entertainment – Life on the Wicked Stage: Act 3

The Netflix Paramount Media Money Muddle

Stay tuned

It was quite comedic to watch the reaction to the news at the end of last week that Netflix had won the bidding to take over Warner Brothers. There was indeed much celebrating. There as also quite a bit of consternation. The celebration was primarily because there is an abundant school of thought that no one wanted Paramount, now essentially another tentacle of the Trump administration, to win.

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I didn’t bite on the news celebrations or the consternation being the final chapter then. Of course it wasn’t. The Netflix bid parlayed out to $72 billion. On Monday, Paramount Skydance launched a hostile all cash takeover bid of $77.9 billion.

There’s only a roughly $5-6 billion difference between the two bids, but the Paramount bid seeks to swallow up the pieces of Warner Brothers/Discovery that Netflix apparently wasn’t interested in, including media properties such as CNN, TNT Sports, and Discovery. Netflix’s bid was for Warner’s Studio and HBO’s streaming business only. Note that Warner Brothers had previously announced that it planned to split up the combined businesses in just that vein.

So, what does it all mean?

First, it means a lot of lawyers and lobbyists are going to make a lot of money. There are political, marketplace, and money pieces moving around the board in what looks to be quite a saga that I imagine Hulu will end up making a series about within a couple of years.

Netflix is after the content. And the control. Ben Thompson has an excellent run down on that, and why Netflix’s delivery system makes it make sense. Netflix has created quite a war chest for its bid (which is both cash and stock), by building a relatively slick distribution system to deliver its already abundant content, plus whatever it continues acquiring. (How many TV remotes are there without a Netflix button these days?)

Paramount Skydance CEO David Ellison’s all cash bid includes quite a few players including his pop, Larry Ellison, both of whom are Trump supporters, as well as outlays from sovereign wealth funds of Saudi Arabia, Abu Dhabi, Qatar, and also Jared Kushner’s Affinity Partners. Without those partners Paramount, valued at around $15 billion, would have a hard time competing with Netflix’s roughly $400 billion war chest. (The Wall Street Journal has a decent rundown on more of the money specifics.)

Second, it means what was already a muddle the way most of these kind of things are, will get muddled up even more due to the politics of the moment. I’ll disagree with Ben Thompson’s analysis that points out that the President doesn’t have final say on this. That may have indeed been true in a past we’re no longer living in. Those old rules no longer apply. As we’ve been learning everyday since January 20, 2025.

Third, Hollywood also has its concerns. The traditional studio power structure is not enamored of Netflix and its heretofore disdain for theatrical releases, which also brings movie theatre owners into play. I’m not sure if the Netflix bid means the death of Hollywood as some claim, but it certainly would shift the pieces, the game board, and the power structure as what began as a tech company could end up controlling much of what we see on our smaller silver screens.

Big money is at stake obviously. But when big egos get involved the costs for everyone increase. Including those flipping through content consumption choices with their remotes.

Stay tuned. I’m guessing that Hulu series will be quite a watch when all is said and done.

You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Death By Lightning: A Mini-Review for a Mini-Success

Music, fighting, sausages

Candace Millard’s excellent non-fiction book Destiny of the Republic: A Tale of Madness, Medicine and the Murder of the President is often overlooked, though it was well received well when it debuted in 2011. I’m hoping that the new Netflix adaptation titled Death By Lightning will give Millard, her book, and the period of American history it chronicles more well deserved and appropriate notoriety.

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Yes, this is one of those many cases where the original source material far outshines the film/TV version. That said, Death By Lightning is worth a watch, if nothing else for an entertaining opportunity to dip your toes into the historical waters that are still affecting much of what we’re wading through today in an age when those in control are so eager to pour cold water on the pieces of history they don’t like.

More to the point, Death By Lightning touches on a piece of history from a tumultuous time that seems largely forgotten, that we perhaps might have learned better from, even before we got into this current mess. A poignant, late scene sets this up wonderfully.

Created by Mike Makowsy and directed by Matt Ross, Death By Lightning is a limited Netflix series, that chronicles the unlikely rise of James Garfield to the presidency and his assassination by Charles Guiteau. (If you think anything in this brief review is a spoiler it proves my earlier point.)

There are four episodes and in the end that’s part of what weakens the series as it doesn’t allow much time for much of the depth of Millard’s book. Towards the end it feels like it’s rushing to a conclusion, leaving me wondering how much got left on the cutting room floor or chucked away in the C-suite.

An excellent cast largely rises to the occasion featuring Michael Shannon as Garfield and Matthew MacFadyen as an over the top Guiteau. That said, Guiteau was apparently quite over the top in real life according to many accounts, so much so that there are so many accounts. They are well supported by Betty Gilpin, Shea Whigham, Bradley Whitford, and especially Nick Offerman in a scenery and sausage chewing turn as Chester Arthur, who succeeded Garfield.

One of the wonders of Millard’s book is that it featured an intersection of so much of American life at the time following the Civil War, from politics to science and medicine. The battle between the politics of the spoils system and a desire for a less corrupt civil service system is well chronicled in both the book and the series and adds interesting context to our current tariff tangles that I’m guessing most will find surprising.

If you’re frustrated by recent happenings in our current day Congress and politics both the book and the series will add some historical (and often entertaining) context to the mess we’re in.

Less featured in the series are the conflicts in medicine with many American physicians of the day rejecting what had become largely accepted in Europe as a new approach to germs and sanitary surgical practices. Not really a spoiler, Garfield was shot, but it wasn’t the bullet that killed him. He died from sepsis caused by infection due to unsanitary practices in the aftermath. If you’re detecting hints of the medical madness we’ve been living through since the pandemic, you’re not wrong.

Alexander Graham Bell also makes an appearance with a new invention that could possibly detect the bullet lodged in Garfield’s gut, but the fuller story about his scientific advances and entrepreneurship, which runs on an almost parallel path to Garfield and Guiteau’s in the book, is mostly left as a footnote in the Netflix series.

Again, it’s by no means a perfect piece of streaming entertainment. I highly recommend the book on which it is based and I would mildly rate it better than most of the mundanity that fill our screens instead of the lists we curate. The cast and the exposure to a forgotten moment in American history that I’m certain many have no clue about makes it a good candidate for your watch list.

Besides just getting a chance to see Nick Offerman toss out the line, “Music, fighting, and sausages” is worth the time spent.

The Cowards and Greedy Captains of Industry

If you can’t take a joke…

Once upon a time things like free speech, freedom of expression, freedom of the press were considered hallmarks of what America stood for. That feels more and more like a fairy tale. The folks in control of the government keep ripping their claws into social and political fabric and turning America into some weird fascist and cultish state that worships a convicted felon and child rapist.

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The latest outrageous move of the Trump administration is threatening ABC to take late night comedy host Jimmy Kimmel off of the air “indefinitely.” It’s a political move and a business move. It’s also a mob move.

Disney, the pseudo-family corporate parent of ABC, Disney made the move after one of the ABC affiliates, Nexstar Media said it was so offended by Kimmel’s comments about the recent shooting of Charlie Kirk that it would pre-empt the show on its stations.

Here’s the fun part. Nexstar is trying to expand its stable of channels and that requires FCC approval. You don’t need a crayon to draw your own conclusions because the thugs in charge are so transparent with their thuggery.

Day by day we’re watching what used to be called the Captains of Industry, academia, and the media drive their boats into what they presume is the safe harbor under Trump’s protection. That harbor is getting so crowded that no one is going to be able to sail out again. Forget the ship of state, the ships of commerce are running themselves aground. This will continue because once ground is given, the bully keeps taking. It’s a tale told too well.

This feels like a yet another power move and of course it requires power to pull off. But it’s actually the move of cowards who realize they are despised and have skin so thin that they can’t take a punch line from a so-so comic. It also requires what we once thought of strong business leaders to show their true colors as cowards. Captains of Cowardice fits more today than the former sobriquet of Captains of Industry.

Another president in another time, Lyndon Johnson, once said about the comedic and satiric criticism tossed at him by the Smothers Brothers.

“It is part of the price of leadership of this great and free nation to be the target of clever satirists. You have given the gift of laughter to our people. May we never grow so somber or self-important that we fail to appreciate the humor in our lives.”

Don’t get me wrong. LBJ was pissed. But he was man enough to rise above it, at least publicly. Those were tumultuous times then as well. These times are becoming not only tumultuous, but tortuous because of the daily drip of news like this.

Apple TV+ Price Increase and the Dummy Price

Death, taxes, and subscription price increases

Times have changed how money changes hands. Back in the day purchasing a subscription meant you got a deal. It also created a relationship between the customer and the service, that often, but not always, protected subscribers from price increases. At least for a time. That really no longer exists. Sure there are deals and free trials to seduce new customers, but typically those deals are for a period of time and then the price goes up. It’s changed the definition of what we used to call “the dummy price.”

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“The dummy price” was for those who didn’t subscribe, thus paying full price. We used to joke in the theatre biz that “the dummy price” was for the guy who’s wife told him she wanted to see a show, and then he’d have his secretary use his credit card to buy the tickets when he got to the office.

When we had to raise prices we’d do so on single tickets and reward our subscribers by telling them we’d keep their current prices intact, thus increasing their savings and further building trust in relationship. That made it a bit easier sell when we inevitably had to raise subscription prices.

It was similar to buying the newspaper each day, instead of subscribing. A subscription was always cheaper than the newsstand price.

The only thing I think I subscribe to these days that actually offers any type of real savings is an E-ZPass, which in my state cuts the cost you pay at the toll booth by 50%.

Of course those are different markets than streaming entertainment, which didn’t exist when I was setting “dummy prices.” Subscriptions for streaming entertainment only gets you access. Certainly a lot of content is available for the price you pay, but realistically it’s more than anyone could ever consume. But the promise is access. The quantity makes much of the content as disposable as it is available, even if it is cheaper than back in the day when you had to purchase physical or digital media in order to view it at home.

The only thing you’re really buying is the inevitable price increase and a bit more frustration in balancing out your entertainment budget.

The new definition of “the dummy price” is hoping there are enough customers who don’t pay attention and miss the price increase.

Apple announced today it’s increasing its monthly subscription price for its streaming entertainment service, Apple TV+ from $9.99 to $12.99 a month. Other streaming services do the same thing, more frequently than Apple. But every player in the market affects the perception of all the rest.

It’s led to a sort of comedic game for consumers who want to stream from different services. They cancel a service for a period of time, often waiting for new content to become abundantly available or a particularly desired title, and then they’ll resubscribe after canceling another service. Or they’ll just keep creating new email accounts, resubscribing under a new name.

Currently the streaming companies seem to be comfortable enough with this type of customer churn, but it builds more attraction to titles than it does to a service’s brand, which in turn drives up the marketing costs for each new title. I imagine at some point streaming companies will find a way to clamp down and try to minimize that churn, the same way they have done with password sharing.

But the subscription game is not just an entertainment industry business practice. There are quite a few services that want your monthly tithe and offer the same kind of price inducements. But it’s certainly easier to cancel Netflix for a period of time than it is some of these other types of services once the inevitable price increase comes along. It will be interesting to see how the AI market shakes out once the first big company needs to break the $20 a month barrier for general consumers.

Bottom line it’s a shell game for both customers and companies. Death and taxes used to be the only constants in that old axiom about the only things certain in life. That needs to be amended to include price increases for subscription services.

You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Bending Over Backwards To Bend The Knee

These suck-ups suck.

The idiomatic phrase, “bending the knee” is defined something like this:

“To swear fealty or allegiance to another person. To submit to or show reverence toward a divine power. To show undue deference, obedience, or support for someone or something.”

Focus for a moment on the word “undue” above. It’s the key.

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“Undue” is defined as not appropriate, warranted, or justified; excessive or overextended.

There’s no point really in being duly or unduly outraged any longer by cowardly corporate titans, academic institutions, legal firms, media mavens, and politicians bending the knee to the child rapist and convicted felon Donald Trump. Capitulation and public humiliation has become the name of the game for those who’ve lost any sense of honor and dignity. It appears now that the game has moved into a different quarter, to see who can be the most unduly outrageous in bootlicking and ass kissing.

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When CEOs like Apple’s Tim Cook start bearing ostentatious gifts featuring his company’s treasured and expensively protected branding on a glass plaque, mounted on gold, you have to wonder just how little self-respect these once corporate giants have for themselves, much less their companies.

Sure, they will say it is to protect the business, market share, and their stock holders. That’s largely true. When threatened with a corporate beheading, I’m sure most would prefer keeping their corporate head on their corporate shoulders, shrinking and cowering that they may be. I guess in the circles they travel in, it’s cooler to be a part of the cruel and vulgar crowd that’s grabbed them by the short hairs and made them squeal like so many pigs in a pen, than it is to stand for what’s right.

I’ve given up being shocked, disappointed, and pissed off when things like this happen. It’s become so routine. I look forward to the day when I may run into some of these cowards by chance and laughing in their face, after I spit in it. They may deserver their bonuses after keeping the profits rolling in, but they more than deserve public derision.

I’ve had to swallow some shit in my lifetime catering to donors in the not-for-profit arts game. I get the impulse, and I get the desperation. I’m proud to say I’ve turned away some donations. I’m also ashamed to say I had to accept a few with conditions I didn’t like. So, I get it. I will say that as personally demeaning as the latter instances were, they never jeopardized the image of the company I was working for. I’ll carry my indignity and the tasted of that shit from those instances to my grave.

If this chapter in the decline of humanity ever turns around the only thing certain is that the the shame these corporate, academic, legal, media, and political dwarves have earned will forever stain them and the brands they represent. They will be duly branded.

You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Are You Laughing or Crying?

Comedy kills or killing comedy?

Just a quick link to this piece from Alexandra Petri that had me laughing called Are You Laughing Yet? She also had me angry, but then that’s my state of things these days. I laughed because the writing and commentary is excellent. I got angry, because, well if you’re not angry at what’s going on these days, you’re either dead, or… well, I’ll just leave it at that.

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Petri has a blisteringly funny take that begins with Trump’s takedown shakedown of Stephen Colbert via his pressure on Paramount. But it quickly spins into a larger take that’s well worth your while, especially if you enjoy comedy.

Well worth your time. Scroll back up and click the link.

(Image from Miguel Alcântara on Unsplash.)

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Andor, Or We Are The Heroes We Need

Echoing Tina Turner

The ever expanding universe of the Star Wars franchise is one that often leaves me colder than I imagine I’d feel if I were floating alone in space. That’s the same with most of these run the IP into the ground franchises. When something comes out of those factories that’s actually decent, it’s a surprise. One of the surprising beacons of warmth has been the Andor series, which is currently streaming in its second season. I’m also a fan of the movie Rogue One for which Andor is a prequel.

Yes, the story is about the rebel rebellion against the Empire, but there’s something different about Andor. Recently I read a piece from Derek Pharr on Nerdist, Hope Without The Force: How Andor Rewrites Rebellion. It helped me put my finger on why the show feels different and surprisingly current beyond the scope of small screen entertainment.

Here’s a quote:

Andor makes the quiet argument that the Jedi weren’t just irrelevant to the uprising against the Empire. They were liabilities and detached from everyday suffering. The Jedi were fixated with balance and prophecy, and wildly ineffective at stopping fascism when it counted. The Jedi Order had their shot. They blew it. Meanwhile, on Ferrix and Narkina 5, regular people are building the rebellion through sweat, sacrifice, and solidarity. Not the Force.

Whether you are a fan of the series or not, I encourage you to read the entire piece. Pharr’s thesis is indeed a good one about the series. But for me it spins off into many of the challenging moments we face today in the wake of our own evolving evil empire. One that’s certainly not intelligently designed, much less preordained.

Bottom line, it’s going to come down to those of us on the ground.

I think we need to eternalize and begin acting on that instead of waiting around and looking for heroes among congress critters, political parties, media mouthpieces, TV lawyers and those at the bar, or even judges to come to the rescue. We know what’s ahead is going to continue to get uglier. We’re probably going to have to meet ugly with a little ugly ourselves. Cue Tina Turner’s We Don’t Need Another Hero.

As Pharr puts it,

The Jedi were legends. The rebellion was real.

No elegant solutions from a more civilized age. Just people. Flawed, desperate, courageous people, who decide enough is enough.

He also argues that noble as they were, the Jedi were spectacularly bad at saving things in their attempts to reclaim balance. I don’t know about you, but that sounds frighteningly familiar.

Read Pharr’s piece if and when you watch Andor. If you don’t watch the show, read the piece anyway.

Pie in the sky? Perhaps. But I’ll take a serving and ask for seconds.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

iHostage Review: Not A Good Trip To The Apple Store

Apple Store takes center stage in this hostage drama.

I’m guessing iHostage is a flick you’ll never see on Apple TV+ even though it features the Amsterdam Apple Store as a prominent character in the story. iHostage, directed by Bobby Boerman is currently streaming on Netflix and is based on an actual hostage situation that took place at the Apple Store in Leidseplein in 2022.

As far as hostage films go it isn’t bad nor is it great. These things typically only end one way, and of course if you have any familiarity (I did not) with the actual events you already know how things turn out in this case. But as to the entertainment value there’s good fun to be had as the director and his cameras look for every conceivable angle to shoot within and without the Apple Store. AirPods play an important role early on. Also interesting is watching some of the hostages use an Apple Watch to check whether or not another was having a heart attack. (For the record, an Apple Watch can’t detect underlying causes of a heart attack, but it can detect irregular rhythms.)

The acting, visuals, and direction are generally good, keeping the tension going as we cut back and forth between the hostage taker and his primary hostage, and those on the police side trying to bring about an end to the event. But again, these stories have a formula about them that to some extent just requires a plug-and-play approach with all the necessary elements of filmmaking. I’d say everyone pulls their job off well with the sort of cleanliness you’d expect in an Apple Store. In the end it’s all a bit too clean.

You can read about the true story behind the movie here and watch the trailer below. I’d say it’s a fun watch if this kind of story is your kind of thing, or you just want to tour an Apple Store in Amsterdam.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Adolescence: A Review

A tough watch. A must see.

Adolescence. See it.

I’d like that to be all that I write about this sensational limited streaming series on Netflix, but there’s more I want to say.

You’ve probably heard of Adolescence. It’s become a well deserved hot topic of conversation because it’s an excellently done piece of storytelling that cuts through what seems like an impenetrable zeitgeist like a hot knife through melted butter. I’m glad to see that the hype tour surrounding its recent release ramp up after the series took off because something this good needs to be ballyhooed, bravoed, and brandished with flying banners.

For me, the bottom line, beyond just saying “see it” is that the producers and artists involved captured something we all know in our gut and make us face it. Captured it in a challenging way that they didn’t need to, but by accepting that challenge opened up those gut instincts with a rawness that touches nerves we may have all let somehow deaden. The painful intimacy of one family’s story opens up a chasm full of realizations that speak far beyond the specific issues so well portrayed.

In brief, a young boy is accused of stabbing a young girl and through the investigation we delve into a world of young boys and men influenced by Incel culture and bullying. A world not understood in this instance by the young boy’s family, or any one of the parents’ generation that we meet in the story. Watching the investigating detective’s son educate his father is a remarkable scene.

We follow the story through the boy’s arrest, booking and indictment, examination with a therapist, and the devastating conclusion as the family deals with the aftermath. Every moment is powerful. His arrest in the first episode is only the beginning of story that digs into every emotion there is when confronted with horrible moments that one would hope no family would ever have to endure. I can’t imagine any parent of young children, especially boys, watching this without wanting to take the doors off of their child’s bedroom doors and disconnect them from the Internet. It is tough to watch and it’s impossible to look away.

Toxic masculinity, patriarchy, bullying, isolation, fear, self-loathing, and the perils of social media become bigger monsters by the moment than any knife wielding attacker.

Director Philip Barantini, known for filming his stories in one take, uses that device to exquisite effect. He didn’t need to, but he and his team did and the payoff is exquisite. Each episode unfolds like a one-act play, filmed in one amazing traveling take. In later interviews it’s been revealed that they only did two full takes after a weekend’s rehearsal for each of the four episodes. The one take keeps you riveted as it ratchets up the tension, never letting you catch a visual breather from the story. How they filmed the second episode which takes place in and around a school is almost beyond imagining.

The cast is superb, especially 13-year old Owen Cooper as the young boy. In his acting debut he delivers a performance that is so outstanding that it takes your breath away. He’s not only a natural, his performance borders on the supernatural. Stephen Graham, who also co-authored the story with Jack Thorne, plays the boy’s father and strikes true in every millisecond he is on the screen. Well known for playing in-your-face tough guys, Graham’s journey through this story is like watching a rock face that has been the feature of a cliff, let go and crash into a million pieces. The rest of the cast is equally up to the task of matching these amazing performances.

The back story is that Graham, hearing about crimes featuring young boys stabbing young girls, felt that questions needed to be asked, the obvious one being “why is this happening?’ As is the case with all good drama and story telling Adolescence raises as many questions as it answers others. Certainly I imagine parents who see this, and they all should, will be asking the same questions the mother and father in the series do themselves.

On a larger scale, as we daily face an adult and supposedly mature world that seems stuck in adolescent, if not prepubescent misbehavior, celebrating toxic masculinity, bullying, and the perils of social media, this amazingly told story might at least give us a glimpse into how we looked away too often, when we knew we shouldn’t, ignoring so much at the cost of even more.

You can’t look away from this.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

September 5 Is More Than Worth A Watch

A fresh look at a moment that changed the world.

The events of the 1972 Munich Olympics hostage crisis changed the world in so many ways, ushering in the age of terrorism foremost among them. But behind the scenes of the terror and the politics were the sports television broadcasters who found themselves in the middle of an unexpected crisis and they were totally unprepared for. The movie September 5 tells that side of the story and tells it well.

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Two things stand out beyond the excellent acting and well crafted script that make the film worth a watch. Director Tim Fehlbaum does a great job of capturing the chaos and the tension in the ABC control room and its environs as his cast hustles and bustles from moment to moment and emotion to emotion. Fehlbaum also skillfully weaves historical ABC footage of the coverage into the action he’s filming in his current day mise-en-scene. That choice alone was an excellent one and sets the filmmaking apart.

The film is also a terrific nostalgic view on what seems like the now ancient technology that television broadcasts used in that era. Watching how logos and titles are created to superimpose over images is quite a treat.

Certainly audiences of my generation will be familiar with how big a moment this was, but I’m sure there are younger generations experiencing the story for the first time. They couldn’t have a better primer than this film.

The end of the tragedy is well known, but the telling of it in this newsroom procedural gives it an entirely new life as we see producers and directors making choices in the moment, realizing how their actions are breaking new ground, potentially fraught with peril, and how their audiences will witness the event they are covering and what it means going forward.

September 5 is currently streaming on Paramount+ and available via video on demand from most services.

You can watch the trailer below.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.