Displaying items by tag: Netflix

LA County COVID-19 Outbreaks Reported At Netflix, CBS, NBC And More

11 January, 2021

Here is a list of entertainment industry COVID-19 outbreaks currently being tracked by the Los Angeles County Health Department. Their list includes any location where three or more cases have been reported within the past 14 days:

CBS Studio Center Bungalow 3, Lyons Gate Production
4024 Radford Ave, 3, Studio City, CA, 91604
Total confirmed staff cases: 26

CBS Studio Center Stage 04
4024 Radford Ave, 3, Studio City, CA, 91604
Total confirmed staff cases: 11

CBS Studio Center Stage 14
4024 Radford Ave, 3, Studio City, CA, 91604
Total confirmed staff cases: 8

NBC Universal - Mr. Mayer Production (I am assuming they mean "Mr. Mayor")
100 Universal City Plz, Bldg 5225, Universal City, CA, 91608
Total confirmed staff cases: 12

NBC Universal Stage 1
3900 Lankershim Boulevard, Stag
e 1, Building 2230, Studio City, CA, 91604
Total confirmed staff cases: 7

Netflix Productions
18421 S Main St, Gardena, CA, 90248
Total confirmed staff cases: 9

Pluto TV
8684 Melrose Ave, West Hollywood, CA, 90069
Total confirmed staff cases: 10

Warner Bros Television - Lucifer
4000 Warner Blvd, Bldg 28/ Suite 1300, Burbank, CA, 91522
Total confirmed staff cases: 17

Warner Bros Television - Young Sheldon
4000 Warner Blvd, Building 191, Burbank, CA, 91522
Total confirmed staff cases: 11




LA County COVID-19 Outbreaks Reported At Netflix, CBS, NBC, Sets Of 'Lucifer,' 'Young Sheldon' And Others

30 December, 2020

Here is a list of entertainment industry COVID-19 outbreaks currently being tracked by the Los Angeles County Health Department. Their list includes any location where three or more cases have been reported within the past 14 days:

CBS Studio Center Bungalow 3, Lyons Gate Production
4024 Radford Ave, 3, Studio City, CA, 91604
Total confirmed staff cases: 26

CBS Studio Center Stage 04
4024 Radford Ave, 3, Studio City, CA, 91604
Total confirmed staff cases: 11

CBS Studio Center Stage 14
4024 Radford Ave, 3, Studio City, CA, 91604
Total confirmed staff cases: 8

NBC Universal - Mr. Mayer Production (I am assuming they mean "Mr. Mayor")
100 Universal City Plz, Bldg 5225, Universal City, CA, 91608
Total confirmed staff cases: 12

NBC Universal Stage 1
3900 Lankershim Boulevard, Stag
e 1, Building 2230, Studio City, CA, 91604
Total confirmed staff cases: 11

Netflix Productions
18421 S Main St, Gardena, CA, 90248
Total confirmed staff cases: 9

Pluto TV
8684 Melrose Ave, West Hollywood, CA, 90069
Total confirmed staff cases: 10

Warner Bros Television - Lucifer
4000 Warner Blvd, Bldg 28/ Suite 1300, Burbank, CA, 91522
Total confirmed staff cases: 13

Warner Bros Television - The Kominsky Method
4000 Warner Blvd, Burbank, CA, 91522
Total confirmed staff cases: 10

Warner Bros Television - Young Sheldon
4000 Warner Blvd, Building 191, Burbank, CA, 91522
Total confirmed staff cases: 12




Why Netflix Is A Lot Like Fortnite

17 November, 2020

There are a lot of people in the television industry who hate bingeing. Some of it is just a generational unease: watching eight episodes back-to-back isn't the way I grew up watching television! Most TV critics hate it because viewers getting an entire season at once compresses the amount of time they have to cover the series. And because they tend to think they have more influence on viewing habits than they do, they conflate fewer opportunities to write weekly episodic recaps with less buzz about a show.

A lot of Hollywood creatives dislike the practice as well. They have some of the same qualms as the critics do when it comes to compressed promotional timelines. There is a sense that dumping an entire season at one time makes it feel as if the season has come and gone within several weeks. And that not releasing an episode a week means the show doesn't have an opportunity to build an audience and drill its way into the cultural zeitgeist.

And any time a show does very well being released an episode a week, there are lots of snarky hot takes along the lines of "See, The Mandalorian did just great and it was released one episode at a time!" Which is a version of the same creative impulsive that led every music label in 1967 to tell the rock bands they had signed that "See, The Beatles did well with a concept album. Everyone should do one!"

While the best answer to the question "Is bingeing a good idea" is the very practical but not all that exciting response "It depends." But the question also opens up another related conversation about how bingeing television is at its core a marketing tool.

My 15-year-old son plays the Battle Royale game Fortnite. At its core, Fortnite isn't all that different that a lot of other games with similar concepts. But Fortnite has become a gaming juggernaut because of the way it uses change to create an overall experience greater than the game. Fortnite creator Epic Games has crafted a series of built-in changes into the game, ensuring that there is always something new to experience. The game is broken down into discreet "seasons," which are massive changes to the gameplay that happen about every 10-12 weeks. But inside each season are a seemingly endless number of new tasks, challenges, mini-games, characters, skins and weapons. When you play Fortnite, it feels as if there is something new every time you log on. The game uses change as a way to increase engagement.

And I'd argue that Netflix uses bingeing in the same way. Sure, given the amount of new content Netflix adds each week, drawing out every season with a once-a-week episode release would be a marketing and promotional nightmare. But more importantly for Netflix, the rapid cycling through of content has become a core feature of the service. While there are going to be some times when you sign onto Netflix for a specific show, most times you just sign on and see what's new. The bingeing release schedule ensures that there are always new options and plenty of good things to watch that you missed when they originally premiered. For Netflix - like Fortnite - change is the best marketing tool it has.

I'm Not Saying That This New Yorker Piece About Netflix & Ambient TV Is The Dumbest Thing You'll Read This Week. But...

17 November, 2020

There is a strain of media criticism that falls into the category of "this is my experience & I'm making a wide-ranging conclusion about this subject based on me." Now if you've spent any time at all at AllYourScreens, you know that I am all too familiar with that style of journalism. I inject myself into stories with an ease that I'm sure is indicative of some sort of untreated psychological problem. Still, I do try and remember that while it's okay to share my opinion, I am by no means an average media consumer or for that matter, a baseline for any sort of media consumption.

The problem with writing a piece around your own personal take is that you can simultaneously be making a good point while at the same time replowing ground others have tackled for a long time. And that is certainly with the case with "Emily In Paris And The Rise Of Ambient TV," a piece by Kyle Chayka that appears in the latest edition of The New Yorker.

The premise of the piece is that Netflix is focusing on creating television that is meant to be casually viewed and Chayka offers up this observation as if it was an idea that is new and unexpected:

In this and other recent programming, Netflix is pioneering a genre that I’ve come to think of as ambient television. It’s “as ignorable as it is interesting,” as the musician Brian Eno wrote, when he coined the term “ambient music” in the liner notes to his 1978 album “Ambient 1: Music for Airports,” a wash of slow melodic synth compositions. Ambient denotes something that you don’t have to pay attention to in order to enjoy but which is still seductive enough to be compelling if you choose to do so momentarily. Like gentle New Age soundscapes, “Emily in Paris” is soothing, slow, and relatively monotonous, the dramatic moments too predetermined to really be dramatic. Nothing bad ever happens to our heroine for long. The earlier era of prestige TV was predicated on shows with meta-narratives to be puzzled out, and which merited deep analyses read the day after watching. Here, there is nothing to figure out; as prestige passes its peak, we’re moving into the ambient era, which succumbs to, rather than competes with, your phone.

Not to be snarky, but "I've come to think of" is one of those phrases you use when you are relying on a hunch rather than data to build a premise. And while it may be true that Netflix leans into content that doesn't require a lot of intense attention, there are a couple of huge problems with this premise.

The first is that the idea of "ambient television" isn't a new idea. Television scholar Anna McCarthy wrote a book called Ambient Television about 15 years ago. TV has always been ambient. Oh, sometimes industry people called it "lay back television" or some other phrase. But it's an idea as old as the television industry. And to be fair, Chayka does reluctantly admit that television history is full of examples of "ambient television." He also doesn't mention the real home of ambient television, AVOD's such as Pluto TV.

But like a lot of journalists who write about media while also have mild contempt for the medium, Chayka then attempts to use ambient television as the jumping off point for everything from a criticism of TikTok to the theory that Netflix's content algorithm's are a form of white nationalism:

The ambience of ambient TV is often predicated on homogeneity; any diversity or discordance would disrupt the smooth, lulling surface. (“Emily in Paris” almost entirely stars white actors, too.) The lurking subtext of “Dream Home Makeover,” a kind of soft-white capitalist nationalism cloaked in throw pillows, brought to mind for me the architect Rem Koolhaas’s essay “The Generic City,” from 1995. In it, Koolhaas argues that globalization has caused a mass homogenization that leaves modern cities feeling like an airport, “a trance of almost unnoticeable aesthetic experiences.” He added that the “pervasive lack of urgency and insistence acts like a potent drug,” inducing “a hallucination of the normal.” In other words, the hypnotic quality of ambient content creates a false sense that whatever it presents is a neutral condition, a common denominator, though it is decidedly not.

Honestly, as much as I admire the writing in The New Yorker, it can sometimes be tone deaf and dismissive of anything that feels mainstream or pop culture. There is a good point buried at the heart of "Emily In Paris And The Rise Of Ambient TV." But it's buried beneath a grab bag of random ideas about media that ultimately reads like a bad media studies term paper.


Sales Of British Homes Named 'Hill House' Drop Following Netflix Series

29 October, 2020

New research by the Yorkshire Building Society claims the success of the Netflix series The Haunting Of Hill House has led to a decline in the property price for homes that are named "Hill House."

In the Netflix series, five siblings who grew up in the most famous haunted house in America are reunited by the suicide of their youngest sister, which "forces them to finally confront the ghosts of their own pasts… some which lurk in their minds... and some which may really be lurking in the shadows of the iconic Hill House."

According to the study, sales of properties that are named Hill House have seen a 37% drop in the two years since The Haunting of Hill House was on Netflix. The study compared the 528 property transactions for houses named Hill House in the two years prior to the series airing, with the 334 transactions that took place in the two years following.

Not surprisingly, while a property bearing the name "Hill House" or "Amityville Death Villa" might scare off some potential buyers, some realtors say that reluctance offers the opportunity for other less superstitious buyers to get a deal.

"It seems that house sales are possibly being affected by scary films," said Benjamin Merritt, Senior Manager of Mortgages at the Yorkshire Building Society. "Whilst this can be a horror story in itself for sellers, for those people not bothered by spooky house names, it could be the perfect opportunity to buy a home in an area which may previously have been out of reach.”

 

 

 

 

Longtime Netflix Exec Joins Deluxe As Chief Strategy Officer

23 October, 2020

Longtime Netflix executive Anna Lee is joining Deluxe Entertainment Services in the newly created position of chief strategy officer. She will oversee business opportunities for Los Angeles-based Deluxe, which offers a range of services to film and TV studios, digital content providers, advertising agencies, fulfillment, and home entertainment. Lee spent 12-years at Netflix where she headed global content services,

Deluxe was recently acquired by private equity firm Platinum Equity, which reportedly brought back previous CEO Cyril Drabinsky, who Lee reports to.

"Anna is an exceptional leader and her experience in digital cinema, supply-chain workflows, and the global OTT space will ensure that Deluxe can maximize opportunities given the dramatic shifts in the marketplace," Drabinsky said in a statement.