www-avclub-com-euevsb.txt (23469B)
1 [1]Skip to the content 2 3 • [2]Paste | 4 • [3]A.V. Club | 5 • [4]Jezebel | 6 • [5]Splinter 7 8 [6] 9 10 × 11 [8][ ] [9] 12 • [10]Latest 13 • [11]News 14 • [12]Film 15 • [13]TV 16 • [14]Music 17 • [15]Games 18 • [16]AV Undercover 19 • [17]Books 20 • [18]Aux 21 • 22 • [19]Newsletter 23 • [20]Instagram 24 • [21]Twitter 25 • [22]YouTube 26 • [23]Facebook 27 28 [24] xmlns="http://www.w3.org/2000/svg"> 29 Pop culture obsessives writing for the pop culture obsessed. 30 [25] [26]Latest [27]News [28]TV [29]Film [30]Music [31]Games [32]AV Undercover 31 [33] [34] [35] [36] [37] 32 33 DVD is dead. Long live DVD. 34 35 Tech’s takeover of show business has turned everything into streaming. The only 36 recourse is to focus on the physical. 37 38 By [39]Matt Schimkowitz | December 26, 2024 | 10:00am 39 Photo: Apple 40 [40]Film [41]Features [42]Blu-ray 41 [svg] 42 43 × 44 • [44]Copy Link 45 • [45]Facebook 46 • [46]X 47 • [47]Reddit 48 • [48]Email 49 50 [49] 51 ! 52 DVD is dead. Long live DVD. 53 54 “This is a business where the buyer gets nothing for his money but a memory,” 55 MGM founder Louis B. Mayer (Arliss Howard) says in [50]Mank. “What he bought 56 still belongs to the man who sold it. That’s the real magic of the movies, and 57 don’t let anybody tell you different.” 58 59 Appropriately, Mank exists as a memory on Netflix. So too does David Fincher’s 60 follow-up, [51]The Killer, and thousands of other movies and TV shows exclusive 61 to the world’s largest streamer. Only a handful of Netflix originals find 62 domestic releases on home video, and Fincher’s work is not among them. It 63 belongs to the men who sold it to you, Ted Sarandos and Greg Peters. 64 65 [52] Most Popular 66 67 • [53] Paramount reportedly doesn't see MTV or Comedy Central as priorities 68 going forward 69 • [54] Martin Short spends his Five-Timers Club celebration rehearsing for 70 Saturday Night Live's 50th 71 • [55] The best TV performances of 2024 72 73 This is the landscape in which the sad state of home video continued 74 deteriorating in 2024. Best Buy [56]ceased carrying DVDs this year. Target [57] 75 followed suit. Redbox rented its final Liam Neeson movie [58]and shuttered its 76 kiosks in July. Finally, LG[59] announced just last week that it would 77 discontinue all its UHD Blu-ray and Blu-ray players, joining Samsung and Sony 78 in ditching the optical drive. 79 80 Over a decade into the streaming revolution, tech companies have retrained 81 viewers on where to find and expect entertainment. They also taught them not to 82 expect permanence. Everything is streaming now, and we don’t mean “everything 83 is on streaming.” If that were the case, people [60]could have watched the 2002 84 movie 28 Days Later digitally before…[61]last week. Instead, everything acts 85 like streaming: fleeting and unpredictable. Thanks to [62]last year’s shutdowns 86 , [63]fewer movies were released in 2024 than in 2023. Still, despite theaters 87 so desperate for movies that they’ll offer an auditorium to an animated Lord Of 88 The Rings prequel, [64]theatrical windows kept shrinking, too. That’s if the 89 film sees release at all. Following outcries over Warner Bros. Discovery’s 90 decision to trade [65]Batgirl and [66]Scoob! Holiday Haunt for a tax write-off, 91 some hoped Coyote Vs. Acme [67]might find a home at a different studio. 92 Sacrilegious as it might be for a Looney Tune to appear under a different 93 shield, that hope was about as effective as an umbrella against an anvil. 94 Warner Bros. Discovery CEO David Zaslav [68]scrapped the finished movie without 95 even watching it. 96 97 [69]Related Content 98 99 • [70]The best Amazon Prime Early Access Sale deals on Blu-rays: Game Of 100 Thrones, James Bond, Star Trek, Harry Potter, and more 101 • [71]The best Prime Day deals on Blu-rays and DVDs: Indiana Jones, Twin 102 Peaks, I Love Lucy, and more 103 104 It wasn’t just Warner Bros. In 2023, Disney began cutting back on its library 105 offerings, locking dozens of titles, including brand-new ones from legacy 106 properties, in the vault. Show creator Jon Kasdan might be “[72]kinda into” 107 Disney scrubbing his Willow series from Disney+, but star Warwick Davis 108 continues to be [73]less enthused. “It’s a travesty that @DisneyPlus value 109 shareholders over subscribers in their creative decision-making,” Davis [74] 110 posted on December 11. “I only ever saw each episode once!” 111 112 Streaming shows aren’t the only thing disappearing. Theatrical windows have 113 finally adopted the Steven Soderbergh dream model. Speaking to [75]The Atlantic 114 in 2018 to support his Netflix movie [76]High Flying Bird, Soderbergh laid out 115 a distribution model that resembles our current one, arguing that “the minute” 116 he knew Logan Lucky or Unsane were flopping, “the studio should let me drop the 117 movie on a platform the next week. There should be a mechanism for when 118 something dies at the box office like that.” Five years later, Soderbergh’s 119 wish was Zaslav’s command. Two of the year’s most expensive underperformers, 120 Furiosa: A Mad Max Saga and Joker: Folie À Deux, found their theatrical windows 121 slammed shut. Less than two weeks after the films failed to meet opening 122 weekend expectations, both were in half as many theaters and all but gone by 123 the end of the month. Forget about allowing movies to find their audiences 124 (which both Furiosa and Joker have now begun to do); even sleepers-by-design 125 can’t catch a break. Juror #2, the latest (and perhaps last) from Clint 126 Eastwood, a director who has made over a billion dollars for WB, got a [77] 127 shrugged-off release for awards contention and an unceremonious dumping on 128 Max. 129 130 Again, it’s not just Warner Bros. Discovery. Several filmmakers spoke out 131 against tech-run studios reversing course on theatrical releases this year. In 132 January, amid his spat with Amazon over Road House, Doug Liman [78]published an 133 op-ed accusing Amazon-owned MGM of having “no interest in supporting cinemas” 134 and using his movie “to sell plumbing fixtures.” He continued: 135 136 Amazon will sell more toasters if it has more subscribers; it will have 137 more subscribers if it doesn’t have to compete with movie theaters […] But 138 a computer doesn’t know what it is like to share the experience of laughing 139 and cheering and crying with a packed audience in a dark theater – and if 140 Amazon has its way, future audiences won’t know either. 141 142 By the end of the year, Spider-Man: No Way Home director Jon Watts was in a 143 [79]similar situation. Watts made the George Clooney/Brad Pitt two-hander 144 Wolfs, assuming it would receive a theatrical release. Ironically, its 145 distributor Apple was a wolf in a fleece vest. “[Apple’s] last-minute shift 146 from a promised wide theatrical release to a streaming release was a total 147 surprise and made without any explanation or discussion,” Watts told [80] 148 Collider. “I wasn’t even told about it until less than a week before they 149 announced it to the world.” Watts later confirmed to [81]Deadline, “Apple 150 didn’t cancel the Wolfs sequel. I did, because I no longer trusted them as a 151 creative partner.” No wonder Apple’s big awards contender, Blitz, was mainly 152 left online. 153 154 The impermanence, both on streaming and in theaters, shows how much power 155 consumers have ceded to corporations and their shareholders. Just as people no 156 longer own music collections, opting to rent monthly from Spotify, they’ve done 157 the same with movies in a grander fashion. Recent studies [82]have shown that 158 Americans, on average, pay for 2.9 streaming services a month, costing them 159 about $46. Other studies show that 62% of Americans think there are too many 160 streaming options, each with its own unpredictable rotating library. 161 162 The promise of streaming was always impossible. How long could these 163 once-maverick start-ups, which vacuumed streaming rights up before the industry 164 knew how valuable they were, continue to offer the world’s history of recorded 165 art for a simple fee? However long we expected our liberation from cords and 166 ads, we’re at the end of it. Two years after Netflix cracked down on passwords 167 and launched its ad tier, Prime and Apple TV+ have followed suit. One doesn’t 168 become a $3 trillion company by giving The Instigators away for free, and 169 Apple’s theatrical missteps Argyle and Fly Me To The Moon didn’t help. Now, the 170 world’s largest TV manufacturer, TCL, which revolutionized [83]serving ads sans 171 content, is looking to [84]replace entertainment with AI slop. It also doesn’t 172 help that, 15 years into the streaming revolution, most subscribers still opt 173 to watch licensed material produced by traditional networks and studios. “The 174 new shows can come and go,” [85]said former NBC Studios president Tom Nunan. 175 But it’s Suits and The Office that keep people subscribing. 176 177 Outside of piracy, the only thing consumers can do is invest in permanence. To 178 wit, the right time to start collecting physical media is immediately. While 179 optical drives became an even more endangered species, there were some moments 180 of hope. Retailers that announced the end of DVDs struggled to keep Oppenheimer 181 4Ks on the shelf. People love to meme Christopher Nolan’s analog advocacy, but 182 he’s right. There is a risk that an “[86]evil streaming service can come to 183 steal” movies from personal devices. Just ask Indiana Jones. Recently, [87] 184 Disney lost the rights to stream the first four Indiana Jones movies. However, 185 fans can always watch The Dial Of Destiny, the only Jones film on Disney+. 186 187 Nolan [88]explained how a company like Disney losing a jewel of the $4 billion 188 Lucasfilm empire they bought more than a decade ago is business as usual: 189 190 The danger I’m talking about with a filmmaker’s film just sort of 191 disappearing from streaming one day and then maybe not coming back or not 192 coming back for a long period of time, that’s not an intentional 193 conspiracy. That’s just a way that with the particular licensing 194 agreements, the way things are evolving. 195 196 But while the doom and gloom of the industry could weigh heavy, physical media 197 has rarely felt more joyous. Fourteen years after Guillermo del Toro made his 198 first Closet picks for an impromptu Facebook video, Criterion made its storage 199 room between two bathrooms the company mascot. GQ [89]noted that the Criterion 200 Closet videos had a similar effect as Hot Ones, the rare opportunity to see 201 “actors and other film professionals outside the usual promotional context,” 202 becoming the “least cynical part on the press tour.” The joy of the videos is 203 seeing Willem Dafoe talk about Onibaba or Maya Hawke recommending 3 Women, 204 leading with a reverence for art rather than content. In a world where studios 205 seemingly resent having to make, let alone release, motion pictures, producers 206 of physical media have made their brands on love and curiosity for the medium. 207 It’s a stark contrast from how artists like Dafoe see streaming consumption. 208 209 “People go home, and they shop around on these streaming platforms,” the actor 210 [90]told Vulture. “There’s some good things about the platforms. They create a 211 lot of movies. They create a lot of jobs. But there’s so many distractions that 212 you can’t enter the stuff. People watch five minutes of something and they say, 213 ‘I’m not really into it’ and they go to another thing. ‘I’m not really into 214 it.’ Then another thing. ‘I’m not really into it.’ Then they go to bed. If you 215 don’t put in the effort, you’re not going to receive much. And the discourse 216 gets lowered, and everything gets a little more dumbed down and then that’s 217 when the ruffians come in, and they’re the ones with energy and stupidity and 218 then they can crush all the thoughtful people. That’s not good for culture, and 219 that’s not good for humanity. We see the results of that all the time.” 220 221 But those are the big guys. Independent DVD rental houses and repertory 222 theaters are also having a rebirth. And we’re not just talking about the [91] 223 successful re-releases of Interstellar and Coraline. As some theater chains in 224 North America [92]contemplated evolving into Dave & Busters, rep theaters [93] 225 saw a surge in popularity. Meanwhile, as everyone waxes nostalgic about going 226 to Blockbuster, indie video stores are giving cinephiles the real deal. Stores 227 like [94]Scarecrow Video in Seattle and [95]Vidiots in Los Angeles build 228 communities that unite film fans who want to see and appreciate movies. People 229 don’t travel from across the globe to stream Damsel, but they will [96]drive 230 350 miles to see Interstellar in IMAX. 231 232 In 2024, the future of streaming has never looked shakier. The products, 233 practically and creatively, are getting worse, and the waning enthusiasm from 234 companies like Apple represents a chance to break this cycle. Investing in 235 physical media at least partially separates oneself from a system failing its 236 consumers and ensures that the thing you want to watch is always available. A 237 Blu-ray won’t suddenly sprout advertisements or disappear from your collection. 238 It’s one of the reasons that buying DVDs has felt so empowering this year. 239 Physical discs continue spinning as the mainstream model cuts its nose to spite 240 its face. In a media landscape where the only sure thing is that there are no 241 sure things, our best bet is still to put a disc in a drive. 242 243 [97]More from A.V. Club 244 245 • [98]DVD is dead. Long live DVD. 246 • [99]Shrinking ends season two with an earned sweetness 247 • [100]Justin Baldoni is being sued by his own former PR now 248 249 250 Join the discussion... 251 252 253 GET A.V.CLUB RIGHT IN YOUR INBOX 254 255 Pop culture obsessives writing for the pop culture obsessed. 256 257 [101][ ] Sign Up 258 259 Leave this field empty if you're human: [103][ ] 260 [107]Paste Media 261 262 • [108] Despite Pacing Issues, Squid Game Is Still Ready To Play In Season 263 TwoDespite Pacing Issues, Squid Game Is Still Ready To Play In Season Two 264 [109]PASTEDespite Pacing Issues, Squid Game Is Still Ready To Play In 265 Season Two 266 • [110] We Suspended Our Disbelief to Watch 'Babygirl'—Then Spent 45 Minutes 267 Talking About ItWe Suspended Our Disbelief to Watch 'Babygirl'—Then Spent 268 45 Minutes Talking About It [111]JEZEBELWe Suspended Our Disbelief to Watch 269 'Babygirl'—Then Spent 45 Minutes Talking About It 270 • [112] Syria's DisplacedSyria's Displaced [113]SPLINTERSyria's Displaced 271 272 [114] News 273 274 • [115] Justin Baldoni is being sued by his own former PR nowJustin Baldoni 275 is being sued by his own former PR now [116]Justin Baldoni is being sued by 276 his own former PR now 277 • [117] R.I.P. 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