MoviePass’ Post

🎬 MoviePass achieved profitability for the first time in 2023, marking a significant turnaround for the once-struggling movie-ticket-subscription service. CEO Stacy Spikes shared the news exclusively with Business Insider, underscoring the company's revival since its 2020 bankruptcy. The latest version of the app, which offers monthly credits for movie viewings, has garnered over 1 million movies seen in theaters and resulted in 35% savings for subscribers. Stay tuned for the documentary "MoviePass, MovieCrash," premiering at the South by Southwest Film Festival in March, chronicling the company's rise, fall, and relaunch. #MoviePass #AI #ML #BigData #TechNews 🎥

RESTART. Just finished watching the movie “12th Fail” on Disney Hotstar. Many would probably relate to this movie and see how we see these stories unfold infront of our eyes. The “Restart” gets aptly introduced in the movie at a certain point and holds the story around this theme. I couldn’t resist to share my thoughts on “Restart”, after watching this movie, so here it goes… Embarking on Life’s Sequel: A Cinematic Overture to the Art of Restart In the engrossing drama “12th Fail,” the reel world unfolds the challenges of aspiring individuals in the pursuit of success through Public Services exams. As we immerse ourselves in this cinematic world, it unveils a profound theme that transcends screens—the art of restarting. “12th Fail” intricately weaves a storyline echoing the universal struggle of dreams, setbacks, and the undying spirit to overcome failures. Against this backdrop, one character stands out, navigating the tumultuous journey with the transformative power of restarting. The protagonist’s journey dismantles the notion of failure as an endpoint. Instead, it’s a narrative of “failing forward,” where each setback becomes a stepping stone for growth. This cinematic philosophy invites us to reevaluate our own perceptions of setbacks. Inspiration becomes a guiding force, propelling the protagonist to restart and rewrite their destiny. It’s a reminder of the transformative influence inspiration can have on our own lives, prompting us to seek moments of inspiration in our journey. As we absorb the cinematic reflections of “12th Fail,” its theme seamlessly transitions into the canvas of our own lives. The movie’s concept of restarting becomes a catalyst for broader contemplation on the art of resilience in both personal and professional spheres. In the professional world, the concept of restarting takes center stage. It encourages us to view career setbacks not as roadblocks but as opportunities for professional reinvention. The courage to restart becomes a driving force for career resilience and continuous growth. The art of restarting becomes a skill to master, reminding us that setbacks are not the conclusion but the prelude to a new chapter—one that unfolds with resilience, determination, and the unwavering spirit to embrace life’s restarts. RESTART —because every setback is a prelude to a remarkable sequel. #ArtOfRestart #12thFailMovie #FailingForward #CinematicPhilosophy #ProfessionalRestart #ResilienceInCinema #LifeSequel #TransformativeJourney #InspirationInCinema

“All of our businesses are in the attention business and we’re fighting for people’s leisure time. There’s TikTok and there’s gaming and there’s this and there’s that, but the magic word is habit,” MoviePass CEO Stacy Spikes said on stage at SXSW on Saturday, March 9. “We have this really rich thing that’s still the cheapest thing you can do as a live event anywhere on the planet. But we haven’t given people the frequency, the consistency, the programming to make it a strong habit where you always know ‘Friday, I’m at the movies.'” Here are the five biggest takeaways of this panel with, besides MoviePass, executives from Alamo Drafthouse and the Cinema Foundation.

With Playtives, you can invest in any blockbuster movie with as little as N50000 and earn a lifetime profit. Playtives want to put the power back in your hands as a film audience. No one should determine what you watch anymore because they have a big pocket or access to a big pocket. Playtives aims to be responsible for over 20% of the world’s produced film by digitizing entertainment funding with technology. Playtives seeks to make film viewers rich from the films they are watching by turning them into investors in their entertainment. If you want to stay up-to-date with us, follow our Page.

I grew up watching Marvel movies. Like many of us, my interest peaked with Endgame, which came out in 2019, and then petered out as fatigue set in. Opening weekend collections are usually a good indicator of how hyped people are about a film. Poor movies can have good opening weekends because of the hype, but then have less strong overall collections as bad reviews drive viewers away. Great movies can have less than stellar opening weekends, but great reviews drive in the audiences. Marvel had its golden period (defined here as an above average opening weekend) between the release of Captain America Civil War in 2016, and Captain Marvel's release in 2019. There's almost a clear bell curve, as the first five years had consistently low openings, as did the last few years, with a strong peak in the middle. Of course, the truly outstanding achievement is of Avengers Endgame - made on a whopping budget of $400 million, the movie still recovered 89% of its production budget within the opening weekend. It'll be interesting to see which way the franchise goes from here - smaller production budgets, or greater push towards bringing in higher audiences?

Behind every successful project lies a story of collaboration, creativity, and unwavering dedication. At Click Play Films, we thrive on turning ideas into reality. 🎨 #SuccessfulCollaboration #CreativeDedication #IdeaRealization #ProjectSuccess #StorytellingMagic

From Bloomberg: It’s been a busy spring for Legendary Entertainment. On March 1 the movie operation backed by Apollo Global Management, Inc. released Dune: Part Two, which has racked up global box-office receipts nearing $700 million. And it premiered Godzilla x Kong: The New Empire, which has taken in almost $500 million. Apollo, which controls $650 billion in assets, planned to merge the Paramount Pictures and Legendary studios under a single operation and invest in expanding the combined business. It may still come back with a fresh bid for Paramount when the period of exclusive talks with Skydance ends. But for now, while the prospect of a Paramount linkup is in limbo, Legendary Chief Executive Officer Josh Grode is charting a separate course for the company that would involve other deals financed by Apollo. Unlike those of larger, more indebted media counterparts such as Paramount and Warner Bros. Discovery, which have lost billions of dollars on #streaming services, Legendary’s financials are comparatively healthy. The company has no net debt and more than $500 million of cash on its balance sheet. Grode, who joined Legendary in 2018, says he’s seeking to combine the momentum of the studio’s movie franchises and the deep pockets of Apollo to acquire US and European #entertainment businesses focused on #film, #TV, #gaming and artificial intelligence, in deals that together could be worth tens of billions of dollars. That Legendary has been #Hollywood’s box-office leader in 2024 is a function of two circumstances. First, film output from its rivals has been minimal since the beginning of the year—and for the most part not blockbuster fare like the Dune and Kong pictures, which Warner Bros. distributed. Second, it’s the result of a strategy pursued by Grode and head of production Mary Parent to develop Legendary from a mere financier of movies and TV shows into a full-fledged studio handling the filmmaking process from script to screen. That allows Legendary to better control the quality of its titles and more accurately forecast their return on investment. Grode cut budgets on titles such as Netflix Inc.’s Enola Holmes and refocused Legendary’s spending on building franchises that can boost revenue across divisions that hadn’t always operated in sync. Dune is an example. Beyond the films, a spinoff series, Dune: Prophecy, is set to stream on Warner Bros.’ HBO Max service; Legendary licensed video gaming rights to developer Funcom Oslo AS; and the company’s comics arm is publishing graphic novels tied to the movies. Legendary’s so-called MonsterVerse, comprising the Godzilla and Kong characters, is undergoing similar treatment, with a TV series on Apple TV + and a mobile game slated for release this year. The company’s success is predicated on Grode’s ability to keep financing blockbusters with durable appeal—increasingly difficult in the Age of Streaming—and to keep the peace with distributors.

"One out of every five moviegoers has vanished." Twenty-percent of movie-goers just can't be bothered to turn up at theaters anymore. That appears to be the cost of the rise of video #streaming and the aftermath of the #pandemic. Viewing habits have changed, possibly forever. That sounds consistent with my own behavior (and I consider myself a bit of a movie buff). I don't think I watched more than two movies in all of 2023. I'm curious: do you still watch movies at the theater? Or are you now content to watch movies in the comfort of your living room (or portable device)? https://lnkd.in/gNM2QtnS

https://lnkd.in/gQxQisgY Contact: [email protected] A Ted Lazaris Film – “Cosmic Companions,” An Unlikely Buddy Trip This action-comedy film, featuring the unlikely duo of George, a clever yet slightly chubby everyman, and Zandor, a formidable and witty alien, is poised to captivate a wide array of viewers. Fans of classics like “Men in Black,” “Guardians of the Galaxy,” and “Ghostbusters” will find themselves at home with this blend of high-stakes interstellar adventure and earthbound humor. The film’s universal themes of friendship, bravery, and the thrill of exploration are tailored to resonate with audiences of all ages, from young adults seeking a burst of adrenaline to older viewers who appreciate the nuanced homage to sci-fi staples. For investors and production companies, this project represents a lucrative opportunity to tap into the perennially profitable genre of action-comedy, which has a proven track record for high returns. Films such as “The Martian,” which combined humor with science fiction, and “Deadpool,” which broke the fourth wall of superhero tropes, grossed significantly over their budgets, showcasing the public’s appetite for stories that blend excitement with laughter. In a market where franchise films and cinematic universes dominate, a fresh intellectual property like this stands out, offering the potential for not just box office success but also merchandising, spin-offs, and sequels. The unique visual appeal of characters like Zandor opens up avenues for action figures, while the nerdy charm of George lends itself to relatable and marketable content across platforms. This film’s engaging premise also lends itself to interactive experiences, from video games to virtual reality, increasing the potential for ancillary revenue streams. It’s a multi-faceted investment opportunity that speaks to the current zeitgeist of cross-platform entertainment consumption. With the right marketing strategy and a keen eye for audience engagement, this action-comedy could be the genesis of a highly profitable entertainment property that captures hearts, ignites imaginations, and opens wallets. Cosmic Companions

From the FT: Perhaps worse for The Walt Disney Company, the problem is not confined to Marvel Studios. Pixar Animation Studios and Lucasfilm also seem to have hit a wall. In 2019, Disney studios produced seven films that made $1bn or more but since then there has only been one: last year’s Avatar sequel. “Disney needs to start making hits again,” says Michael Nathanson, a media analyst at research firm MoffettNathanson. “They need to address the content pipeline, which has really suffered over the past few years.” The era of low interest rates that made billions in #streaming losses seem palatable is over, leaving traditional media groups to cope with high debt loads and intense competition for fickle streaming customers. The traditional #TV business is in decline. He acknowledges that Disney’s studios have hit a rough patch and is taking a hands-on approach to improving the quality of its movies. Iger has scaled back the number of films being made and is engaging in “candid” discussions with studio chiefs when films like The Marvels miss the mark. “With creativity, it’s not sometimes as precise as you want it to be — it’s not science or math,” he tells the Financial Times. “There’s risk in everything we do. But I think it’s important when you do something that doesn’t work to understand why.” Analysts and Disney executives say the problems at Marvel, Pixar and Lucasfilm can be traced back to the heady period following the launch of the Disney+ streaming service in 2019. Disney wanted to catch up to Netflix, and to do that it promised new original series at a low subscription price. The company’s number of subscribers soared — as did its content budget, which reached $30bn in 2022. All the Disney studios — but especially Marvel and Lucasfilm — were charged with developing binge-able new series in addition to their regular roster of feature films. The glut of Star Wars spin-offs and Marvel superhero shows on Disney+ over the past 18 months has led to diminishing viewing figures and often lacklustre critical responses. While Iger tries to revive Disney’s creative engines, he is also navigating the collapse of television businesses that for decades reliably delivered mountains of cash. Profits at Disney’s TV networks business unit fell by $1bn in the fiscal year 2023 as more customers moved to streaming services. Iger sounded the alarm about the collapse of the TV business in July at the annual gathering of media titans in Sun Valley. Linear television channels “may not be core to Disney”, Iger told CNBC, speaking from the ski resort town. “The business model . . . that has delivered great profits over the years, is definitely broken.” Some envision a scenario where a #tech company — say Apple or Amazon — would partner with ESPN as they seek to make #sports content a bigger part of their own streaming offerings. The benefits for Disney would include help in paying for ever-increasing sports rights.