31–40 of 106 posts
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Maniac is a prestige show.
Maniac is a premium-mediocre show.
Has anyone watched the Norwegian original? Is it better or worse?
I assume the Norwegian writing is not influenced by an algorithm?
Given the quality of big budget films like The Last Jedi and The Predator, I would say they have attacked the wrong target. Or maybe the battle has already been won.
The Last Jedi was pretty pretty good to me.
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Maniac is a premium-mediocre show.
Kung Fury meets Black Mirror? Has anyone watched the Norwegian original? Is it better or worse? I assume the Norwegian writing is not influenced by an algorithm? https://www.gq.com/story/cary-fukunaga-netflix-maniac
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The Last Jedi was pretty pretty good to me.
It had a lot of special effects, that’s all I can say about this movie. Most people seem to have forgotten about the plot as soon as they stepped out of the theater.
Most of these shows are junk. If you don't like comic books or dark murder based series you're not too happy with Netflix these days. It's going to be one big ABC now. What do you expect when you hire one person to churn out seven shows at once? Where's the creative risk taking? Shonda Rhimes? Ugh.
The Marvel based shows Netflix produces just wants to capitalize on the success of the movies, but they couldn't secure the right to top tier super heros and they're struck with charters that can't carry multiple seasons.
Translation: Hollywood was underpaying producers relative to the value they generated. Netflix saw an opportunity and signed deals with producers more in line with the value they generated. Because of this competition, Hollywood is now paying producers more. Sounds like an unequivocal good thing for film and television. Talented producers get paid more. More money is being invested in films and shows. Obviously, film…
It's a great thing for the real creative leader types. I've wondered if this would happen in software. Of course we are amazingly well off by the standards of most fields. I still feel based on the value we give companies that there is room for compensation to greatly increase. In the movie and tv biz, I think everything is basically unionized for regular crew and actors, so they have basic decent pay. Is there any d…
Well it seems like for average rank and file actors, directors have a lot of power of choice, which is how you end up with all the sexual harassment scandals that keep getting reported.
Translation: Hollywood was underpaying producers relative to the value they generated. Netflix saw an opportunity and signed deals with producers more in line with the value they generated. Because of this competition, Hollywood is now paying producers more. Sounds like an unequivocal good thing for film and television. Talented producers get paid more. More money is being invested in films and shows. Obviously, film…
Netflix in contrast never does backend deals that way. It’s all laid up front. It actually means that Netflix shoulders the risk upfront.
So Networks are now simply switching to the upfront higher risk model where you eliminate backends and pay all upfront. You can’t say producers are “making more”, it’s just a different way to pay out. And again it’s a shift in risk management.
Translation: Hollywood was underpaying producers relative to the value they generated. Netflix saw an opportunity and signed deals with producers more in line with the value they generated. Because of this competition, Hollywood is now paying producers more. Sounds like an unequivocal good thing for film and television. Talented producers get paid more. More money is being invested in films and shows. Obviously, film…
Actually no. It’s a switch in the compensation model. Networks have traditionally paid producers using sizable backend deals. If the show does well they do well. Example: Larry David. Netflix in contrast never does backend deals that way. It’s all laid up front. It actually means that Netflix shoulders the risk upfront. So Networks are now simply switching to the upfront higher risk model where you eliminate backends…
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It had a lot of special effects, that’s all I can say about this movie. Most people seem to have forgotten about the plot as soon as they stepped out of the theater.
I liked the story, the houmour and the characters. Can't wait for continuation.
> “The increased volume at other places has worked in our favor,” says Casey Bloys, the head of programming at HBO. I do hope this is the case but I'm not convinced. Netflix's approach atm seems very strongly geared towards the middlebrow, which is perhaps the area their algorithms perform best. It's probably not very economical for them to target someone like me when there's still droves of people watching network T…