You might think that a new Netflix film called “Holidate” offers holiday-themed romance that’s perfect for a family watch party. You’d be wrong.
The film stars Emma Roberts and Luke Bracey as a pair of strangers who agree (in classic romantic comedy style) to keep each other company on holidays.
And while the movie can’t be completely pigeonholed as a raunchy comedy — it also includes a dash of metatextual commentary, with a healthy dose of undiluted romantic schmaltz — “Holidate” is certainly filled with sexually frank dialogue, and a couple of its biggest set pieces go all-in on …
“Hi, I’m Rivers from the band, Weezer,” Rivers Cuomo says with a slight smile and a wave. He turns away from the camera for a bit, before launching into his best infomercial pitch. “Imagine you’re on tour, and you’re sitting in your dressing room or your tour bus. You’re backstage. You have stage fright, you’re stressing out. You’re pacing back and forth. And then on top of that, your tour manager is constantly calling you, asking you logistical questions.”
As far as internet pitch videos go, it’s not the most universal. If anything, …
Netflix, which has invested more than $500 million to gain a foothold in India in recent years, is slowly finding out what all could upset some people in the world’s second-largest internet market: Apparently everything.
A police case has been filed this week against two top executives of the American streaming service in India after a leader of the governing party objected to some scenes in a TV series.
The show, “A Suitable Boy,” is an adaptation of the award-winning novel by Indian author Vikram Seth that follows the life of a young girl. It has a scene in which …
“The Crown,” Netflix’s lavish historical drama about the reign of Queen Elizabeth II, has returned for a fourth season that focuses on Elizabeth’s relationship with Prime Minister Margaret Thatcher, and on Prince Charles’ troubled marriage to Diana, Princess of Wales.
Anthony and (especially) Jordan remain fans of the show, and they found season four to be particularly compelling. Yes, the monarchy is a little ridiculous and “The Crown” does have a tendency to simplify real-world events, but its retelling of the Charles-Diana relationship is heartbreaking, and it also takes the time to show some of the damage wrought by Thatcher’s policies.
Darrell, on the other hand, remains a skeptic, with little patience for all the attention paid to the royal family. He was particularly exasperated by the show’s deviation from historical reality, and by performances (particularly Gillian Anderson as Thatcher) that felt more like cheesy, “Saturday Night Live”-style imitations.
Hulu is the first major streaming platform to offer a social watching experience. And with most major league sports now being allowed to resume behind closed doors, Hulu’s combined proposition with ESPN will likely help entertain the service’s 30+ million users over the winter months.
But users have a surplus in choice of streaming services right now, so how will Hulu stay competitive?
With the help of UX expert Peter Ramsey from Built for Mars, we’re going to give Hulu an Extra Crunch UX teardown, demonstrating five ways it could improve its overall user experience. These include easy product comparisons, consistent widths, proportionate progress bars and other suggestions.
Comparing features inside packages
If your product/service has different tiers/versions, ensure that the differences between these options are obvious and easy to compare.
The fail: Hulu has four different packages, but the listed features are inconsistent between options, making it incredibly difficult to compare. Instead of using bullet points, they’ve buried the benefits within paragraphs.
The fix: Break the paragraphs down into bullet points. Then, make sure that the bullet points are worded consistently between options.
Steve O’Hear: I’m really surprised this one got past the marketing department. Not a lot to say except that I would argue that when UX, including layout and copywriting decisions, become decoupled from business goals and customer wants, a company is in trouble. Would you agree that’s what has happened here?
Peter Ramsey: Honestly, this happens all the time. I think it’s just a symptom of the designers building things that look nice, not things that work nicely. I probably raise this issue on about one-third of the private audits I do — it’s that common.
Keep a consistent width
Try to maintain a consistent page width throughout a single journey — unless there’s a major benefit to changing the width.
The fail: During the Hulu sign-up process, the page width doubles at a totally unnecessary point. This is disorienting for the user, with no obvious rationale.
The fix: Hulu has a pretty consistent first-half of their journey and then it drops the ball. I’d redesign these “extra-wide” pages to be the default width.
Although COVID-19 is surging in the United States and around the world, Warner Bros. still plans to release “Wonder Woman 1984” on Christmas Day — but its plans are are no longer limited to a theatrical release.
Director Patty Jenkins and star Gal Gadot both posted tweets last night announcing that in in the United States, the film will be released simultaneously in theaters and on WarnerMedia’s streaming service HBO Max.
“THE TIME HAS COME,” Jenkins wrote. “At some point you have to choose to share any love you have to give over everything else. We love our movie as we love our fans, so we truly hope that our film brings a little bit of joy and reprieve to all of you this holiday season.”
A press release from HBO Max offers a few more details: The film will debut in theaters internationally on December 16, then launch in U.S. theaters and on HBO Max on December 25. It will be available to the streaming service’s U.S. subscribers for one month at no additional cost.
While the pandemic caused some films to shift from a theatrical release to streaming, the studios have mostly chosen to delay their big blockbusters. The Wonder Woman sequel (which had already moved around the calendar several times as part of normal Hollywood scheduling) was scheduled for a June release when the pandemic started, with Warner Bros. pushing the date back to August, then from August to Christmas.
Last month, the disappointing box office performance of Christopher Nolan’s “Tenet” (which Warner Bros. only released in theaters) prompted studios to delay other tentpoles like “Dune,” “No Time To Die” and “The Batman.” But they may not want be able to delay indefinitely — and in the case of WarnerMedia, this also seems like a smart way to drive subscriptions for HBO Max after a rocky launch.
Disney, meanwhile, decided to release its live action “Mulan” remake on Disney+ for an additional $29.99 (while also supporting a theatrical launch in some markets). It will be releasing Pixar’s “Soul” via streaming on Christmas Day at no additional charge.
The musician’s life is rarely an easy one. That goes double for these last, oh, eight or so months. Most artists who haven’t risen the ranks to rock-star levels make the lion’s share of their money from live shows, and that’s just not in the cards for now — and likely won’t be for some time.
Bandcamp has been something of a lifesaver for many artists who make fractions of a cent on streaming revenue. Among other things, the site has set up the wildly popular Bandcamp Fridays, wherein it waves its fees for one week a month. Now it’s getting into live streaming, as musicians look for ways to offer remote performances for fans.
The service is pretty well positioned to offer the feature. For one thing, it’s got goodwill going for it. For another, integration with existing services means fans get notified when a show is coming up. And all their goods are offered up for sale during the shows as a kind of virtual merch table where they can buy swag while still watching the performance.
The setup process is pretty bare bones and there’s even an optional chat on board, if the artist wants to engage in a bit of banter. Honestly, the most appealing thing here is probably the low overhead. Musicians set their own prices, there are none of the usual surprise fees and Bandcamp only takes 10% off the top — a fee it’s waiving altogether through March of next year.
The service has already lined up a bunch of high-profile indie acts, including Clap Your Hands Say Yeah, Pedro the Lion and Cloud Nothings. The feature is rolling out to users starting today.
The core story is both compelling and horrifying. And “The Vow” features an astonishing amount of footage showing Raniere and other high-level NXIVM members at work — for that reason alone, the series is worth watching for anyone interested in the NXIVM story.
However, it’s also hampered by some unfortunate storytelling choices. For one thing, by parceling the story out over nine hour-long episode, the series often feels unnecessarily drawn out and repetitive.
And by focusing on a handful of high-ranking NXIVM members who subsequently became important whistleblowers and critics (including Mark Vicente, the filmmaker responsible for a great deal of that behind-the-scenes footage), “The Vow” has also opened itself up to criticism that it downplays the stories of Raniere’s true victims and obscures the extent of his crimes (unlike the Starz documentary “Seduced”) .
On paper, “The Queen’s Gambit” might not sound like a compelling drama: Based on a novel by Walter Tevis, the Netflix series tells the story of Beth Harmon as she rises through the world of competitive chess, eventually taking on the world champion from the Soviet Union.
But on the latest episode of the Original Content podcast, your hosts are unanimous in their love for the series. We talk a bit about some of the flaws (a setup-heavy first episode, the unsatisfying treatment of Beth’s friend Jolene), but for the most part, we’re happy to spend our time praising the show.
Some of that has to do with the period setting — “The Queen’s Gambit” traces Beth’s life through the 1950s and ’60s, with some delightfully retro sets and costumes, along with a clear-eyed approach towards the condescension and sexism that Beth faces in her early matches.
At the same time, it’s Beth (played by Anya Taylor-Joy) who pulls you through all eight episodes as they depict her complex relationship with her foster mother, her struggles with substance abuse and her friendships with other chess players. While Beth has a handful traits you’ll recognize from other difficult geniuses portrayed on-screen, she’s ultimately too complex to boil down to a single idea or logline.
And while you don’t need to know much about chess to enjoy “The Queen’s Gambit,” the show’s focus on character and personality allows it to depict competitive chess in a way that is, in fact, thrilling.
Rumors have been floating for months that ByteDance is going public with TikTok and Douyin separately. Just last night, Bloomberg reported that ByteDance is seeking a pre-IPO round of $2 billion at a staggering valuation of $180 billion.
Before any of that materializes, ByteDance Chinese rival Kuaishou has moved ahead to file for an initial public offering in Hong Kong Thursday night, and its prospectus is shedding light on a race where both growth and costs are astronomical.
Launched by a former Google engineer in 2011 to share GIFs, Kuaishou has evolved into a nemesis of Douyin, TikTok’s sister in China. 21.5% owned by Tencent, the company reported a net loss of 6.8 billion yuan ($1 billion) in the first six months of 2020 while operating loss stood at 7.57 billion yuan. In contrast, it logged an operating profit of 1.1 billion yuan in the same period just last year.
The increase was in part a result of the company’s aggressive promotion of its lite version Kuaishou Express, which tailors to China’s less tech-savvy demographics. Unlike ByteDance, Kuaishou has had limited success overseas and relies on continuous domestic growth.
Its selling and marketing expenses skyrocketed 354.1% from 3 billion yuan in H1 2019 to 13.7 billion yuan in H1 this year. But the splurge seemed to have paid off: the lite app gained 100 million DAUs within a year. It’s a game of pay-to-play.
The main app Kuaishou itself, as of June, reached 302 million daily users, who spent over 85 minutes on the app per day engrossed in watching clips and live sessions. For comparison, Douyin crossed 400 million DAUs in January.
Though known as a “short-video app”, Kuaishou earns most of its revenue — 68.5% in H1 — from live streaming, during which audiences can send hosts virtual items priced anywhere between 1 and 2,000 yuan. Other monetization avenues include advertising, which accounted for 28% of its revenues, as well as less significant sources like e-commerce and games.
Douyin, on the other hand, pulled in about 67% of its revenues from advertising last year, a source told TechCrunch earlier, while live-streaming made up 17%.
The revenue makeup reflects the core use case of the apps. Kuaishou often prides itself on user engagement; indeed, over a quarter of its 776 million monthly users are creators themselves. That makes Kuaishou more of a social app where the viewers and creators interact frequently through means like live streaming and gifting.
Douyin, with algorithms that favor premium content, acts more like a form of media as some Chinese venture capitalists observed, making it a destination for showing ads.
In terms of revenue size, Kuaishou generated 39.1 billion yuan last year, about one-third of what ByteDance made last year. But one should keep in mind that ByteDance has another cash cow: its news and information aggregator, Jinri Toutiao.