Well, the answer is slightly more complicated than “Omicron” or “streaming.”
Review Movies The Super Bowl!
The Super Bowl will air globally on February 13, 2022. While history has shown that the films slated for that weekend (Death on the Nile and Marry Me) can do fine, it is a huge marketing opportunity for a slew of upcoming movies Morbius streaming.
No, I don’t know what films will get high-profile commercials during the big game, although Warner Bros. hasn’t plugged a big movie since Batman Begins in 2005. Regardless, even if they wanted to throw an upcoming movie into the January 21 or January 28 weekend, it would mean they’d be missing a chance to plug that film during the most-watched television event of the year. Sure, we may (speculation alert) see first looks at some big summer tentpoles, we will also likely get reminders for Uncharted, Operation Fortune, The Lost City, Morbius and Sonic the Hedgehog 2, all of which open prior to the summer season.
Review Movies The Streaming Factor
Yes, the industry is dealing with Wall Street’s current preference for streaming, as well as the after-effects of studios selling off some potentially commercial flicks to streaming platforms as a way to get quick cash to weather the storm. I’d imagine Sony’s Hotel Transformania (a lack of Adam Sandler notwithstanding) would have given the box office a mild jolt (the previous three installments have grossed $1.3 billion worldwide) had it opened theatrically instead of debuting this past month on Amazon Prime.
Encanto might have been a bit leggier (and opened bigger) had it not been essentially treated as a Disney+ flick with a courtesy 31-day theatrical engagement (as opposed to a theatrical event which would eventually debut on Disney+). I can’t say to what extent Warner’s King Richard and Matrix 4 being available on HBO Max, along with the more mainstream Oscar flicks being at 20th Century as Disney was prioritizing Disney+, but it probably didn’t help.
Review Movies Epilogue
The “good” news is Belli Ciao streaming we’ve been here before. In early 2018, Black Panther earned $700 million domestic and $1.346 billion worldwide while steamrolling a slew of tentpole flicks throughout February and March. This wasn’t Titanic sinking a bunch of small movies. The likes of Tomb Raider, Pacific Rim: Uprising and A Wrinkle in Time might have been franchise-friendly contenders absent the superior all-quadrant blockbuster. Studios held back in 2019 on stuffing the pre-Easter season with copious tentpoles.
WB moved Godzilla: King of the Monsters from March to May and everyone kept their distance from Captain Marvel (March 8). Alas, January’s Glass slightly underperformed and February’s The LEGO Movie 2 tanked, leaving Hollywood waiting for Marvel. Cut to 2022, and everyone’s counting on The Batman (March 4). I can’t promise that The Batman will kick off a “business as usual” pre-summer season which will lead to a business-as-usual summer, but fingers crossed.
Artists To Meta: We Don’t Trust You
The Australian artist, who creates Afro-futuristic abstract NFTs, has 20,000 followers on Instagram, the Meta subsidiary. The platform, which she says originally helped her create a community, sell her work and grow her audience, has changed. Scams, data-privacy concerns and copyright infringements of her art are now an everyday part of life and she’s interacting on Instagram a lot less lately.
Meta plans to dive into the world of internet art known as non-fungible tokens, or NFTs, according to Financial Times. But Attafuah says she’s not seduced by the possibilities of commerce on Facebook, another Meta subsidiary, which boasts nearly 3 billion global followers .
“To be honest,” she says, “I don’t really trust any of these platforms.”
NFT artists around the world contacted by Forbes echoed Attafuah’s concerns. Many have begun fleeing Instagram, migrating to other platforms like Twitter or gradually reducing their use of it. They expressed skepticism that Meta, a social-media behemoth, could develop, launch and manage a marketplace where they weren’t looking over their shoulders, alert to the next Diabolik streaming swindle.
Itzel Yard, the best-selling female NFT artist in the world, said Instagram is sprawling with impersonators. “In my case, someone scraped my Instagram, like they just took everything from it and they posted it on OpenSea” – another online marketplace – “and they started trying to sell it,” Yard told Forbes.
NFT experts and artists say they’re wary of Meta’s gambit for a number of reasons. It’s a centralized business, while the NFT community prizes decentralization and autonomy. Meta has tried to censor content on its platform, while NFT artists value free expression. There’s also the suspicion that Meta is only jumping on the bandwagon to capitalize on a Web3 innovation that can make a lot of money. In January, NFT trading broke records, topping $4 billion in sales on OpenSea as celebrities and fashion brands got involved.