Imagination Connoisseurs share their diverse interests in movies and TV shows – and how their lives have changed with the demise of the home video store and the dwindling supply of physical media.
What could/should the next 3-4 Avengers movies be about?
Cat in a Bag! THINK MARK! (love the latter line hate the former)Greetings Rob!
I was listening the other day to you and John discussing about the inevitability of Avengers 5. That caught me by surprise, I never really had thought about it, maybe because of the amount of films they have lined up until 2023 or because of my lack of knowledge of the comics.
What surprised me even more was your confidence in even stating that there would be an Avengers 6,7 and 8. You then said that if you would do hollywood math it makes perfect sense to have those movies. Which I agree, if you look at franchises that have a long list of sequels they do share one thing in common – great box office numbers.
What perplexes me is what could even be in Avengers 5, I dont have a clue since I dont read the comics and so I want to know what you could suggest or speculate about the upcoming Avengers movie until 8, Like who could they be facing or who would be the heroes.
I would love to hear your thoughts on this.
Thanks for everything you do for the PGS community!
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GODZILLA VS KONG was going so well until …
Have you ever watched a movie that had a single scene that just sucked out all the fun of the film resulting in the film becoming borderline unwatchable? This is wholly the fault of the script and the creatives not being able to catch such an egregious scene in the editing process. This type of scene is found in many films regardless of the genre. This scene or scenes can reveal a plot hole, a gaffe in continuity, or something as simple as a minute detail that the average moviegoer might miss.
A severe amount of leeway is given to films of a more fantastical nature due to their innate characteristics. These films are often given a level of verisimilitude to become palatable for audiences. But when that verisimilitude is lacking, or when the logic is absent-minded or woefully nonexistent, then the film becomes blatantly off-putting to the point of becoming cinematically disengaging.
As I reflect on those films that made me aware that I was watching a movie — oftentimes caused by the fault of a single scene or two — a few prominent examples come to mind.
In X-MEN: THE LAST STAND, Magneto and his army of mutants converge upon Alcatraz to kill a mutant boy named Leech, whose abilities have been weaponized to “cure” mutants of their abilities. Magneto uses his powers to move the entire Golden State Bridge to the island to allow his minions a path to the laboratory. If Magneto’s goal was to kill Leech, then why couldn’t he drop the damn bridge onto the lab, crushing the boy and the entire anti-mutant endeavor in the process? The scene made for a great visual, but I checked out of the film at that point due to the lack of Magneto’s logic.
In IRON MAN 2, Tony Stark created a new element. J.A.R.V.I.S. even states this accomplishment. Yet elements cannot be created or destroyed; they just are. This is one of the most fundamental concepts of science and chemistry. If they just had a simple line of dialogue where Stark corrects J.A.R.V.I.S. and says, “Elements can’t be created, J.A.R.V.I.S. What I just did was synthesize a compound,” then it would have saved the film. But there was no correction, just a wide-eyed look of amazement by Stark that he “created” a brand-new element. The smartest man in the Marvel Cinematic Universe, Tony Stark, literally has the power of the universe and the Big Bang in a contraption housed in his Malibu mansion’s basement laboratory. Sorry, I’ve just checked out.
AVENGERS: AGE OF ULTRON in 2015 felt as if it was a repudiation of 2013’s MAN OF STEEL. Zack Snyder’s MAN OF STEEL was controversial for its depiction of death and destruction of populated cities, terrifyingly depicting what a battle between two superpowered beings would be like in the real world. There would be casualties, thousands upon thousands, and cities would be leveled, as seen in the movie. Moviegoers and fans were dismayed by this and felt it was too much. I felt it was too little and appreciated the jarring credibility of the action sequences.
But in AVENGERS AGE OF ULTRON, when Iron Man is fighting Hulk, there is a scene where Iron Man scans a building for biological life with the prompt on his interface revealing that it’s “ALL CLEAR.” I felt this was a swipe at MAN OF STEEL and to those who said there was no way Kal-El could save people and fight Zod at the same time in the middle of a crowded city. Maybe I was reading too much into it.
But my suspicions became clear when in the final act, the Avengers quite literally evacuate an entire country on S.H.I.E.L.D helicarriers. There need to be casualties. There needs to be suffering in these climactic sequences for them to work and to have the intended weight that these are indeed high-stakes situations. AGE OF ULTRON, to me, seemed like a repudiation of MAN OF STEEL and the complaints the film got. It became wholly unbelievable and apparent I was watching a movie with a Hollywood ending where there are no stakes, and everyone is saved. Sorry, I’m out.
THOR RAGNAROK suffered from the same cinematic blunder as AGE OF ULTRON when all of Asgard was shuttled to safety onto a single spaceship in the final act. I’m out.
The FAST AND THE FURIOUS franchise is loaded with unbelievable elements in which I said “I’m out” countless times. The most egregious for me isn’t the lack of physics, but something quite simple and relatable as taking a plane ride from one country to another, which, depending on where you’re going, can take a couple of hours to well over a day.
In HOBBS AND SHAW, the main characters have 24-hours to save Shaw’s sister. Yet they can traverse the world from the U.S. to England, to Ukraine, and all the way to Samoa in an airplane and have enough time to stage a climactic battle and save Shaw’s sister with minutes remaining until the 24-hour period runs out. I know time is relative, but seriously, this goes beyond physics and treats the Earth’s axis as if it’s a husband patiently waiting for his wife to get dressed for a date night. I’m out.
After watching the hilarious trailer to F9: THE FAST SAGA, the movie became apparent that it was maximizing its campiness to deliver exactly what made the franchise into a global billion-dollar moneymaker. But in doing so, the embrace of the absurd will irrevocably turn the franchise into a joke if it hasn’t already been turned into one. How Vin Diesel can survive getting thrown through walls and doorways and not have his vertebrae fractured and put into permanent paralysis is still unknown. But I give this a pass as every action hero has a high threshold for pain, and the materials used to make homes these days are cheap.
But when the money shot of the F9 trailer shows Tyrese and Ludacris flying a car strapped with a booster engine into what seems to be the stratosphere, maybe even beyond, then we have come to the realization that what started as a franchise about illegal street racing in Los Angeles has indeed turned into a fully aware, SHARKNADO-level parody of itself.
I can literally see Tyrese and Ludacris piloting their space-car into the International Space Station, somehow docking and making it onto the ISS. When inside, they rip the duct tape off their homemade astronaut suits with Ludacris proclaiming, “Damn! This shit really worked!” Entertaining? Yes, but in a Saturday morning cartoon sort of way. I’m already out, and I haven’t even seen the movie (but I will still see it).
Now comes GODZILLA v KONG in 2021. I bought the film up to a point. The thing that stuck out most was the noticeable and fluctuating scale of the two giants. They did not look the same size when engaged in their sea battle and subsequent Hong Kong battle. But in a movie where you have two giant monsters fighting each other, you must give certain things a pass. I was able to live with this scaling issue.But the story fell apart when we entered Hollow Earth. In real life, the Mars Rover has analyzed the components of Martian rock and transmitted the findings back to NASA. Having this data does not mean that NASA has an actual physical specimen on hand, nor does it mean that they can reconstruct it on Earth.
So I was perplexed how MechaGodzilla used data from the Hollow Earth’s radioactive surface to power itself. It would have been more believable if they had a teleportation device and teleported the radioactive material back to the Apex lab in Hong Kong. Whatever. I still gave it a pass. Maybe the analytical device was a form of recently discovered technology and was finally put to use.
But then the movie really, and I mean REALLY, fell apart for me when all logic went out the window, even for a monster movie.
Godzilla made his way to Hong Kong and used his atomic breath to literally burrow a tunnel to Earth’s center. Just take a moment to appreciate the magnificence of Godzilla’s power. It’s quite frankly world-ending if he chose to use it in a nefarious and cruel way.
At this time, King Kong is in the literal center of the Earth. He sees this tunnel Godzilla has burrowed and goes through it, making his way to Hong Kong in a matter of seconds. Let’s be liberal here and say a matter of minutes. The speed at which Kong would have to travel would make him faster than the Flash. And if we’re being extremely conservative here, and I do mean EXTREMELY conservative by saying that the distance from the Hollow Earth to Hong Kong was, say, two-thousand miles, even a journey that long would take more than a matter of minutes for Kong.
So here I am trying to make sense of the physics of this movie and realize that any plausibility has now become nonexistent. Had Kong been revealed to have super-speed, I would have bought it. But no, he doesn’t have superspeed and can traverse half the world in a matter of minutes. Okay.
Then the logic all but dissolves into the ether when Godzilla uses the same atomic breath he used to burrow into the Earth’s center on King Kong. Miraculously, all that happens to Kong is a mere singeing of some of his back fur. This sliding scale of Godzilla’s power irked me to the point where it just took me out of the film. I’m officially out. But the film became almost unbearable with even more lapses in logic.
We come to the final act where our human trio of heroes is trying to access a computer console that controls MechaGodzilla’s power. How a computer console in Hong Kong controls the power to MechaGodzilla when the energy signature from the Hollow Earth has already been magically teleported into MechaGodzilla and when Gidorah’s essence has taken over the machine and turned it into a rogue creature is beyond me. Trying to disable a device in the nick of time so that the heroes can win the battle is such an overused movie trope. GODZILLA v KONG took this trope and doubled down on it.
The scene I absolutely HATED and DESPISED the most in the film — and the scene that took me out of the film more than anything in the Hollow Earth sequence — was when our trio of human heroes is trying to stop MechaGodzilla. One of our heroes, a walking stereotype of an obese teenage nerd, feverishly types away on the computer console trying to disable the mechanical titan. A close-up shot of his fingers typing away shows how fraudulent the character is or how bad the actor is; take your pick. If we were to type what his fingers were typing, it would read: “;aslghdas;ifjdlkjfhklghifjaga;giaf;oasdfffofuasdpaofayfuereofuweotyroiti54yt409ugypw9uoh;fvdfliuvjoierhvi;asdhglisjvva;kgha;fjagloierahg;aorihga;ohfa;odhasdfja;oshga;odhak;fhpogao;flsljfa;jsdf;ajlkk”
This is movie typing at its finest. Simple moments like these in films when the acting is overtly obvious and inauthentic make films irrecuperable for me. I become aware I am watching a film, the entertainment replaced with shoddy filmmaking, and I start the tedious countdown of the remaining minutes until the film is finally over.
Our heroes disable MechaGodzilla in the most cliched way by pouring alcohol on the computer console causing it to short-circuit and MechaGodzilla losing its power. But MechaGodzilla is still functioning, so it didn’t really lose power? Confusion abounds, Kong and Godzilla team up to take down a depowered MechaGodzilla.
I would’ve just let our heroes fail to disable the computer console and had Godzilla and Kong use their brute force to destroy MechaGodzilla as a team. In a film where Godzilla beat Kong to preserve his dominance over titans, the most powerful creature in the film became MechaGodzilla, who nearly killed both Kong and Godzilla.
The visuals and the battles are what make GODZILLA v KONG. And I still enjoyed it for what it was: a dumb CGI-fest devoid of logic. But I was fully aware I was watching a movie when these films were meant to do the opposite and allow us to be totally engrossed by them. Good films do this; bad films don’t. Bad writing is bad writing, and it can overpower the grandeur of a film no matter the genre.
Something as simple as a flight plan, keystrokes on a computer, or lack of explanation can damage a film and suck out any and all goodwill left for a movie, and in some cases, entire franchises.
No, this is not nitpicking, far from it. This is the audience realizing how such obvious and inexcusable gaffes can be made in multi-million dollar endeavors and be allowed to persist until the film becomes defined by them.
What are some movies in which a single aspect – whether it’s a scene, detail, character motive, etc. – occurred that took you completely out of the film to the point where it became a bad film or something just wholly lacking in logic and not worth watching a second time around?
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Curating a personal media collection helps this Imagination Connoisseur connect with this mother.
Hi Rob –
I wondered when I would you send you my second letter to you, but I was so excited when I watched show #682. You were talking about versamalitude in classic movies such as Alien, Godfather, etc, and how when you watch or catch a glimpse of certain movies such as The Social Network, it grasps your attention and you get sucked into the movie all over again, each and every time.
This is the type of passion for which us imagination connisuers are made of. In my first letter to you, I mentioned how I enjoy learning from you. Well, speaking of this – you showed concern how many of your audience watch some of the movies that you have appreciated. You drew this opinion based on the views from some of the “Wining about Movies” shows.
Speaking for myself, while recovering from my medical condition I wondered if I should get a bluray player and get some physical media to go with it. After watching your shows, your passion and knowledge of cinema and the history of, I decided to purchase a Panasonic Region Free bluray player, and my first out of region bluray purchase, was the complete series set of UFO (by the way, why can’t we find this in the US?).Anyway, I started to build a mini library, after all I don’t have the space nor the economics to get a collection anywhere close to yours, so I decided to get just the movies that have had the most historical and personal significance to me.
Thanks to your suggestion I purchased bluray movies that I normally would have not, had it not been for your mentions, such as: Strange Days (also purchased internationally), the extended version of Exorcist (I wouldn’t have gotten it, had it not been for your recommendation, due to how much it traumatized me when I saw it when I was a young teenager), Metropolis (the complete 1927 version, restored in 2010), Christopher Nolan collection, Stanley Kubrick set, Lawrence of Arabia (4K remastered), Apocalypse Now (Final Cut), Casablanca (70th anniversary box set), Clint Eastwood collection of classics, two Alfred Hitchcock sets of 4k and bluray collection of his classics, Star Trek 50th Anniversary Box Set (so damn good and such a great collection of the original cast series, animation series and movies), 4k collection of John Carpenter classics (that included your favorite Carpenter movies), the Alien anthology set, the complete James Bond collection, and I could go and on, but my long point is that I have listened to you and what you recommend and more importantly – why you do. I also enjoy when you give us a little history lesson on why some of these movies are important or just enjoyable to watch.
One of my favorite things to do is, about once a week or so, I bring my mother over to my apartment and watch one of these movies (I usually let her pick out the movie).
I do this because she is 83 years old and she raised my sister and I, as a single immigrant parent from Colombia, she was a devout Catholic and very rigid and conservative in her ways and her beliefs. Yet as I grew up and got older, she noticed my increasing interest and passion towards first sci-fi movies (Star Wars and Star Trek being the main influences as I grew up) and moving on towards James Bond and adventure movies. In order to appease me she would take to see movies such as Alien (you can imagine her surprise and horror as this conservative lady witnessed the chest bursting scene on the big screen with her young teenage son).
Yet, instead of giving up or talking me out of such cinematic interests she actually started to enjoy some of these movies and as she got older, she and I shared many wonderful experiences going to movies and discussing the history of films. I feel a debt of gratitude towards her, and as a result of this I take her to the movies (well, before the pandemic anyway), and during these Covid times we now watch the movies that I have purchased. She is a fan of movie noirs such as “Double Indemnity” which is one of our favorites.
There are times that I hear you mention one of these films and I can’t wait to call her and suggest we watch what you suggested. I wish I was a better writer like some of your Imigination Conniseur audience, but I hope I have conveyed the enjoyment of films and its’ history and sharing it with my mother, especially since I don’t know how much longer I have with her (although she is a strong and healthy 83 year old hispanic lady) and the influence that you have provided. I have and will always be grateful.
Thank you Rob and don’t stop dropping suggestions and knowledge on us because you may or may not know the influence you have had on us.
Hopefully one day I would like to have a conversation online with you and also show you some of the small collection of figures that I have also obtained recently.
Live long and prosper………and STAY METAL!!!
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Despite popular opinion, some Millenials like old-timey movies.
Hi Rob, moderators, and Post Geek Singularity,
That most recent article you read about millennials and older films got me to write this letter. This is just me, since I cannot speak for everyone in my age group.
I’m a millennial, but I do have a genuine fondness of Classic Hollywood movies. I don’t enjoy all of them, even some which are considered classics, but I do enjoy many. For example, I will admit to not being the biggest Citizen Kane fan. I like the cinematography, set design, the rosebud reveal, and Orson Welles’ performance, but I just don’t find the story that interesting.However, there are many films, of that era, I still enjoy a great deal like Roman Holiday, The Wizard Of Oz, My Man Godfrey, The Adventures Of Robin Hood, Captain Blood, The Sea Hawk, Swing Time, The Maltese Falcon, The Public Enemy, Key Largo, Jason & The Argonauts, King Kong, Bringing Up Baby, The 7th Voyage Of Sinbad, Brief Encounter, The African Queen, It’s A Wonderful Life, Mr. Smith Goes To Washington, Singing In The Rain, A Night At The Opera, The Odd Couple, the first 3 James Bond movies: Dr. No, From Russia With Love, and Goldfinger, and many other films.
I also like a series of movies from the filmmakers of that time. I still like a number of Charlie Chaplin’s movies such as City Lights, Modern Times, and The Great Dictator. The same thing with Billy Wilder, like Double Indemnity, Sunset Boulevard, Sabrina, The Seven Year Itch, Some Like It Hot, and The Apartment. I also like a lot of Alfred Hitchcock’s movies such as his Man Who Knew Too Much remake, Rebecca, Rope, Notorious, Rear Window, Vertigo, North By Northwest, To Catch A Thief, Psycho, and The Birds.
All those movies I brought up which I said I enjoyed, I think, are far better than movies coming out now.
My siblings do not watch older movies, as they say things to me like “It’s too old”, “It’s too dated”, or “It’s black and white”. When I was really young, I felt that way, but I became more tolerant as I got older.
I know that article said how millennials are not really watching older films, but I like how I am in the minority about that, when it comes to people in my age group.
Thanks, live long and prosper.
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This Imagination Connoisseur’s voyage to the Post-Geek Singularity takes him through his favorite video store.
As always, love the show. You consistently knock it out of the park with your ROBSERVATIONS. Recently, I thoroughly enjoyed your breakdown of why you are excited for the next Cronenberg Joint, “Crimes of the Future”, and I could not agree more. Breaking down your introduction to the mastery of David Cronenberg got me to thinking back on how I was introduced to my favorite filmmaker of all time John Carpenter.
I can still remember the smell of the Mom & Pop video store called, Video World, that I would venture into each weekend with the money I had earned from doing odd chores for family and friends. You know the usual stuff like taking the gimp out for walks, feeding Willard, and making sure dear old Mr. Barlow wasn’t disturbed while he rested. That smell of old wood, stale popcorn in their broken-down popcorn machine, and the owner looking like a wannabe Arnie in his muscle shirt, with his beer belly in full tow, is still a vivid memory in this guy’s ever loopy mind.
I would skim the new releases, pick up a few things, and then immediately head to the backroom where all the old VHS rentals were collecting dust. See, they had a deal to pick up 7 movies, 7 days, for $7. And brother, each weekend I would go solely on my gut as to whether something was worth my time. It all came down to the art on the box, (God I fucking miss this), the actors, and director. Genre was not an issue for me, though I did tend to spend most of my time in the Horror and Science Fiction sections. Streaming is great, but I swear this was better. The art of the hunt is missing these days.
It was there in the days of my youth that I came across a film on a hot summer weekend that changed my life forever, John Carpenter’s “Prince of Darkness”. Immediately the cover art grabbed me. The pain-stricken face of someone being pulled by some sort of green smoke or substance into a darkened church had my Spidey senses tingling. Seeing on the box, “A new film from John Carpenter, master of terror and suspense” put me on notice. At that point I had seen Halloween, Escape from New York, The Fog, The Thing, and knew this motherfucker was a genius. I flipped over the cover to see a childhood hero of mine, Alice Cooper, looking like a fucked up zombie and THE Jameson Parker from Simon & Simon with fourth greatest moustache of all time, just behind Tom Selleck, Burt Reynolds, and Sam Elliot.
As I continued, I read the back description that led me down the road of John Carpenter, Satan, and the anti-God. Donald Pleasance got me going too. I quickly picked up a few more to get my 7 films and headed with my dad out the door. Just a side note, my dad was such an important part of this. I am forever grateful for his support of my passion and love for cinema. We would frequently sit up all hours of the night soaking up the greatness that films such as these had to offer. There were many a nights we sat up watching USA “Up all Night” with Rhonda Shear. Man, what a babe.I could not wait to get home. After watching a few of the new releases we had picked up, my dad went off to bed and I was left in the living room alone as it neared the devil’s hour. I popped in the VHS of John Carpenter’s “Prince of Darkness” and immediately I was pulled in by the sounds of Carpenter and Alan Howarth’s synth score. As I sat there glued to the screen, I could not take my eyes off what glorious shit I was seeing. It was bonkers and fucking terrifying. The images of pure green Satan goo, people falling apart as disgusting insects straight from the bowels of hell erupted from their body, Alice Cooper impaling someone with a piece of a broken bicycle came at me in horrifying waves of pure bliss. I could not believe what I was watching. My 14-year-old mind was blown. That ending…. Jesus Christ what an ending. Everyone talks about the quantum realm in the MCU, but they are forgetting the quantum physics of Martin Quartermass…aka…..John “fucking” Carpenter!
This movie is pure insanity and I love it so much. People are literally spitting Satan into each other’s mouths, Donald Pleasance is wielding an axe, the dead are coming back to life and creepily singing church hymnals, and Peter Jason with a broken neck crying will forever be seared into by brain. The shot that forever sticks with me though is of Lisa Blount reaching back from the darkness for help as the gateway to the anti-god is destroyed by Donald Pleasance’s priest. “I stopped it”, he later tells Victor motherfucking Wong. After Jameson Parker wakes up from the dream within a dream and reaches for the mirror as it cuts away to the credits I was shook. I sat in complete silence listening to my (what is now) favorite Carpenter/Howarth score play over the words appearing onscreen.
The next day I woke up begging my dad to watch it with me. We did, he was so damn confused, but just as enamored as I was with this crazy film.
I cannot remember the other films I watched that weekend, but I can tell you that I watched Prince of Darkness 6 times. Forever changing this cinephile’s heart, mind, body, and fucking spirit. Thus began a lifelong love affair with all things Carpenter. I’d just add that Carpenter is ridiculously underappreciated and undervalued by mainstream audiences today outside of horror fans. Anyway, I just wanted to share my story with you and those out there in 1999 who might be listening. Thanks for the time and stay safe, Rob.
With the deepest regards,
Ps. My top Ten Carpenter Films:
10. Vampires/Elvis (tied)
8. The Fog
7. In the Mouth of Madness
6. Big Trouble in Little China
5. Escape From New York
4. They Live
2. Prince of Darkness
1. The Thing
Matthew Ryan Stanleyt
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To pirate, or not to pirate … that’s Dean’s question for the PGS.
Hi Rob and the PGS,
I think it safe to say the majority of our community has pirated films at one time or another. Weather that was renting a tape and coping it onto another tape. Or with the more current way, jump onto the internet and torrenting it.
Rob, I know you are not a fan of this, as it take money out of the hand of the people that made this content, and with less money it mean we could get less content.
Bu why have we done this? For me personally back in the days of VHS, I did it because I wanted a movie in my collection and because in those days it could take nearly a year for a film to go from theatre to VHS. (Getting to renting it on VHS normally took between three and six months after it had been in the theatre.) I will admit now, when the film finally did land on VHS to purchase. I did pick it up legally.
Recently I had a chat with Emma Banin, and this subject came up. But it was to do with TV shows.
This got me thinking, for a short time it looked like pirate of films as well as TV show was decline.
But with the raise of more and more streaming services and less and less none original content ending up on the big two. (Netflix and Amazon Prime.) Could this be what is drive people back to pirate these TV show?
Sure Paramount Plus, HBO MAX, Peacock and Disney + have all their respected studios back catalogue. If you’re a collector you will already have the shows you re-watch in your physical media collection already, it they had been made available. So there is not much enticement to pick up these services, except for new content.
A lot of these streaming services are not available outside of the States, So the new shows may not turn up for some time to come, weather that is with a deal with Terrestrial Channel, or a deal with Netflix/ Amazon Prime. Or it could be a case that the streaming service is planning to launch at a later date. Which was the case with Disney +, which meant while the internet was going wild with talk of Mando first season. We in the UK and other parts of the world had to wait nearly six months for the service to arrive so we could watch it. (Luckily Hulu won’t be launching outside of the States as most of the content on that is part of Disney + with the Stars add on back in February.)
Here in the UK if you have Sky TV, then you can get the more recent HBO MAX content as they have a deal with them and if you miss it, you can still catch it on Sky Catch Up Service.
So with the exception of Netflix, Amazon, HBO MAX and Disney +, how many of these streaming service has more than one new program that is must see TV? I would wager not many.
Sure, you could sign up and get a free month trail and watch all the new content after it has dropped. But these service are moving away from the Netflix model of dropping everything in one go, so some of these shows depending on number of episode can run for two months or more. You’ll end up having to pay for at least an extra month just so you can keep up with the chat around the water cooler of the current big program.
With all these new Streaming service popping up and while the cost of them currently is low for each service, when you combine them together it’s getting to the same sort of money you were spending in the bad old days of cable TV.
Rob, you have also mentioned in the past that these streaming service could be looking at forcing people into long term contracts so people don’t drop and pick up again the different services as they please like they currently can now.
Will this not drive more people towards the high seas?
One of my current favourite programs (For All Mankind) is on Apple TV. This is a service that currently does not offer me anything worth watching except for this show, and with the exception of maybe the Foundation Series. It does not look like they have much more planned that I could get excited about and keep a subscription with them.
I was lucky to be able to watch For All Mankind up to now due to having a free subscription. But that has now ended. What are my option for Season 3? Wait for the whole series to finish dropping and binge it with a one month subscription? Subscribe for three months and watch each episode as they drop? Or head to the high seas and watch it that way?
It a sad fact that most people don’t have the finances to have more than three streaming service on the go at the same time and that assuming that service is available to them where they live.
So Pirating of content will always be an issue. With the streaming wars well under way, it will interesting to see what the landscape look after the war has ended. Will Netflix and Amazon be victorious and the other studios return to dealing with them to get their content out there?
It will also be interesting to see if pirating of TV show increase as the war goes on and weather it drops again once it has ended.
Peace and Long Life
P.S. Rob you can interrupt my letters any time, when having a special Guest turn up.
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