While the latter provided $64M to exhibitors, grosses clearly were crimped overall by the collapsing of windows. Uni’s theatrical-Peacock pay-tier lineup included Jennifer Lopez’s Marry Me, along with Firestarter, Honk for Jesus. Uni continued to practice theatrical day-and-date despite rival studios abandoning it. Is that financially prudent? Others are scaling back on that distribution strategy. What they need to do: NBCUniversal CEO Jeff Shell is one of the few entertainment conglom leaders who’s still betting on streaming while other studios see it as an ancillary market. ‘Halloween Ends’ (Everett Collection) Everett Collection More importantly, it brought Bob Iger back, restoring creative executives’ confidence and shattering the Bob Chapek-created Media and Entertainment Distribution Division structure, putting “more decision-making back in the hands of our creative teams and rationalizes costs,” as Iger put it. Hocus Pocus 2 and Disenchanted, leaving some cash on the table. (In all fairness, Disney did what it could on the latter absurdist period comedy, moving the film up in an empty fall calendar and grabbing Imax screens.) The studio also sent potential moneymaking franchise movies straight to Disney+, i.e. 20th Century Studios, outside of Avatar 2, remains a stepchild brand split between sending some franchise films such as the Predator prequel Prey to Hulu and yielding such co-production bombs as New Regency’s Amsterdam. Even if audiences were hard on Doctor Strange 2 and Thor: Love and Thunder (B+ CinemaScores), Disney counts four Marvel movies (including Black Panther: Wakanda Forever and their co-share with Sony on the carryover of last year’s Spider-Man: No Way Home) in the top 10. What they did: Disney continues to be envied around town, and still dominate because of Marvel.
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