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    Universal Pictures Spends Big for New 'Exorcist' Trilogy

    The deal, expected to be announced this week, is for more than $400 million and is a direct response to the streaming giants that are upending the film industry’s economics.LOS ANGELES — Heads are spinning in Hollywood: Universal Pictures and its streaming-service cousin have closed a $400 million-plus megadeal to buy a new “Exorcist” trilogy, signaling a sudden willingness to compete head-on with the technology giants that are upending entertainment industry economics.Donna Langley, the film studio’s chairwoman, teamed with Peacock, NBCUniversal’s fledgling streaming service, to make the purchase, which is expected to be announced this week, according to three people briefed on the matter. These people, who spoke on the condition of anonymity to discuss the still-private deal, said the price was in the vicinity of the $465 million that Netflix paid in March for two sequels to the 2019 whodunit “Knives Out.”Universal had no immediate comment.The “Knives Out” and “Exorcist” deals — both negotiated by Bryan Lourd, the Creative Artists superagent — solidify a new streaming gold rush. The eye-popping talent paydays of 2017 and 2018, when Netflix scooped up big-name television creators, have migrated to the film world.The proliferation of streaming services and their scramble for subscribers has driven up prices for established film properties and filmmakers. At the same time, traditional movie companies are under more pressure than ever to control those same creative assets; moviegoing has been severely disrupted by the pandemic and may never fully recover.Linda Blair as the possessed Regan in the original “Exorcist,” which was nominated for 10 Academy Awards, including best picture.Warner Bros. Entertainment, via Associated PressIt is surprising, however, that Universal and Peacock have come to the table in such a major way. NBCUniversal, which is owned by Comcast, has started to devote more resources to the little-watched Peacock. Programming from the Tokyo Olympics is available on the service, for instance. But Hollywood has heretofore viewed the year-old Peacock as unwilling to compete for top-tier movie deals.Universal’s decision to revisit “The Exorcist” is striking in and of itself. The R-rated 1973 film about a baffled mother (Ellen Burstyn) and her demonically possessed daughter (Linda Blair) was a global box office sensation — “the biggest thing to hit the industry since Mary Pickford, popcorn, pornography and ‘The Godfather,’” as Vincent Canby wrote in The New York Times in 1974. It has become a cultural touchstone, the type of film that fans and critics guard as sacrosanct.Universal is not remaking “The Exorcist,” which was directed by William Friedkin from a screenplay that William Peter Blatty adapted from his own novel. But the studio will, for the first time, return the Oscar-winning Ms. Burstyn to the franchise. (Two forgettable “Exorcist” sequels and a prequel were made without her between 1977 and 2004.) Joining her will be Leslie Odom Jr., a Tony winner for “Hamilton” on Broadway and a double Oscar nominee for “One Night in Miami.” He will play the father of a possessed child. Desperate for help, he tracks down Ms. Burstyn’s character.Suffice it to say, Satan is not thrilled to see her again.David Gordon Green, known for Universal’s blockbuster 2018 reboot of the “Halloween” horror franchise, will direct the new “Exorcist” films and serve as a screenwriter. The horror impresario Jason Blum (“Get Out,” the “Purge” series) is among the producers, along with David Robinson, whose company, the independent Morgan Creek Entertainment, has held the “Exorcist” movie rights. The Blumhouse film executive Couper Samuelson is among the executive producers. (Blumhouse has a first-look deal with Universal.)The first film in the trilogy is expected to arrive in theaters in late 2023. Under the terms of the deal, the second and third films could debut on Peacock, according to one of the people briefed on the matter.Donna Langley, Universal’s chairwoman, and the horror maestro Jason Blum, who will help produce the new trilogy.Alberto E. Rodriguez/Getty Images for CinemaconIn a business sense, the deal reflects the boldness of Ms. Langley, chairwoman of the Universal Filmed Entertainment Group. In the wake of the pandemic, which brought movie production to a halt, she led an effort to develop safety protocols to get the assembly lines moving again. In the case of “Exorcist,” she led a push inside NBCUniversal to pull off the big-money deal.The cost of the package is so high because Ms. Langley and her deals maven, Jimmy Horowitz, did not play by Hollywood’s old economic rules; they took a risk and played by new ones — those used by streaming insurgents like Netflix, Amazon and Apple to outbid traditional film companies, at least until now.The old model, the one that studios have used for decades to make high-profile film deals, involves paying fees upfront and then sharing a portion of the revenue from ticket sales, DVD purchases and television rerun licensing around the world. The bigger the hit, the bigger the “back end” paydays for certain talent partners.The streaming giants have done it differently. They pay more upfront — usually much, much more — in lieu of any back-end payments, which gives them complete control over future revenue. It means that talent partners get paid as if their projects are hits before they are released (or even made). The risk for talent: If their projects become monster hits, they do not get a piece of the windfall. More

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    Skipping the Olympics Is ‘Not an Option’ for Many Advertisers

    Companies have spent more than $1 billion on ads timed to the Tokyo Games, which will take place in empty arenas as the pandemic lingers.The Olympics have long been an almost ideal forum for companies looking to promote themselves, with plenty of opportunities for brands to nestle ads among the pageantry and feel-good stories about athletes overcoming adversity — all for less than the price of a Super Bowl commercial.But now, as roughly 11,000 competitors from more than 200 countries convene in Tokyo as the coronavirus pandemic lingers, Olympic advertisers are feeling anxious about the more than $1 billion they have spent to run ads on NBC and its Peacock streaming platform.Calls to cancel the more than $15.4 billion extravaganza have intensified as more athletes test positive for Covid-19. The event is also deeply unpopular with Japanese citizens and many public health experts, who fear a superspreader event. And there will be no spectators in the stands.“The Olympics are already damaged goods,” said Jules Boykoff, a former Olympic soccer player and an expert in sports politics at Pacific University. “If this situation in Japan goes south fast, then we could see some whipsaw changes in the way that deals are cut and the willingness of multinational companies to get involved.”Panasonic, a top sponsor, will not send its chief executive to the opening ceremony, which is scheduled for Friday. Neither will Toyota, one of Japan’s most influential companies, which also delivered a blow to the Games on Monday when it said it had abandoned its plans to run Olympics-themed television commercials in Japan.In the United States, marketing plans are mostly moving ahead.For NBCUniversal, which has paid billions of dollars for the exclusive rights to broadcast the Olympics in the United States through 2032, the event is a crucial source of revenue. There are more than 140 sponsors for NBC’s coverage on television, on its year-old streaming platform Peacock and online, an increase over the 100 that signed on for the 2016 Summer Games in Rio de Janeiro.“Not being there with an audience of this size and scale for some of our blue-chip advertisers is not an option,” said Jeremy Carey, the managing director of the sports marketing agency Optimum Sports.A United Airlines commercial featuring the Olympic gymnast Simone Biles will appear on Peacock.United AirlinesIn a Michelob Ultra commercial, the sprinting star Usain Bolt points joggers toward a bar. Procter & Gamble’s campaign highlights good deeds by athletes and their parents. Sue Bird, a basketball star, promotes the fitness equipment maker Tonal in a spot debuting Friday. Chris Brandt, the chief marketing officer of Chipotle, said that the situation was “not ideal,” but that the company still planned to run a campaign featuring profiles of Olympic athletes.“We do think people will continue to tune in, even without fans, as they did for all kinds of other sports,” Mr. Brandt said. “It’s going to be a diminishing factor in terms of the excitement, but we also hope that the Olympics are a bit of a unifier at a time when the country can seem to be so divided every day.”NBCUniversal said it had exceeded the $1.2 billion in U.S. ad revenue it garnered for the 2016 Games in Rio and had sold all of its advertising slots for Friday’s opening ceremony, adding that it was still offering space during the rest of the Games. Buyers estimate that the price for a 30-second prime-time commercial exceeds $1 million.Television has attracted the bulk of the ad spending, but the amount brought in by digital and streaming ads is on the rise, according to Kantar. Several forecasts predict that TV ratings for the Olympics will lag the Games in Rio and London, while the streaming audience will grow sharply.NBCUniversal said that during the so-called upfront negotiation sessions this year, when ad buyers reserve spots with media companies, Peacock had received $500 million in commitments for the coming year.“You won’t find a single legacy media company out there that is not pushing their streaming capabilities for their biggest events,” Mr. Carey, the Optimum Sports executive, said. “That’s the future of where this business is going.”United Airlines, a sponsor of Team U.S.A., scrapped its original ad campaign, one that promoted flights from the United States to Tokyo. Its new effort, featuring the gymnast Simon Biles and the surfer Kolohe Andino, encourages a broader return to air travel.“It didn’t make much sense to focus on a specific destination that Americans might not be able to travel to,” said Maggie Schmerin, the airline’s managing director of advertising and social media..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}United’s campaign will appear in airports, on social media and on streaming platforms, including Peacock, but not on TV. Ms. Schmerin said the airline wanted to be “matching customers where they are, based on their viewing habits.”Ad agency executives said companies were regularly checking in for updates on the Covid outbreak in Japan and might fine-tune their marketing messages accordingly.“Everyone is a little bit cautious,” said David Droga, the founder of the Droga5 ad agency, which worked on an Olympics campaign for Facebook showcasing skateboarders. “People are quite fragile at the moment. Advertisers don’t want to be too saccharine or too clever but are trying to find that right tone.”Many companies advertising during the Games are running campaigns that they had to redesign from scratch after the Olympics were postponed last year.“We planned it twice,” said Mr. Carey of Optimum Sports. “Think about how much the world has changed in that one year, and think about how much each of our brands have changed what they want to be out there saying or doing or sponsoring. So we crumpled it up, and we started over again.”Visa, a sponsor, will not hold promotional gatherings and client meetings in Tokyo and will not send any senior executives, said Lynne Biggar, the company’s global chief marketing officer. The company’s commercial during the opening ceremony broadcast starts with a soccer game before showing Visa being used in transactions around the world.Visa scrapped plans for in-person Olympics events in Tokyo, but is debuting a commercial during the opening ceremony broadcast.VISANBCUniversal’s sports calendar also includes the Super Bowl in February, for which 85 percent of ad slots are already sold or are in discussions, the company said. Also on the lineup: the FIFA World Cup in Qatar in late 2022 and the Beijing Winter Olympics in February, both of which have put the advertising industry in a difficult position because of China’s and Qatar’s poor records on human rights.First, though, ad executives just want the Tokyo Games to proceed without incident.“We’ve been dealing with these Covid updates every day since last March,” said Kevin Collins, an executive at the ad-buying and media intelligence firm Magna. “I’m looking forward to them starting.” More

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    Comcast Earnings Beat Expectations Amid Shift to Streaming

    #styln-signup .styln-signup-wrapper { max-width: calc(100% – 40px); width: 600px; margin: 20px auto; padding-bottom: 20px; border-bottom: 1px solid #e2e2e2; } If you want a clear picture of the state of the media industry in upheaval, Comcast offers a good snapshot. The company, which includes NBC, Universal Pictures, several theme parks, and the Peacock streaming service, beat […] More

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    Racist Moments in WWE Catalog Are Missing on Peacock Streaming

    Peacock, NBCUniversal’s streaming service, is now showing old and new episodes of WWE Network wrestling. Some troubling segments in the network’s history disappeared in the transfer.Fans of the WWE Network have seen and heard racist tropes in the ring for years.In 1990, during a showdown between Roddy Piper and Bad News Brown, a Black wrestler, Mr. Piper, who is white, showed up to the match with half his face painted black.In 2005, Vince McMahon, the chief executive of WWE, used a racial slur repeatedly in a prepared skit before he was taken down by Dwayne Johnson, then known as the Rock.Until recently, those segments were available to watch on the WWE Network, which allowed subscribers to revisit old episodes and seasons of WrestleMania going back to the 1980s. But this month, after WWE episodes began moving to Peacock, NBCUniversal’s fledgling streaming service, longtime viewers of wrestling noticed they could not find either segment.“The whole match is gone,” said Christopher Jeter, 30, who has watched professional wrestling since he was 10 and now writes about it for Daily DDT, a news and opinion site about WWE. “I wouldn’t say it’s a big loss.”NBCUniversal said that Peacock was “reviewing WWE content to ensure it aligns with Peacock’s standards and practices,” as it does other shows and films on the platform.“Peacock and WWE are reviewing all past content to ensure it fits our 2021 standards,” WWE said.NBCUniversal said in January that Peacock had acquired exclusive streaming rights to WWE Network content through a multiyear agreement.In March, the company announced that Peacock would feature WWE “fan-favorite content at launch, including all past WrestleManias leading up to WrestleMania 37.”The company said that Peacock would continue to add WWE Network content to its library, making the entire archive available to fans.The removal of the segments come as other streaming services and entertainment companies have sought to give audiences context for older films and television shows that feature offensive content.Disney’s streaming service includes a 12-second disclaimer that cannot be skipped before films like “Dumbo” and “Peter Pan” that tells viewers they will see “negative depictions” and “mistreatment of people or cultures.”“These stereotypes were wrong then and are wrong now,” the disclaimer warns. “Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together.”This month, Turner Classic Movies showed 18 classic films, including “The Jazz Singer” and “Breakfast at Tiffany’s,” that were preceded by commentary from film experts who prepared viewers for scenes they could find jarring or upsetting.HBO Max initially removed “Gone With the Wind” from its streaming service, then added it again with a four-minute introduction by the TCM host Jacqueline Stewart, who explains the enduring cultural importance of the film even as it “denies the horrors of slavery as well as its legacies of racial inequality.”Last June, an NBC spokesman said four episodes of “30 Rock” that featured blackface were being removed from circulation at the request of Tina Fey, the show’s creator, and Robert Carlock, an executive producer and showrunner.Mr. Jeter, the WWE fan who writes about wrestling, said that racist and sexist depictions of women, Black people and other people of color have long been a part of professional wrestling.“It became such a part of watching the product that it became expected,” he said. “But it’s not why I watch wrestling.”Most fans, he said, watch wrestling because they enjoy the combination of athleticism and dramatic storytelling. The racist tropes were often a distraction from that, Mr. Jeter said.“I’m sure there are fans who are saying, ‘Why are you censoring?’” he said. “But it really isn’t a big deal that they’re getting rid of these stories and segments that haven’t really aged well, and weren’t really good at the time.” More

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    Ad With Realistic Take on Breastfeeding Airing at Golden Globes

    #masthead-section-label, #masthead-bar-one { display: none }Awards SeasonliveWhat to ExpectliveLatest UpdatesHow to Watch the GlobesOur Movie PredictionsGolden Globe NomineesAdvertisementContinue reading the main storySupported byContinue reading the main storyOn TV, a Rare Realistic Look at BreastfeedingA commercial from the parent products company Frida, to be broadcast during the Golden Globes, is part of a wider effort to show the struggles of the “fourth trimester.”CreditCredit…Frida MomFeb. 28, 2021Updated 5:10 p.m. ET More