Netflix finally learns the oldest rule in Hollywood: Hits matter

Netflix is dramatically upping its content spend in 2021—to $17 billion—signaling that it will be making more bets on big movies and TV shows as it fights to fend off competitors like Disney Plus and HBO Max. While the latter have built-in access to popular franchises like Star Wars and Wonder Woman due to their Hollywood studio parents, Netflix has had to buy its way into the franchise business. It recently made a deal with Sony to become the streaming home to Marvel films such as Spider-Man and Venom , and it paid $465 million for the two sequels to Knives Out , the whodunit thriller starring Daniel Craig. As co-CEO Ted Sarandos said on an earnings call on Tuesday, “big event content” is crucial to the company’s strategy going forward. Indeed, these big bets on known film entities (up until now, Netflix had mainly splurged on TV showrunners such as Shonda Rhimes, whose first big project, Bridgerton , was one of the few bright spots for the company so far in 2021) are likely to continue as the streamer wades into ever-more competitive territory and tries to maintain the momentum it enjoyed in 2020 as COVID-19 kept people strapped to their couches. On the earnings call, Netflix announced that its subscriber growth was slowing this year: In the first quarter, it added nearly 4 million subscribers, short of the 6 million it had projected. The news sent the company’s stock falling in after-hours trading, down 11%. Read More …

‘Black Panther 2’ is supposed to film in Georgia. Why are Disney and Marvel so quiet?

Earlier this week, two prominent Black filmmakers took a stand against Georgia’s new, restrictive voting laws by pulling their upcoming project out of the state. Emancipation , a slave drama starring Will Smith and directed by Antoine Fuqua for Apple TV, will no longer be shooting in the Peach State. “At this moment in time, the Nation is coming to terms with its history and is attempting to eliminate vestiges of institutional racism to achieve true racial justice,” Fuqua and Smith said in a joint statement . “We cannot in good conscience provide economic support to a government that enacts regressive voting laws that are designed to restrict voter access.” The laws , signed by Republican governor Brian Kemp in the wake of Georgia’s Democratic victories in the presidential and Senate elections, disproportionately restrict voting access for Black and poor voters through things such as limiting the number of ballot drop boxes and narrowing the window to request an absentee ballot. The backlash from Democrats has been fast and furious. President Biden called the new laws   “un-American” and “sick,” equating them to “Jim Crow in the 21st century.” Fuqua and Smith aren’t the only ones in Hollywood who have taken a stand against the laws, but they are an overwhelming minority. With the exception of a few other voices, including Ford vs. Ferrari director James Mangold and actor Mark Hamill, who have vowed not to film in Georgia—one of the biggest production hubs in the country due to generous tax incentives and an abundance of sound stages—for the most part Hollywood has remained mum on the subject. A few conglomerates, such as Comcast (owner of NBCUniversal), AT&T (owner of WarnerMedia), and Viacom have expressed their unhappiness over the legislation but have stopped short of saying they would not film in the state. AT&T said that it was working with members of the Atlanta and Georgia chambers of commerce to support “policies that promote accessible and secure voting while also upholding election integrity and transparency.” (In Atlanta, local business behemoths Coca-Cola and Delta were faster to take strong stands against the laws, though under public pressure and with predictable backlash.) Other broad-ish efforts have included an open letter published in the New York Times and Washington Post on Wednesday that called out efforts to restrict voting access but did not name Georgia specifically. The letter was signed by companies including Amazon, Netflix and Apple, and individuals such as J.J. Abrams, Shonda Rhimes and Samuel L. Jackson. But several weeks into the controversy, neither Disney nor its Marvel division, which are reportedly ramping up to start shooting one of the most high-profile projects of the year in Georgia in July, have made a public statement—and that silence is increasingly deafening. That project would be Black Panther 2 , the follow-up to the 2018 blockbuster. Buzz about the film’s shoot increased with the news of Emancipation ‘s relocation on Monday. Here is yet another high-profile Hollywood production steeped in racial justice themes and with a virtually all-Black cast, and one with significantly more global awareness. If any single project could serve as a platform for Hollywood’s condemnation about what’s going on in Georgia, it’s the Marvel tentpole Read More …

You can talk to this new digital re-creation of Albert Einstein

A maker of “digital humans” for customer service and chat applications has developed a digital version of Albert Einstein that you can talk to, either by speaking or typing. The company, New Zealand- and Austin-based UneeQ, worked with Hebrew University to get the Nobel Prize-winning physicist’s look, voice, and mannerisms right, Daryl Reva, its senior VP of marketing, told me. Wolfram Research, the creator of the WolframAlpha “computational intelligence” tool, contributed the natural language engine and knowledge base that acts as the digital human’s brain, Reva says. If you’d like to ask Albert some questions, click here . Since the Einstein character wasn’t designed for open-ended chats (UneeQ has another digital human called Sophie for that), he won’t answer just any question, but seems to respond best to questions on a finite set of subjects. You can ask digital Einstein questions about the theory of relativity and about his early life, for example. I asked him how he does his hair, and he was ready for me Read More …

Netflix’s big bet on global content could change how we see the world

As a kid growing up in Italy, I remember watching the American TV series Happy Days , which chronicled the 1950s-era Midwestern adventures of the Fonz, Richie Cunningham, and other local teenagers. Happy Days was a product of Hollywood, which is arguably still the epicenter of the global entertainment industry. So recent news that the streaming service Netflix is opening an Italian office and will begin massively funding original local content with the intent of distributing it globally on its platform —following a strategy already launched in other European countries—struck me. The show, combined with other American entertainment widely available in Italy in the 1970s and 1980s, shaped my perception of the United States long before I ever set foot in the country. Today, I call the U.S. home, and I have developed my own understanding of its complexities Read More …

How U.S. schools proved Jonas Salk’s polio vaccine was safe

When the U.S. Food and Drug Administration authorized the use of Pfizer and Moderna’s COVID-19 vaccines last December—a year after the coronavirus was first identified in Wuhan, China—it was a dramatic piece of good news after one of the most disruptive years the country has ever experienced. Now consider the thrill people felt in April 1955 when Dr. Jonas Salk’s new polio vaccine was officially declared to be “safe, effective, and potent.” That came more than 60 years after the first known polio outbreak in the U.S., which took place in rural Rutland County, Vermont in 1894. It killed 18—mostly children below the age of 12–and left 123 permanently paralyzed. From there, polio became an enduring, mysterious scourge. In 1916, it hit New York City, killing 2,343 out of a total of 6,000 nationwide that year. In the 1940s and early 1950s, the number of incidents in the U.S. grew eightfold, reaching 37 per 100,000 population by 1952. The fact that children were most susceptible to the disease made it only more terrifying. The Salk vaccine was approved only after going through the largest clinical trial in history. Rather than being a government project, this test was overseen and paid for by a nonprofit organization founded by President Franklin D. Roosevelt in 1938: The National Foundation for Infantile Paralysis, better known as the March of Dimes. (Roosevelt himself had contracted polio at the unusually advanced age of 39.) More than 1.3 million children participated; some got either the vaccine, which required three shots over a five-week period, or a placebo, while others underwent observation for polio. The only logical way to reach so many children was through schools. The result was an unprecedented national effort built atop public-education infrastructure Read More …