before. We even see YouTube on the 32 games that are coming, yet rehashing is not a solution, yes they do have some new titles, yet all IP that is already out there, or titles that will also come to other formats. It is interesting, yet we have seen since the very first PlayStation and Nintendo 64 that their true growth was through unique IP, I wonder when Google will figure that part out. We accept that sometimes doing something over is easier and I accept that, yet when we see that these designers ignore dozens of great titles that are on My Abandonware and evolve these titles into a new stage and challenge that will captivate its Google Stadia audience is interesting to say the least. Even now some of these original creators are looking at bringing life to what was an excellent game and turn it into a new great game. I wonder why Google might have thought that this was a path that was not googley enough for them to walk on.

Dinner with Clio

There had been noise around Netflix, several sources, including the article (at https://www.barrons.com/articles/netflix-stock-has-new-worries-including-disney-and-the-loss-of-friends-51563582983) give us a view on optional issues. The article gives us: “For its second quarter, Netflix added 2.8 million net new international subscribers and lost 126,000 U.S. users, versus Wall Street expectations for 352,000 domestic additions and 4.8 million international adds“, some might state that Netflix was not on the ball; personally I believe that Wall Street was setting the stage where the insiders could profit from the backlash of “The company’s shares fell 10% on Thursday, a day after the results. They fell another 3% on Friday“, it is a personal believe, but when we see that the difference between company and Wall Street is a difference of 2.2 million subscribers, a difference of almost 50%, it implies that Wall Street remains unfamiliar with realism. In light of the growing group of streaming services (Disney, Stan, and so on) gives additional rise to the delusional view of Wall Street, especially when you consider that Disney has Marvel in its corner. Yet with the spending spree of Netflix that is set to a $15 billion budget is also a concern. Even as Netflix studios are a one-time expense, the growth needs to come from new IP and mastering innovation in stories, it is the one part that Google and Netflix have in common. I can’t comprehend that they are not considering cooperation in that regard. There is overlap, but one that could be overcome, especially if they need to push Google Stadia to a much stronger position with Microsoft and Apple biting at their heels. They have to set a stage where they can overcome that optional weakness.

As such I decided to give a little diner party, Clio and Melpomene were in attendance, Clio came with a plus one. Not only did they confirm my view of Wall Street, they gave me another example, one I did not know, a story that never made it to print ever.

There is no time, there is no date, it was late summer and in the cool breeze of night, 4800 years before Jesus of Nazareth would be born Hades met with Apollo in a temple at Gortyn. There was no reason, or none that anyone remembers. They merely crossed paths to exchange words. It was after the talk when Hades walked towards the waters at Lentas that he sensed something, he sensed the end of a life and anguish, anguish to a degree that was rare and he moved in a blink to that source. He found a young woman; she looked at him, in pain and anticipation, but not in fear. It took Hades back for a second, this young woman showed more strength and dignity than the thousands of soldiers he received from the battlefields. He gave strength to her to heal by smearing the smallest amount of ambrosia over her lips, her wounds dissipated slowly to show true beauty, her name was Anemone, she was no one special, merely the daughter of a fisherman, brutally raped and left for death. Hades picked her up and took her to a shelter. It was during that night he bedded her and she gave herself to Hades. In that shelter she felt truly happy for months, and it was not until the second week of May that she gave birth, it was not something that she would survive, to give birth to the child of an Olympian was taxing enough the power of death that was there was too strong and it claimed her. Yet Hades knew that would happen, this was now all planned. The baby was named Elissa and Hades set forth his first part, he left her in the care of Tisiphone, Megaera and Alecto. The furies would raise her until she was ready. Over the next years 7-10 Elissa grew fast and became stronger and stronger. The realm of the Furies gave her a never ending supply of cannon fodder. Yet the furies were well versed in all matters and she was not merely of steel, Alecto taught her how to be anyone, to take shape, and how to reshape form. Form was a weapon that could attack the senses, the ability to temper anger to any degree and drive her opponents utterly insane. Tisiphone took Elissa under her wing to teach her about the act of murder, to see in other ways, the ability to charm any snake instantly and make it do her bidding. Elissa learned that cutting a small lock of her hair and cast it could turn it into a snake, to merely draw some poison from it, or let the snake scout for her. She could see through its eyes and she could see the heat of people without the use of a snake, in the deepest night she could see all around her and they could never hide their warmth from her. Her reflexes honed to new heights she was able to strike in the blink of an eye, her daggers thin and short would ensure death to all requiring the veil of Hades to fall over their eyes. Finally she ended with Megaera and there thing changed, as she taught Elissa the power of envy, to see the true worth and value Megaera did something Hades never expected. You see there is an unwritten link between the Furies and the Muses, it is that link that Magaera relied on in the past to see what is true from false and there the game changed. The furies always remember the services rendered and it was at that point that Terpsichore taught Elissa the art of dance and with that skill new levels of balance and creativity were taught to Elissa, Erato taught her poetry of the heart, so that she could always see the true love from the false one, feelings from deceit, as well as truth from planned falsehood, finally there was Thalia who taught her comedy, because Magaera had seen how the jester, the funny person was often overlooked by others, by serious people driven to greed, Elissa looked deeper into poetry and learned that comedy is not merely a relaxant, it was also an interesting weapon. As the lessons ended Elissa had levels of balance never seen in any person that was not Olympian, and it was at that point that Alecto fed Elissa her dinner which put her to sleep and started the dream of what her mother faced that fateful night near Lentas and they unleashed Elissa on the world.

What exactly happened that night will never be known, yet the 4 old men that ravaged her mother were found feasting on the flesh of their sons, who had grown up to be as despicable as their fathers were. In the morning the villagers found the four elderly feasting on a broth containing the bodyparts of their sons; skulls, ligaments were visible in the cauldron, the men old, grey and turned utterly insane chanting slowly and fearful “ένα ακόμα δάγκωμα για συγχώρεση“, Elissa had completed her training and was unleashed on the world, the furies regarded her as ready for a plan of their own.

In a blazing sun

It was deep summer; the sun was relentlessly beating the streets and people. A woman was walking the streets of Heraklion; she ignored the weather and casually looked at market stalls. The street was filled with tourists and she got plenty of smiling looks, it bothered her not, over the centuries she had gotten used to it. She had not seen Heraklion for decades, so she took it all in, she was on an errant to take out a murderer, she was still every much the girl the furies trained, slowly walking towards her goal, it was a building on Evaggelistrias and as she observed the building from a distance, looking at where she needed to be, she looked back at watching the poor boy beaten to death only 2 days before, the police had no clue, but she was not the police, she looked at the building and she saw her target, the two man relaxing, smiling, laughing and drinking beer, they felt good about themselves. She waited patiently until 18:30, most people were starting their meal and she slowly and quietly walked into the building. there was no movement, no sense of anyone and she walked up to their front door, she dropped a lock of hair and quietly entered the house and moved swiftly into the house, the two men were in the kitchen fetching beer and slicing meat, she walked past them as their backs were turned so that the balcony was not a place they could flee from she knocked on the wall and as the men walked with surprise into the living room she merely stared them in the eyes, as her eyes turned deep black, they went pale and white, they over overcome by fear so intense that they dropped their beers, and rant out the door only to see the large snake on the steps, they screamed and ran up, they kept running in fear feeling the hunt of danger behind them hissing loudly, they ran onto the roof running past the water tanks until there was no roof left, they never stopped running, not even as they fell to the grass field on Anogion and the last they felt was the anguish and pain of broken bones blood leaving their bodies and the sound of hissing snakes until darkness set it. Elissa picked up the snake and softly placing the snake in her bag, she would release the snake outside the city limits, her work was done.

That was merely the beginning!

It took me 30 minutes to come up with this idea, another 30 minutes to look into ancient Greece (and a few maps) and 30 minutes to write this, so when we see the implied lack of originality, I am not sure what that was coming from. Creativity is all around us, and it only needs to right spark to set the stage to something fresh. I believe it to be just around the corner and Netflix has an advantage, Disney will not consider certain paths, they rely on families and fairy floss sugary sweetness, it is partially the weakness that Achilles showed (see Brad Pitt in Troy). I believe that the people want something darker. It might have started with an unknown British director named Ridley Scott when he made Alien in 1979; it was that feeling that I had when watching that movie and that same feeling I felt came to me again when I saw Brightburn. It might seem a little shallow, it is not overly epic, but that same feeling is what David Yarovesky left in me, he got the jackpot and if Marvel does not see that and use it (for example in Moon Knight), they will miss out soon enough, Netflix has an advantage because of the limitation that Disney keeps and even if they go via Fox, the delays they call for give Netflix an edge, they merely need to find the right spark to entice watchers, Google faces the same setting, imitation might be the path to flattery, but in this game originality and creativity are much more powerful partners, Even now decades later we still listen to Queen, watch Firefly (or Star Trek) and we watch Top Gun, again and again. Originality and creativity did that, not imitation.

So find your muse and get creative

 

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This stupid Neanderthal

Yes, you read it right, as the worst possible grammar allows for we see the needed expression: ‘Me is havening to be the stupid man today‘ statement. It all started in the middle of the night when the Guardian brought us: ‘Saudi state part-owns Evening Standard and Independent, court told‘ (at https://www.theguardian.com/media/2019/jul/23/evening-standard-and-independent-unable-to-rebut-concerns-over-saudi-ownership). It gets to be worse (and the actual trigger) with: “Government lawyer tells court part-sale of news outlets has ‘national security implications’“, the naive Neanderthal in me is wondering what kind of drugs David Scannell is on and if I could get some of those (it never hurts to ask). The media (specifically the newspapers) are about the truth and about giving us actual information. The fact that the government has never ever been able to get a handle on whatever Rupert Murdoch does, in that same air the issues with Paul Dacre (specifically on a missing airplane), makes me wonder how the implied gossip that several newspapers spread are national security.

We could go with the premise that with a part owned Saudi Newspapers, the readers will actually get exposed to the acts or Iran, and the facts that many newspapers decided not to give visibility on that (like the proxy war Iran is waging via Yemen). That is beside the point that David Scannell is claiming national security issues against a Russian citizen, is that not laughable too (a Paul Hogan comedy kind of humour)?

So when we get David Scannell stating: “What is of concern to Her Majesty’s government is that a foreign state could be acquiring a substantial stake in Lebedev Holdings [owner of the Evening Standard] and the Independent simultaneously“, whilst her majesties government is seemingly forgetting that the current owner is Russian (born 8 May 1980, In Moscow Russia). Perhaps David Scannell would prefer to consider journalistic integrity and hold the UK newspapers to a much higher standard? He (his bosses more precisely) could have done that a decade ago by removing 0% VAT rights from these glossy ‘news’ bringers, a solution that would fit the UK citizen and resident to the largest degree, but just like the facilitation to the FAANG group (and their less than 2% tax), big corporations are facilitated to the largest degree and a clever Saudi investor thought that this was a good return for their investment. Then there is the other part.

When we see: “The heavily lossmaking free London newspaper is edited by the former Conservative chancellor, George Osborne“, we could consider that this is about changing the hearts of readers, yet if the government legal team is so worried about ‘poor record on press freedom‘, has that legal team not considered that in the end, when the papers becomes even more loss making that the current owners back out and the government could take over at £0.01 per share? In addition, if there is enough evidence in the statement of: “Both the Independent and Evening Standard insist concerns about editorial independence are unfounded and they are not influenced by financial backers” then what is this actually about? It seems that there is a reduced to zero chance that there are actual national security implications, the fact that national security events were always embargoed and as such these two papers must adhere to this, foreign owned or not and in the end, in addition, the fact that we saw last May the quote “There is nothing new about concern over the impact the company, which controls 70% of the country’s newspaper circulation, might have on democratic debate” (source: the Guardian), that keeping more papers out of the fingers of Murdoch might be a Humanitarian good, is that not important too? In addition, there is a second consideration, if the digital worlds that these two newspapers have, setting a stage that this evolution is passed on to places like the Dallah al Baraka Group, Al Arabiya, Al Saudiya and Al Ekhbariya could set a long term prosperity to both Saudi Arabia as well as their European affiliation. This is a long term slow plan and when we consider that Neom City is still happening, having a city well over 20 times the size of New York, also implies that overall the media will grow as well; digital marketing as well as 5G information streams will evolve, and evolve faster. Part of my IP was designed to do just that, whilst promoting commerce on several levels. We see that the evolution cannot begin in Saudi Arabia, but over time evolving those and new stations will be in the interest of Saudi Arabia who is eager not to lose it all to the UAE (Dubai Media Incorporated) or Qatar (Al Jazeera) changing the game and the way they do business is an essential must in the long term and in the short term evolution is more and more pressing.

Homo sapiens

Evolution has stepped in and as the Homo sapiens we are now, life is not that simple, the interaction of the media is larger and more complex. Yet I still find the approach through David Scannell laughable. We want to muster muzzles and bits to state who is allowed to go where, yet the unbridled freedoms pushes through by places like Facebook, Apple, Amazon, Netflix and Google remain unhindered. Even in a stage where these groups pay less than 2% taxation in the end, the monster we know is still less acceptable than any optional new monster we do not know. The policymakers have been unable and unwilling to adjust laws ad legislation for almost two decades, the premise of iteration and Status Quo are found everywhere but were given on how the new owner (partial new owner) is setting the stage of national security. When we look at the fines we see in the direction of Facebook and Equifax are partial evidence that this ship has sailed years ago, the latest data breaches show that there is no stopping the flow of data and whilst we look towards North Korea who does not have the storage abilities, skills and bandwidth to do 10% of the issues that they are accused of, we see that the foundation of the current batch of National Security monitoring teams are seemingly in a stage that they have no clue where to look and what data to sift through (a common shortcoming).

So in all this we have larger issues and whilst we forgot about July 2015 ““source close to the family” (MH370 disaster)” with the additional “what is also important is that we saw an issue in 2014 the Press Complaints Commission (PCC) decided to investigate a case whilst using only 1 of 83 plaintiffs” (at https://lawlordtobe.com/2015/07/31/that-joke-called-the-first-amendment/), it would be my personal recommendation that the government (as well as David Scannell have bigger fish to fry. We could start a new Leveson investigation and force harsher settings, but all kinds of chief editors will burst into tears in the House of Lords and as we know that those gentlemen are really unwilling to slap crying girls around, so we get nowhere ever and the option to remove the 0% VAT from some of these newspapers is not regarded as an option, so we are at a stalemate with no solution. But the call via National Security seemingly remains.

In the complete evolved view we see that there is political power into the ability to reach an entire nation through the newspapers and the media, yet in that light when we accept Gay Alcorn (the Guardian) who gave us: “There is nothing new about attacks on News Corp’s influence on policy and politics in Australia. There is nothing new about claims that Rupert Murdoch’s newspapers are not just right wing, but distort and manufacture news“, does it actually matter whether news is manufactured by NewsCorp (Australia) or the Independent (partial Saudi)? Is pushing this path not a race towards discrimination lacking all diplomacy and subtlety?

I am merely asking, because even as i really do not care who the owners are becoming, and the fact that the previous owner is Russian, is it not just all water under the bridge. To be slightly more precise a bridge called Facebook transporting terabytes of data per minute?

In the end, the legal battle is seemingly set to “The legal challenge was only against the decision to refer the Saudi investment to the Competition Commission on merger grounds“, whether valid or not (that is a legislation issue), the fact that the entire article has only one mention of the word ‘merger‘ in that entire article. Informing the public on the exact nature of the issue on the merger, would that not have been an essential first? If that is the case, how does National Security actually fit would be my question, but we really don’t see a clear answer on that either, do we?

 

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A sucker is born every minute

It is a nice expression; it is one that those who live by the rules of ‘opportunity knocks‘ rely on. In slow times you need the occasional sucker to infuse the grounded capital with lose change and they are all for it. Then there is the expression of ‘there is a hustle Smurf nearby’, where the experienced player creates a new account to amass gear from inexperienced players and newbies.

It comes down to the status on how something is seen. Some Investopedia page passed in front of me this morning and woke me up instantly. It linked to Barron’s (at https://www.barrons.com/articles/microsoft-stock-videogame-streaming-cloud-xbox-xcloud-51560373000) where we see: ‘Buy Microsoft Stock Because of Its Videogame Opportunity, Analyst Says‘, the entire setting is like a rewrite of the Divine Comedy, as Inferno is all that Microsoft seemingly delivers on a whole (as I personally see it). They went from an innovative system (Xbox 360) to a flawed concept and in the three iterations we see basic shortcomings that have never been fixed over the space of 6 years.

The beginning is already fun to work with: “Microsoft stock will rally because of its strong position in the videogame industry, according to Evercore ISI” No! It does not have a strong position, Microsoft degraded from 2nd to third position, and they could end up fighting over 4th position. The strongest console of the world got surpassed by the weakest one; the Nintendo Switch system surpassed them as they truly comprehend gaming and gamers. They got there in 2 years; it took Microsoft almost 7 years to get to this stage and ending up decently below 50% of the share that Sony has with its PlayStation. Microsoft games survives through marketing and bad decisions, with the optional good decision every once in a while.

The Microsoft stage of pushing for online, whilst basic shortcomings are frustrating gamers more and more, so when we see: “Ultimately, we believe gaming can become the next major narrative as it relates to Microsoft’s long-term growth opportunity” my response is: ‘Not Really, whilst the exclusive range of games is not impressive, the shared stream (Xbox and PS4) are often shown to be PS4 gems, whilst Microsoft is merely nice (with Assassins Creed Origins being a clear exception). The PS exclusive range is still growing and whilst the larger part of Microsoft IP is done through buying software houses, it has been in history the first step towards a more complete level of failing. There are examples all over the world for over 20 years.

Then the final part: “Materne is also optimistic over Microsoft’s cloud gaming offerings, where gamers can stream gameplay over the internet. Its XCloud service is slated for release this fall“, this is not a given. Microsoft decided to stay very quiet on the entire xCloud during its E3 and in addition, it is a soon a more direct competitor to Google Stadia. With the basic failings that Microsoft has shown to have, the audience is willing to take a look at Google Stadia, new brands have that effect, and it will gnaw directly on the Microsoft slice of the gaming cake. Apple is another contender, but there are still questions on that front for now. In short Microsoft got surpassed by Nintendo Switch, it is at less than 50% of the Sony PlayStation stage and it has disappointed gamers too often in their need for online dependency, a side that gamers do not like to relate to at all. There are enough indication that the next project (Project Scarlett) is more likely than not to hold onto the flaws of Xbox One, Xbox One S and Xbox One X. Its mixed media on mentions given in E3 2018, whilst giving less or no clarity on E3 2019, loaded with one liners that are implied to be connected but are regarded to be seen as separate statements show the flaw of Microsoft to a much larger extent. So as we see that ‘Microsoft is the Netflix of gaming‘, whilst not realising that there is more to that, we might go with the quote: “Xbox Game Pass is described as the ‘“Netflix of video games” and lets Xbox and PC users play a range of Xbox One and Xbox 360 games for $9.99 per month. xCloud will essentially be an upgraded version of this pass, and will work on more platforms, so it will likely cost more than $10” (Source: Inverse)

This entire setting only works well if there is enough bandwidth, in this stage the chance of congestion grows close to exponential as there will be no solid large 5G in many places until 2022, This means that it will be select in the US, Europe and outside these two. So as such the market slice will collapse overnight, Google Stadia will have a similar issue. Yet whilst Microsoft is about the marketing Hype and WOW factor, Google has been playing a more cautious long term game; it will pay off for them. All whilst the solid information that is essential was not given at E3 merely hinted at. It implies that Microsoft has not figured out how to best maximise on the revenue (read: an implied stage to exploit gamers). That in itself is the recipe for disaster. It is like the silent ‘always online‘ push that was tried in 2012 and pushed an angry mob straight towards the Sony solution. I personally believe that Microsoft has not learned its lesson yet and will give more disappointment soon enough. that whilst the bulk of the frustration could have been avoided in more than one place and never was, that alone convinces me that Microsoft might be an option, but it will be a risky one, one that is flawed and dangerous to boot, but then some investors like the rough stuff.

Now we get to the part that Investopedia has (at https://www.investopedia.com/microsoft-s-strategy-to-become-the-netflix-for-games-4691138): “One of the things Microsoft has going for them, unlike say Amazon, Verizon and Google, is a popular gaming console and a host of already super popular games, such as the entire series of “Halo” games. At the recent E3 video-game conference in Los Angeles, the company unveiled 60 new blockbuster games for both its console and PC, including “Gears 5,” “Batman: Arkham Knight,” “Cyberpunk 2077,” and “Star Wars Jedi: Fallen Order.”” Now consider that this list of 4 only has one exclusive and for the most 50% of that list has nearly everyone desiring it on PS4 and optionally PS5 as well. The fact that ‘Batman: Arkham Knight‘ is a 2015 game giving rise to some people not doing their homework #JustSaying.

It is true Gears and Halo are Microsoft exclusives and they do have a large following, no one denies this, yet two titles don’t make for a victory (they also have the Excellent Forza IP which was oddly missing in that list).

Yet overall the entire matter of being surpassed by the weakest console is a much larger issue. The matter of change is upon them and their play is to not do this implies that there is a larger online need and the people a shivering back from that stage. They feel a little more powerless. Even as xCloud is all online, the push to completely be there will backfire, if only to be able to game when the internet congests, a part that too many have not considered to the degree it needs to be considered.

Until 5G and 5G speeds are commonplace, the gamer will be confronted with ISP’s that will react towards congestion through bandwidth throttling, when that happens, you do not want to be in a multiplayer game like Fortnite losing your connection, any promise that this will not happen is bogus from the very start. It is still a tool used, even within the last 24 hours we see throttling in combination with ISP’s all over the world, because it is a tool they need to minimise congestion. The moment throttling hits, the game is quite literally over for these players. So how often does this need to happen for people to trade in their xCloud (and optional Google Stadia) solution?

When that crystalizes in front of you, what will the losses be? I believe that there is a clear future for this kind of gaming, no one denies that, yet until there is a much stronger 5G presence, I am not sure how it will actually properly work (outside of a staged test phase). And for now that stage is for the larger global gaming population 2-3 years away.

 

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Merely the beginning

Yes, the news is full of the overwhelming success that Avengers: Endgame is and rightfully so, yet the Washington Post looks further. The article (at https://www.washingtonpost.com/business/avengers-endgamemakes-disney-invincible-in-2019-then-what/2019/04/29/b5e35016-6aaf-11e9-bbe7-1c798fb80536_story.html) gives light to the strategy that is surrounding Disney plus as owners of the Marvel franchise. We get part of it with: “Disney’s films will no longer get licensed to partners such as Netflix during what’s known as the “pay one window;” instead, they’ll go exclusively on Disney+. That’s a big selling point for the streaming app, but it’s a costly decision that reduces the amount of licensing revenue Disney can earn from its films after they leave theaters.” this is a point of view that is true and the strategy is valid, yet having the stage where we see a time exclusivity (like in gaming) where the others get the option after 6 months is not to be ignored as an alternative. In addition, the mention of the ‘real’ editions of the time honoured animations like Aladdin and the Lion King are now on screws, especially after Dumbo has become a miserable flop. That is the puzzle that comes next, as I personally see it, the cast was golden, the director is phenomenal and the story is sound, so why did it flop and is that the premise for the other movies? We know that Robin Williams made Aladdin the success it was; this puts a megastar like Will Smith in an awkward position. To willingly step into the shadow of a giant takes monumentally sized balls to begin with and even as we know that Will Smith is no coward, willing to step into the fringe of movie making, I cannot stop being worried on how Aladdin will fare. As such the other Disney productions will be under pressure as well and that is just the beginning.

Disney has had the longest issue with being too sweet for most adults and even as we saw Pretty Woman in 1990 as a new view on what Disney could do, there was a distinct feeling that the Disney people were so far out of their comfort zone that they needed guides to find their way back. This is particularly important as Marvel has its own dark parts (more than just a few) and without that defining dark there is a larger concern down the road. I believe that so far they handled it fine, yet the worry remains: “will the wrong Disney executive demand the Marvel TV version to be lighter, sweeter and less dark“, so far what we have seen from X-Men: Dark Phoenix, The New Mutants imply that we should not be worried, yet waiting with worries for too long is not good either. What I saw from Cloak and Dagger season 1 is a clear warning, yet perhaps it is also important to consider that the movies will be less in danger of becoming laced with Disney Sweetness than the TV series. Their Metascore of 68 could be considered as supporting evidence in all this. Some gave the following views: “a horribly sentimental soundtrack“, as well as “If you want a show chock full of “edgy” liberal issues thrown into the plot regardless of if it fits with the story, then look no further” (which was the most negative review) we see the initial issue. Even the more positive ones give us “Through its initial four episodes, the real star of Cloak & Dagger is the structure and editing and overall environment more than any individual actor“. I believe it that some of the changes took away the dark side that would have made Cloak a lot more appealing, it was his dark side that appealed to me in the original comics; the TV parts I saw were too emotional, I am not stating that this is a bad thing, merely that . The comic books decently graphic about his devouring hunger, I missed seeing that in the few episodes I saw. Yet it is not all bad, Mayhem is showing to be the direct confrontational angry type she was in the comic book.

This is in part my issue; Disney is seemingly trying to skate away from the darkness is what will have a larger non positive impact on series that were pretty phenomenal in comic book form. So far the silver screen Marvel productions have exceeded expectations swimmingly; it is what I saw in Daredevil, Luke Cage, Iron Fist and the defenders that felt off, not bad, but off.

It is not the cast or the work done, no matter what, Mike Colter makes Luke Cage totally believable and real. I believe that the scripts fell short (from my personal point of view). Perhaps it is my non-US view, the fact that there had to be complications and conspiracy plots from day one in these series is why it is falling short. Even as we hear noise like ‘creative differences’, I believe that the entire conspiracy twinkle has ran its course to the largest degree, to be honest, that is why I stopped watching Kiefer Sutherland in Designated Survivor. The series started great and then when we suddenly see an FBI director compromised around episode 6 that was it for me. Oh, and before I forget this is a series that is all about conspiracy, but the way it is done was too far out there, it lost flavour. I believe that Marvel series have been pushed into that field too much as well (as well as several other comic book based series). I believe that the effort to go too deep too fast to please an audience is exactly why appeal is lost to some degree and Luke Cage gets to pay for it (as well as Iron Fist). With over a dozen movies coming in the next 2-3 years as well as optional TV series, this critical look early on will be more essential than most realise. You see, a Marvel overdose is pretty much similar to a Star Trek overdose, at some point we lose the interest to watch it, which is actually opposite to the feelings we had with the comic books and as such we have to consider our point of view. Now, like the comic books there is a filtering, most of us do not care for all the franchises. I was a die-hard Batman and X-men fan and I never got into Spiderman that much. I still loved the movies and I read the comics at times, but it was not my number one, neither were the Fantastic Four. That’s fine because Marvel (and DC) had a flavour for everyone, so much choice, as such we would be more protective of the comics we were nuts about and that is fine too.

Yet there is still Disney to consider and their long term need to make everything too sweet and too ‘pink’. Even as we realise that most cancelations might be linked to IP and the fact that Netflix will be a direct competitor of Disney+, yet the idea that Disney is a little too uncomfortable with these dark tainted series on Disney remains a concern for many fans and as such it is a concern for some fans of these series that they are now part of Disney. The factual reasons are not out there, or perhaps better stated, there is no source I trust to give me the actual truth (except a joint statement from Marvel and Disney and that is unlikely to happen).

Even as Forbes gives us: “Marvel meanwhile plans live-action series for characters including Loki, Scarlet Witch, Winter Soldier, and several other characters“, the die-hard fans will now wonder whether we will get the Asgardian Wars on TV or silver screen, not only as it was an awesome story, but that also puts Asgard, the X-men and the Canadian Alpha Flight team on the range implying the coming of a few more series, or movie franchises. All of them have a large following, so Disney would be nuts to walk away from an optional few billion more. Yet that does require Disney to allow for very dark streaks in their acquired paintings and that is where the problem is likely to rise, or at least that is what I think is likely to happen.

Even as Disney can ignore everything this year, the year that Avengers: Endgame broke every record, the long term view is less of a given, with view n 2020-2023, there will be more issues and other issues to deal with, not all of them revenue driven, but revenue will be the mainstream in any discussion that surrounds whatever ‘creative differences’ we will see make the headlines on all kinds of media channels and to ignore this so early in the year is not a healthy thing to do, especially as most of the upcoming movies will be staged to bring in a billion plus each. As stated, I do not think we need to worry about the movies too much, but the Marvel TV series that will be another matter, they will be the bread and butter of Disney+ and those people like their shows a little too sugary to my taste.

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Removing the floor

OK, I have made predictions in the past and most were close to spot on, some were just a little off, yet I had not ever for the life of me gotten it wrong by half a billion before. In ‘First the Soft‘ at (https://lawlordtobe.com/2019/04/27/first-the-soft/), I made the prediction: “we now see that Avengers: Endgame is heading towards a 700 million opening weekend (globally) is no stretch, it would make it the largest opening weekend in history“. Some claimed I was being too optimistic, perhaps I was at that a little; I now see from several sources that the estimate was off by a lot. The sources mostly re-quote Variety and when we realise that the reality of “According to Variety, ‘Avengers: Endgame’ pulled in $350 million in the US and an incredible $1.2 billion worldwide in its first weekend. This smashes the ‘Avengers: Infinity War’ take by over $500 million“, we can agree that my thoughts on it being the best Marvel movie ever is not even close to the mark. The movie is now listed on 18th position of the best money making movies ever on a global scale, from naught to 18 in one weekend. This now implies that the movie could shoot to 3rd position in a week, optionally replacing Titanic in 2nd place, it is a record that James Cameron held for 21 years, and he also held the number one spot for 10 years which is now in equal danger of getting surpassed by Avengers: Endgame soon thereafter. I believe that will happen, yet the speed at which this could be happening at has never been seen before.

This news is actually more important than you might think. You see Hollywood is nothing if not revenue driven, so there is every chance that my beloved comic books form the 70’s and 80’s will find themselves to the big screen or some Netflix streaming channel. This is both awesome and optionally sad. When the money makers see the amount of money Marvel just grossed, it will make them step into the fairway and claim their own billions. The sad part is that there is every chance that people will concentrate on their dollar shaped pupils and forget that Avengers: Endgame is the result of 11 years and 22 movies, so whatever they do they need to be careful not to squander the option they would acquire.

One of the front runners in this would be the work of Don Lawrence. He became famous with the works of the Trigan Empire as well as Storm. The Trigan Empire has everything to become stellar, it is placed in what would be a ‘Nova Roma’ A roman empire but in the 21st century, so we get decadence, martial impact (for references see the Spartacus series), direct encounters (read: sex, combat and confrontational resolutions) as well as other elements making it highly desirable to the watchful eyes of millions. Getting it right would be an essential part in all this. Remember, that I Claudius failed in the first attempt until it was done right in the 70’s.

In second place there is the Spanish artist Segrelles who gave us ‘El Mercenario‘, a little more fantasy, but most pleasing to the eye in more than one way. It is utterly lacking realism (the dragons are a dead giveaway) but the stories have been intriguing since the beginning and the art has a certain flair that does go with the need for excellent story telling.

I am not giving you a top three. There are so many considerations. There is the Flash Gordon from the 70’s, there is Diabolik, although in this case it seems that Murdoch’s European pay-tv operation are already on that case, so I reckon that if they make that one dark enough, they might have an instant hit. This all has one additional benefit for me, there is every chance that someone will consider reprinting the comics by Angela and Luciana Giussani, a win-win for all. I believe that technology was the greatest push here. Now that special effects can set the stage more closely to what the comic book makers envisioned and gave to their audience, the sky has become the limit and as we see more and more revenue towards streaming, there is every chance that the biggest delays will be finding the actors committing to a series and finding the right actors, manpower will become the largest obstacle for moviemakers in the foreseeable future. I will happily volunteer there, but I know I am no Inspector Ginko (or inspector Gadget for that matter).

Yet we can also look into the other direction, for that we merely need to seek out André Franquin and his office boy Gaston, every company seemingly has one and therefor would bring instant joy, laughter and entertainment on a global scale, all mostly untapped ideas as American Netflix has been too localised in their searches (as well as the method of finding new stuff). Yet with Disney Plus on the horizon and other players like Stan making more and more waves, we might see a bidding war for the IP rights of these works soon enough.

 

 

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The TV as a weapon

There is an old saying and there are alternatives to it. In Australia we say:

Q: Do you know the difference between ABC and Channel 7?
A: ABC shows you how bad things are in the world, Channel 7 shows you how screwed up your TV life is.

In the Netherlands it used to be NOS versus SBS6, and every nation has its own version. So what happens, when we see the millions of smart TV’s and Apple enters the race opposing Netflix? The New Daily gives the quote: “Spielberg who appeared live, touted the revival of his Amazing Stories anthology, while Reese Witherspoon, Jennifer Aniston, and Steve Carrell then took the stage to discuss another Apple original, The Morning Show” with the added: “a range of new streaming entertainment services, as well as financial products, at a star-studded event Tuesday morning“. the message was apparently clearly brought and when we get to see: “Apple is expected to spend US$2 billion this year on original content to challenge established steaming players Netflix, Hulu, Amazon and the forthcoming Disney+ service“, we need to realise that Apple has an optional goldmine in the making. In addition we see: “Hot on the heels of the Google game streaming service, Stadia, Apple launched Apple Arcade in a bid to grab a slice of the multi-billion dollar gaming market“, which will be fun to watch as Apple has shown a keen interest in negating the need of gamers (which is not all their fault in all honesty), will they figure it out this time? At least with the established Android gaming platform size, Google does have a huge advantage for now. OK, apple does have a gaming community on IOS and I was not short selling that (yes, I was). Yet the overall view I have seen in the past gives a better light of gaming to gamers on the android, than the Apple (a mere personal view on the matter).

So here we are watching two streams being created. First is the Netflix drain by Apple and as soon as they realise that 2 billion is a mere stack of money, to get the TV series that get the people to sign up, even besides Netflix will requires series that surpass The Chilling Adventures of Sabrina, The Haunting of Hill House, Bird Box and a few other gems, Netflix has the writers, will Apple have them? We all know that Game of Thrones will enter their final season, so there are plenty of needy watchers to pick up after that conclusion, yet if Apple does not have the IP, they are not going anywhere. Even with the added Spielberg Amazing Stories anthology, which was actually quite decent when it was initially released on VHS, they will still have quite the task at hand. More important, even if they have all the ducks in a row, they will still having to deal with the market shares of Hulu, Stan, Amazon and the forthcoming Disney + service as well (and a few local others). Do they have the IP when that goes online? I can see half a dozen series that could be hits, and I am not the only one. Plenty of dedicated story tellers will have a list. Yet, does the Apple executive (whomever Tim Cook handed this hot potato to), does that person have a clue? The difference between a good presentation and an actual good idea comes with a gap that can fit the Grand Canyon and many Apple executives are a little lost when they face that gap.

It goes further, having a great idea is not enough and most visionaries have that in mind. to see that part we need to reflect on: “Apple, which became the world’s first trillion-dollar company in August last year, had been dropping cryptic hints about the launch event for weeks, sending the internet rumour-mill into overdrive“, yet since then Apple lost well over 20% of its value and the next few ‘slam bam’ misers will dent that even further. The next part is interesting as it impacts gaming and TV.

To get a great product you need at the very least (before marketing gets to have a go):

  1. A script, a story that will compel the reader to go on. Loading it with sex and graphics will only hold a small percentage for some time. A great example of a near perfect script was I Claudius by Robert Graves.
  2. A cast that works well together, each good actors, but together they become ambrosia, wine and nitro-glycerine, all at the same time. Again I Claudius became the golden standard. With Derek Jacobi, George Baker, Siân Phillips, Brian Blessed, James Faulkner, John Hurt, Patrick Steward, Ian Ogilvy, John Castle, and John Rhys-Davies we got something unheard of. They were already good actors, yet together they created greatness, they are now globally celebrities, but in 1976 that was not a given, they were iron rods and the director shaped them into high tempered steel increasing their mark close to tenfold.
  3. The director. Not merely the man implying 3, 2, 1, action! No, he is the person that becomes the visual visionary and Herbert Wise delivered. The evidence is seen in his work. As a director he has 91 marks on his career rod and when we look at it all, it is all decent work, insightful work, yet I Claudius is a 180 cm person walking in Indonesia (where the average height is 152cm), it stood out tall above all others. So, even as we accept that I Claudius could not have been done without the cast, it equally required the right director to make it work.
  4. The Producer (in this case the BBC), who had to put up the dough with a need of blind faith and no idea how much they were going to lose. These four required to be completely in sync and they were as such I Claudius is still seen as the best BBC drama ever produced, even now, 43 years later we see that new TV series merely hope to equal this achievement, thinking that it can be surpassed is mere folly (yet optionally not impossible).

This is the setting that Apple is trying to get into and throwing 2 billion at it thinking that it will be easy by presenting a few famous people is as reliable as getting rich by spending what you have on blow and hookers. It looks pretty, yet it is an absolute non-winner 100% of the time. Finding the right people will be the task for Apple and as they are all competing for the same pig through increasing the value of good scriptwriters, yet they too are starting to look critical at the offers, because they lose value with every failure and often enough, they do not get to blame the director of the production company, they get to be the scapegoat. So they will require their optional bosses to set an income and levels of freedom and commitment to a much higher degree.

As for gaming

Gaming has a similar setting. It will be about getting the gamers on board and that requires a great product, in an age where Apple has been all about marketed iteration, they are vying for innovation? In a market they do not seem to really comprehend? I am slightly puzzled.

There the director is the project director; the cast are the graphic designers and the scripters and coders. The art and stage might have similar issues, but finding these parts to intertwine and interconnect is where good coders are required. Then there is the learning curve of the game. And it gets to be worse fast when it becomes a product relying on micro transactions. Ubisoft, Bethesda too never quite worked it out and the first screw up will diminish the value of the event overnight. Apple will have to steer clear of micro transactions in the first year by a certainty of 100% and in the subsequent 2-3 years for 90%. Can they afford that game? Their essential path will be the RPG games that call the horn of attendance for gamers on a global scale, if not, than this becomes a long term project that will not end up becoming a winner. In that they have additional competition form makers like Nintendo, their Switch is still gaining momentum and the games I have seen lined up for that system shows that Nintendo is taking this momentum extremely serious. I wonder if Apple has thought this through beyond their return on investment expectations from executives who rely in spreadsheets and lack essential data skills other than identifying their ROI and bonus column. Once that goes south Apple will take a few hits in short succession and they will be painful. If it goes wrong (I am not stating or indication that this is the case), they could face the hits where their total value is a mere 50% of what it was on September 16th 2018.

Yes, Apple could rise high with streaming on TV and consoles, but in the end they require the golden eggs to get there and I am not convinced that they have what it takes to get there. For the most it is an art, I have been involved in gaming since 1984 and I still miss elements in all it. It is both science and an art, the moment you separate the two is the moment you lose. That has been an essential given for close to two decades. Ubisoft got it wrong more than once, Bethesda took massive hits with miscalculations and they are dedicated experts in that field, I doubt Apple has seen that shortfall at present.

To illustrate that we need to look at a game called the Division 2, an Ubisoft product. Important fact, it is seen as a really good game, better than the first version and steps forward, at times leaps forward, some reviewers have stated that is sets a new bar of online gaming and that is awesome to learn. Now add the two headlines: ‘Ubisoft Patches Annoying ‘The Division 2’ Skills Bug‘, as well as ‘The Division 2 PC players report a 100% CPU usage issue, Ubisoft is investigating‘, on games this size this will always happen and the fact that it is looked at and fixed this early is really good, so this is not about pulling Division 2 down. This is what happens on games this big depending on online elements, which is besides server down times. A consequence of online gaming and in this Apple is as I expect it not ready to see gaming to the higher levels it needs to see it.

If they see these two elements as a method to use the TV as a weapon, a data weapon for additional wealth, we see a company that is about to get hit really hard. That is in the foundation of it all. I believe that they are making the same mistake that Microsoft made. Microsoft is talking a good talk, yet the people all over the world are seeing the impact, the most powerful console in the world is being surpassed by the weakest of the three. Their setting of always online, their bullying tactics, their essential inability to listen to gamers (or ignoring what they are being told) is what is dragging down Microsoft and Apple will experience that lesson in a very hard way soon enough if they walk that same silly line.

Just like Microsoft, we see a company that more likely than not does not comprehend gamers and will falter because of corporate ROI needs soon enough. They see the two as connected to grow better, but these are two separate entities (TV and Gaming) representing 6 dimensions that can go in any direction, when these executives learn that lesson the hard way and they are looking what to do next, I will offer Tim Cook my last $99 for the company (Apple, a fruit of the loom division).

Could I be massively wrong?

Absolutely, yet the Apple marketing need of the hype and their viral needs seem to be on my side, as the gaming industry as a whole tends to be as gossipy as any old tea lady, so word would have circulated into my inner core of contacts much earlier, as such I think that Apple is not ready, nowhere near ready, personally I do hope to be proven wrong. I would love to see more contenders in the gaming world, more choice, more innovation and better games is the consequence from that war, and I do love playing good games.

I will keep you all posted on what happens next.

 

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With Netflix in mind

I was getting my zone on this morning (through caffeine) and as I saw something pass by last night (way too late) I decided to try and revisit what I shoved on the side something that was regarding Netflix. It was the only bold word I remembered from the 03:12 moment, and as such I did a search. I was not successful (at present); I did get a whole range of other items. Titles like ‘Terrace House on Netflix is an antidote to a world gone insane‘, ‘Netflix’s New Mini-Seasons Steal an Old Trick from Broadcast TV‘, as well as ‘Why Ben Affleck’s ‘Triple Frontier’ is your new macho Netflix guilty pleasure‘, the title or whatever passed me by was not there. It got me to thinking about certain series. You see, in a sea of options people get to drown because they cannot decide. Most (like me) want more than just a little 42 minute hype and that got me to one of the best BBC Drama’s around in decades (besides I, Claudius that is). Waking the dead was brilliant for several reasons. Not only because of the cast Trevor Eve (Eddie Shoestring), Sue Johnston, Wil Johnson and Claire Goose (Jane Kennedy) all awesome as a team! The issue is that the story was deeply overwhelming as every case was a two episode one hour each. The series were not a collected short stage of items; it was an actual story, complete with events to connect to. The makers were brilliant in a few ways as the stories were amazing, but that 2 part one hour approach was the pusher to set the stage much higher than ever before. So when we see these Marvel series, these crime series and other elements. I am surprised that places like Stan and Netflix have not pondered a much larger bet, one that could pay off for a much longer time. Not some vanilla series with happy endings. But based on the stories like Constantine, Elektra, Moon Knight, and optionally some series in the 90’s and 80’s that flopped. Everyone is looking at a new Buffy, Buffy was a huge success, but in that drive we forget to look at series because they failed. Some failed not because they were bad (well they were in that shape), but because we were not willing to make them dark enough and people have taken a real shine to dark TV series. By making them so dark that it makes black the new vanilla, that is the path some need to be on and it should not be some 42 minute series. It should be more like Waking the Dead, 2 episodes of a full hour. You can actually give the people a real story. This is not a new idea, others have voiced it and even as Hollywood is too scared to make that leap, for places like Stan and Netflix it could be the game changer. Netflix learned that when they gave the people ‘the Chilling Adventures Of Sabrina‘, the totally vanilla (and family friendly series) with Melissa Joan Hart has been rewritten into something that people teenagers and those who passed that age limit decades earlier go bonkers over; the mention of a new teaser poster auto evolves into a new viral wave of messages on a global stage. We should be more like Leonard Cohen in You want it Darker? And as we remember “You want it darker, we kill the flame“, we see the stage that several ideas should push towards. It gives light to the 1973 movie ‘The Legend of Hell House‘ which seems to have been the inspiration at least in part for ‘The Haunting of Hill House‘, Netflix blew the roof of their maximum ability to entice an audience and they are not done, not by a long shot.

So how do you think the audience will react, not to some 45 minute chase, but a 2 hour hunt for some truly bad person, raw, bloody and unforgiving by someone like Elektra Natchios, not some sexy looking Jennifer Garner (there will be minimal opposition against that element), but a well-trained, decently muscled and super agile version of a comic book assassin making short work of the bodyguards. Not some 1:43 scene, but a close to a realistic invasion of a well-protected house, taking our guards, optionally avoiding staff and brutally slaughtering the target in one quick sweep, a Jane Wick without all the noise-making, to coin a phrase.

And the people will love that story; we saw that in the original Day of the Jackal with Edward Fox (not the Willis version). There are several series out there that have parts of it, but not all of it and making a double one hour episodes on that would optionally give us all, it would give a totally new appreciation of quality writing and it would show the need for actual stories, it seems that all these marvel series will soon come to a grinding halt. Too much is the same, too much are transferred idea’s from series to series. Waking the dead was never that, it was unique. The BBC writers had a golden equation. It cannot be improved upon, but it can be the mould for something entirely new. and believe me, places like Stan and Netflix are looking for new, they have billions riding on that and they cannot get it wrong, not even once, not in this day and age when they are confronted with an additional $2 billion totaling their debt presently at around $12 billion. Even as they have 139 million subscribers giving them close to $1.6 billion each month, a lot of it is infrastructure and technology. Netflix needs to find new niches to give rise to new and fresh blood that can see series and movies no one else offers and for the most others do not offer dark. Do you expect to see that happen at Disney any day soon? That is the one handicap that Marvel, now part of Disney would face, series that are slightly too vanilla for most, it gives Netflix (Stan also) an opportunity, but it is merely one window and it will not be open for too long, in the end Disney needs to find the proper valves to keep it all afloat making profit, their optional delay in making the call, that is the one brief window that places like Netflix and Stan have for now, for now that is.

They are not the only ones vying for more viewers, in that regard Season One of American Gods hit the spot right on and with the pilot of season 2 hitting just four days ago, noise is rising from so many people on needing to see it, it shows not just how right I am, it might show that what I consider dark is just not dark enough. The numbers will show soon enough if this is what will drive Amazon Prime Video faster and larger soon enough. Even as some are less positive, I believe that it is merely the story taking a moment to adjust to what comes next and that is just my personal take on it, I reckon that in 4 weeks I will be proven correct (or wrong), it is in all that we need to ask, is it about pushing the envelope, is it about something truly novel? Not unlike the Japanese movie ‘the Audition‘. I believe it to be a blend of factors; the entire 43 minute mess to write it all in is no longer holding our attention well enough. There is plenty of short, there are enough movie, but in between there is a whole range of nothing. Waking the Dead had us covered and they were pretty much the only ones. It is time to see that and adjust form something like that. My money is on series of a much darker nature, most people are truly fed up with vanilla, it there is something to be learned from Bird Box that would be pretty much it. We cannot get a decent stress in a total frame of 42 minutes, yet in a double one hour episode we can get more than one and without it interfering with the quality of the story. It is not about the scare moment, it is about binding us to the scene and get us captured for the entirety of the episode, BBC solved it in the most brilliant way possible and we need to use that wisdom to create something the audience has not seen before. Novelty gets us there and having the best quality story keeps them there. From that part I believe that there is space very deep space for a new totally awesome Star Trek Movie. People were not happy about Star Trek Beyond; I do not believe it was about the acting or the directing. It was the story and there is enough evidence that they could have a two part cash cow if they hire the right writer to head that team. The nice part that if he is willing to make that jump you will get to see 125 million star Trek fans (globally) to go utterly nuts with joy, but to get that done, J.J. Abrams and Quentin Tarantino must be willing to make quite the jump into a direction neither had taken before. If they do they end up with two movies each passing the one billion revenue mark with ease. The classics can get you there, if you know the right classical writer who can give to you what wasn’t shown before.

Innovation is not merely seeing new, it is about the need and ability to adapt into another frame not making it merely novel, but giving a classical pressure to what still is, that is the field where all the leprechauns bury their pot of gold. There are plenty of plots to draw from; you merely need one man and a decent shovel to get you there.

 

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