DID YOU READ

Does Netflix want to kill DVDs?

Does Netflix want to kill DVDs? (photo)

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The film world is still buzzing with the news that Netflix is separating their DVD and streaming movie services and raising their prices, in some cases as much as 60% per customer. In an interview today on CNET, Big Champagne CEO Eric Garland puts forward a theory for Netflix’s shift in strategy that I’ve heard before and discounted in a way that makes me want to reconsider it.

That theory is that Netflix split their two businesses because they want to get out of one of them, namely the DVDs-by-mail model. There are reasons why that theory made sense to me — mostly because the DVD represent the past and streaming represents the future — and a few reasons why it didn’t, including the fact that Netflix’s own press release on the subject claimed that they wanted to invest more resources into their DVD business, not less. So Netflix, this massive supplier of DVDs, wants to destroy half their business? The whole thing kind of sounded like a conspiracy nut’s fantasy.

Garland’s perspective, though, goes a long way toward explaining why Netflix might indeed want to accelerate the destruction of a big portion of their company. He even cites precedent, comparing the move to the moment when Steve Jobs and Apple decided to release a Macintosh computer without a floppy disk drive. That decision was met with widespread scorn and skepticism at the time. Now? When was the last time you even thought about a floppy disk?

So the thinking goes that Netflix is working along the same lines: killing the old to encourage the new. The counter from skeptics like me would be something like: “Netflix’s streaming selection isn’t deep enough to satisfy many of their customers. Won’t they lose a lot of business as a result?” But Garland gives CNET a pretty devastating counter to that counter:

“Reed [Hastings, Netflix CEO] is deliberately creating dissatisfaction. He’s creating dissonance precisely because that title availability, those first-run titles, needs to be available more immediately and more widely as a (video on demand) or as a streamed offering. So this is a leverage play. This is Reed saying you can’t bifurcate. You’re going to have to make all of your content available in a way that your customer has clearly indicated that he or she wants. Netflix is wagering that if all parties are dissatisfied; if Netflix is unhappy because Netflix customers are unhappy and if Hollywood is unhappy and if everyone is unhappy then we’re going to speed the clock on new solutions. You know that theory of vine economics, you let go of the last vine (like Tarzan) and reach for the next one. If he takes away that last vine then everyone is really going to reach for the next one. That’s what he’s trying to do here. He’s trying to remove the complacency that comes from an easy dependency on that legacy product. If you take the comfort of that DVD away that dissonance is going to demand remedy. You ask ‘what about all those DVD titles? You want those movies. So does Reed Hastings. And so does every other customer and movie fan. And now the pressure under which Hollywood finds itself has been ratcheted up.”

And why won’t customers just flee to some other service? Well, they might, which is all the more reason why Hollywood, which has had a love/hate relationship with Netflix, might have to open up more of their libraries to streaming. Right now, the only outlet that can compete with Netflix in terms of ease of use, variety, and (even after this price hike) affordability is piracy. That might force Hollywood into a choice between offering improved content to Netflix or losing more of their customers to illegal downloads.

A provocative theory. Even if it’s true, though, it still seems like a pretty risky gamble. Now that Netflix’s proven the value of streaming rights online, why won’t the studios start making them available through web portals they own? True, a studio-run Netflix-like streaming site would have a fraction of Netflix’s content, but it could have the all-valuable new releases that many users crave (and which, by and large, aren’t available from Netflix via streaming). And if the studios could play nice and pool their resources, they could really get something going.

Do they hate Netflix enough to work together? I wonder. This online movie business, man. It’s murder.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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