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      Searching for Someone to Deliver a Hollywood Ending

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      Thanks to a changing culture and differing business models, the entertainment industry lacks power brokers with the stature to bring on labor peace.The 1954 Hollywood classic “On the Waterfront” ends with unionized longshoremen on a dock. They’re fed up and standing idle, staring at a bloodied Marlon Brando. All of a sudden, an authoritative man in a fancy suit and a natty hat arrives. “We gotta get this ship going,” he barks. “It’s costing us money!”Over the last week, as TV and movie actors went on strike for the first time in 43 years, joining already striking screenwriters on picket lines, Hollywood started looking around for its version of that figure — someone, anyone, to find a solution to the standoff and get America’s motion picture factories running again.But the more the entertainment industry looked, the more it became clear that such a person may no longer exist.“Back in the day, it was Lew Wasserman who would enter the talks and move them along,” said Jason E. Squire, professor emeritus at the University of Southern California’s School of Cinematic Arts, referring to the superagent turned studio mogul. “Today, it is different. Traditional studios and the technology companies that have moved into Hollywood have different cultures and business models. There is no studio elder, respected by both sides, to help broker a deal.”At the moment, no talks between union leaders and the involved companies are happening and none have been scheduled, with each side insisting the other has to make the first move.Two federal mediators have been studying the issues that led to the breakdown in negotiations. Agents and lawyers are engaged in a flurry of back-channel phone conversations, encouraging union leaders and studio executives to soften their unmovable positions; Bryan Lourd, the Creative Artists Agency heavyweight, asked the Biden administration and Gov. Gavin Newsom of California to get involved, according to three people briefed on the matter, who spoke on condition of anonymity because of the sensitivity of the labor situation. A spokesman for Mr. Lourd declined to comment.Emotions must cool before talks restart, said one entertainment lawyer who has been working in the background to bring the sides together again. When does that happen? He said it could be next week or it could be-mid August.Starting in 1960, the last time both actors and writers were on strike, and continuing into the 1990s, the person who could break an impasse was the feared Wasserman. He commanded the respect of both labor and management and could push beyond the colorful personalities in each camp.It was an era when the entertainment business, for the most part, was much less complicated. Studios had not become buried inside conglomerates and beholden to lucrative toy divisions, not to mention having to deliver quarterly growth.Bob Daly, who ran Warner Bros. in the 1980s and ’90s, said he thought it was troubling that the labor strife had gotten personal.Valerie Macon/WireImage, via Getty ImagesBob Daly, who ran Warner Bros. in the 1980s and ’90s, picked up the mantle from Wasserman, who died in 2002. Mr. Daly, who went on to run the Los Angeles Dodgers, said by phone that he was no longer involved in Hollywood’s labor strife. But he had some advice.“One thing that has troubled me is that it has become personal, which I think is a mistake,” Mr. Daly said. “The only way this is going to get solved is for both sides to get in a room and talk, talk, talk until they find compromises. Neither side is going to get everything it wants. You can yell and scream inside that room — I did myself many times — but don’t come out until you have a deal.”The last Hollywood strike took place in 2007 and 2008. The Writers Guild of America walked out over a variety of issues, with compensation for shows distributed online a major sticking point. It was resolved after 100 days (the current writers’ strike was 81 days old on Thursday) when Peter Chernin, then president of News Corporation, and Robert A. Iger, Disney’s relatively new chief executive at the time, took a hands-on role in solving the stalemate. Barry M. Meyer, who was chairman of Warner Bros., and Jeffrey Katzenberg, then the chief executive of DreamWorks Animation, also played roles.All those men, with the possible exception of Mr. Chernin, are now busy with other matters or viewed as villains by actors.Mr. Iger, who returned to run Disney in November after a brief retirement, became a picket line piñata last week after telling CNBC that, while he respected “their right and their desire to get as much as they possibly can,” union leaders were not being “realistic.” The backdrop of his interview, a meeting of elite media and technology executives in Sun Valley, Idaho, poured gasoline on the moment.Mr. Katzenberg largely left the entertainment business in 2020 after the collapse of Quibi, his streaming start-up. In April, Mr. Katzenberg was named a co-chair of President Biden’s re-election campaign.Mr. Meyer retired from Hollywood in 2013 after a celebrated 42 years and went on to sit on the board of the Federal Reserve Bank of San Francisco. “I’ve had nothing to do with the negotiations this year,” he said in an email. “That being said, it doesn’t stop me from feeling sad about the way things are stuck right now.”Peter Chernin was instrumental in ending the last writers’ strike when he was president of News Corporation. He left Hollywood’s corporate ranks in 2009.Annie Tritt for The New York TimesThat leaves Mr. Chernin. He left Hollywood’s corporate ranks in 2009 and founded an independent company that includes a film and television production arm — he has a deal with Netflix — and a sprawling investment portfolio focused on new technology and media companies. In recent days, Mr. Chernin told one senior associate that he had not been approached for help in the strikes, but that he would be hard-pressed to say no if asked.A spokeswoman for Mr. Chernin declined to comment.The studios that now must figure out how to appease actors and writers are wildly different in size and have diverging priorities. They all say they want to resolve the strikes. But some are more willing than others to compromise and immediately restart talks. The willing camp includes WarnerBros. Discovery, while Disney, which owns Disney+ and Hulu, has taken a harder line, according to two people involved in the negotiations. WarnerBros. Discovery and Disney declined to comment.Some people in Hollywood have been looking to elected officials to help smooth a path, but so far direct involvement, if any, has been unclear. The mayor of Los Angeles, Karen Bass, last week called the actors’ strike “an urgent issue that must be resolved, and I will be working to make that happen.” A spokesman did not respond to queries about what she was specifically doing.Mr. Newsom said in May that he would intervene in the writers’ strike “when called in by both sides.” He has not commented on the actors’ walkout, and a spokesman did not respond to queries.With two unions on strike, it could be months before new contracts can be negotiated and ratified. The Alliance of Motion Picture and Television Producers, which negotiates on behalf of the biggest studios, has decided to first focus on resolving differences with SAG-AFTRA, as the actors’ union is known, according to the two people involved in the negotiations.Cameras may not begin rolling again until January, given the time it takes to reassemble casts and crews, with the end-of-year holidays as a complication, executives at WarnerBros. Discovery and other companies told staff members this week.SAG-AFTRA and the Writers Guild of America are striking largely because, they say, entertainment companies — led by Netflix — have adopted unfair compensation formulas for streaming. This was the biggest sticking point at the negotiating table, much more so than union demands for guardrails around artificial intelligence, according to three people briefed on the matter. (The companies defended their proposed improvements to the contract as “historic.”)Under the now-expired contracts, streaming services pay residuals (a form of royalty) to actors and writers based on subscriber totals in the United States and Canada. The actors’ union, in particular, has made it clear that a new contract must go back to a version of the old way — with streaming services using pay formulas that are based on the popularity of shows and movies, the way traditional television channels have done for decades, with Nielsen as an independent measuring stick.Streaming companies refuse to divulge granular viewership data; secrecy is part of Big Tech’s culture. Independent measuring companies, including Nielsen, have tried to fill the gap, but they have provided only vague information — what is generating a lot of views, what is not. Nobody except the companies knows if a streaming show like “Stranger Things” is watched by 100 million people worldwide or 50 million.Netflix signaled on Wednesday that it saw the data it discloses as sufficient. The company posts weekly top-10 lists on its site; the rankings are based on “engagement,” which Netflix defines as total hours viewed divided by run time.“We believe sharing this engagement data on a regular basis helps talent and the broader industry understand what success looks like on Netflix — and we hope that other streamers become more transparent about engagement on their services over time,” Netflix said in its quarterly letter to shareholders.John Koblin More

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      Striking Actors Join Writers on Picket Lines in LA and NYC

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      In Los Angeles and New York, actors and screenwriters braved the heat to admonish the major studios and demand a new deal.It was 10 a.m., adoring union members had already more or less mobbed their president, Fran Drescher, and the crowd was growing by the minute.Outside Netflix offices in Hollywood, a festive, buoyant mood had taken over the intersection of Sunset Boulevard and Van Ness Avenue. It was a workers’ strike, to be sure. But as smiling protesters eagerly joined in chants and high-fived their picket signs, it felt a little like a summer Friday street party. One with a few famous guests.“We’re told that we should just be so grateful to get to do what we love to do — but not being compensated, not being protected while they are profiting off of our work,” said Amanda Crew from HBO’s “Silicon Valley,” who walked the picket line with Dustin Milligan from “Schitt’s Creek.”“That’s the myth of the actor: You’re doing art so you should just be so grateful because you’re living your dream. Why? Do we do that to doctors? We bring so much joy to people by entertaining them,” Crew added.It was the first of what could be many days of marching for actors, who picketed at locations across the country. They chanted, “Actors and writers unite!” as they marched along a short block in Times Square where Paramount conducts business; they passed out bottles of cold water and cans of La Croix outside 30 Rockefeller Plaza in Midtown Manhattan; and they bounced their picket signs to the sounds of Jay-Z’s “Dirt Off Your Shoulder” as it blared from a speaker in Hollywood.A day earlier, the Hollywood actors’ union, known as SAG-AFTRA, approved a strike for the first time in 43 years, joining forces with writers, who walked out in May.“There’s a renewed sense of excitement and solidarity,” said Alicia Carroll, a strike captain for the Writers Guild of America. “Writers have been out here for upwards of 70 days. It’s been a while and it’s hot. People are tired. So this is a confidence boost that we’re not alone in the industry in terms of issues.”The actors Bill Irwin and Susan Sarandon picketed in New York on Friday.Andres Kudacki for The New York TimesThe actors and writers have been unable to agree to new contracts with the Alliance of Motion Picture and Television Producers, which represents major studios and streamers. Pay is a central issue, but the negotiations around compensation have been complicated by the emergence of streaming services and the rise of artificial intelligence.Actors, including Ms. Drescher, the president of their union, have cast the moment as an inflection point, arguing that the entire business model for the $134 billion American movie and television business has changed. They say their new contract needs to account for those changes with various guardrails and protections, including increased residual payments (a type of royalty) from streaming services. They are also worried about how A.I. could be used to replicate their work: scripts in the case of writers and digital replicas of their likenesses for actors.Hollywood companies have insisted that they worked in good faith to reach a reasonable deal at what has also been a difficult time for an industry that has been upended by streaming and is still dealing with the lingering effects of the pandemic.“The union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry,” the studio alliance said in a statement after SAG-AFTRA announced the strike.On Friday, writers said they were heartened to be joined on the picket lines by actors, many of whom have been marching with them for months in the black-and-yellow T-shirts that have become something of a uniform. It is the first time since 1960 that actors and screenwriters have been on strike at the same time.WGA leaders have shared picket line advice: Bring plenty of sunscreen and set a timer to reapply, watch out for traffic. But some actors were already veterans.The actor Greg Germann being interviewed at Netflix’s office in Los Angeles on Friday.Jenna Schoenefeld for The New York Times“I have not been to a picket without SAG-AFTRA members there. Sometimes they have even outnumbered us here in the east,” said Lisa Takeuchi Cullen, a vice president of the Writers Guild of America, East. “They have been our stalwart supporters and comrades, and we intend to reciprocate.”“Suddenly,” she added, “the sleeping giant has awakened.”Indeed, some of the union’s most prominent members took to the streets Friday and drew notice as the afternoon wore on. Jason Sudeikis showed up at 30 Rock; Susan Sarandon went to the Flatiron neighborhood, where picketers targeted Warner Bros. Discovery; and Sean Astin marched outside the Netflix offices in Los Angeles.“Our careers have been turned into gig work,” Mr. Astin said over a chorus of frenetic honks of support from passing cars. “It’s not just that we’re not going to take it anymore — we actually can’t take it anymore.”An animated Ms. Drescher had arrived at the same location earlier in the day and was met with an exuberant crowd that wrapped itself around her.“This strike and this negotiation is going to impact everybody, and if we don’t take control of this situation from these greedy megalomaniacs, we are all going to be in threat of losing our livelihoods,” Ms. Drescher said.“I’m not really here for me as much as the 99.9 percent of the membership who are working people who are just trying to make a living to put food on the table, pay rent and get their kids off to school,” she added. “They are the ones that are being squeezed out of their livelihood, and it’s just pathetic.”Shara Ashley Zeiger, an actor, brought her 2-year-old, Lily, to the picket in front of NBC’s offices in New York. A sign protruded from her daughter’s stroller. Lily played with her food — and a tambourine.“The effects of this deal directly affect my daughter and my family,” Ms. Zeiger said.She added: “I had had a role on a project that was on a streamer, and their deal was they didn’t have to pay me residuals for two years. And it was in the middle of the pandemic.”Thousands of miles west in Los Angeles, Evan Shafran, an actor who had taken it upon himself to put together an hourslong playlist for the strike, wondered whether he might eventually need to apply for Medi-Cal, the state’s medical assistance program. He was able to string together enough work to pay for health insurance this year, but he could not be sure how things would pan out in the future.And last week, Mr. Shafran said, his car was stolen. But he took an Uber from his home in the San Fernando Valley to the Netflix offices anyway.“I spent $100 to come protest today even though I’m out of work,” he said. “I need to be out here.” More

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      in Television

      How Netflix Plans Total Global Domination, One Korean Drama at a Time

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      As “Squid Game” showed, success with audiences around the world can come from a laser focus on local taste.They met in a 20th-floor conference room in Seoul named for one successful project with Korean talent — “Okja,” a 2017 film of one girl’s devotion to a genetically modified super pig — to discuss what they hoped would become another hit.Quickly, the gathering of Netflix’s South Korea team became an unhappy focus group, with a barrage of nitpicks and critiques about the script for a coming-of-age fantasy show.One person said the story line pulled in too many fantastical — and foreign — elements instead of focusing on character and plot. The creative components struck another person as too hard to grasp, and out of touch.Finally, the executive who was championing the project offered a diagnosis: The writer had watched too much Netflix.Inspired by the streaming service’s success in turning Korean-language shows into international hits, the writer wanted this show to go global, too, and thought more far-fetched flourishes would appeal overseas.The fix, the executive said, was the opposite. The script needed to “Koreanize” the show, ground it in local realism and turn some foreign characters into Korean roles.Netflix wants to dominate the entertainment world, but it is pursuing that ambition one country at a time. Instead of creating shows and movies that appeal to all 190 countries where the service is available, Netflix is focusing on content that resonates with a single market’s audience.“When we’re making shows in Korea, we’re going to make sure it’s for Koreans,” said Minyoung Kim, Netflix’s vice president of content in Asia. “When we’re making shows in Japan, it is going to be for the Japanese. In Thailand, it’s going to be for Thai people. We are not trying to make everything global.”Front, a robot doll from the show “Squid Game.” Back, Minyoung Kim, Netflix’s vice president of content in Asia, who brought the show to the world.Chang W. Lee/The New York TimesNetflix’s 2023 Emmy nominations — a respectable if not record-breaking haul for the streaming service — tell one story of its ambitions: It received nods Wednesday for its prestige drama “The Crown,” its comedy-drama “Beef” and its reality shows “Love Is Blind” and “Queer Eye.”In addition to that wide spectrum of English-language programming, Netflix’s ambition is to grow in relatively untapped regions like Asia and Latin America, beyond its saturated core markets in the United States and Europe, where subscriber growth is slowing. It is allocating more of its $17 billion annual content budget to expanding its foreign language programming and attracting customers abroad.But the company is also betting that a compelling story somewhere is compelling everywhere, no matter the language. This year, Netflix developed “The Glory,” a binge-worthy revenge saga about a woman striking back against childhood bullies, which cracked the top five most-watched non-English-language TV shows ever on the service. Before that, at one point “Extraordinary Attorney Woo,” a feel-good show about a lawyer with autism, was in the weekly Top 10 chart in 54 countries. Last year, 60 percent of Netflix subscribers watched a Korean-language show or movie.The overseas content has also taken on greater significance with the Hollywood writers’ strike, in which Netflix has become a focal point of frustration for the ways streaming services have upended the traditional television model. In April, before the writers went on strike, Ted Sarandos, one of Netflix’s co-chief executives, said that he hoped there wouldn’t be a strike and that he would work toward a fair deal. But he also promised, “We have a large base of upcoming shows and films from around the world,” adding that Netflix had to “make plans” for a worst-case scenario.In building an audience abroad, Netflix has a head start on other major streaming platforms, although Disney and Amazon have announced plans to build their catalogs of international content. In many Asian markets, Netflix is also competing with a local streaming option — often created by broadcasters wary of ceding control to foreign media giants.Asia, Netflix’s fastest-growing region, is a key battleground because customers watch a higher percentage of programming in their native tongues. Netflix already has shows in more than 30 Asian languages.That’s where Ms. Kim, 42, comes in.Ms. Kim joined Netflix in 2016. Her job is, essentially, to help Netflix do something that has never been done before: build a truly global entertainment service with shows in every market, while selling Americans on the appeal of foreign-language content. If she is daunted by the demand, she doesn’t show it.She is chatty and direct, with an almost encyclopedic knowledge of Korean television dramas. But perhaps most importantly for her task, she is the woman who gave the Netflix-watching world “Squid Game.”‘Don’t expect miracles’In 2016, Netflix rented Dongdaemun Design Plaza, a Seoul landmark and futuristic exhibition space, for a red-carpet affair featuring the stars of one of its biggest shows at the time: “Orange Is the New Black.”The hors d’oeuvres were served, on theme with the show, on food trays meant to mimic prison. Netflix was arriving in Korea’s entertainment industry with a big splash. But the tongue-in-cheek humor felt inhospitable and culturally out of touch, according to industry people who attended. It left the impression of an American company that did not understand Korea.It was a clumsy start. A few months later, when Ms. Kim began in her role as Netflix’s first content executive in Asia with a focus on South Korea, she warned the company’s executives: “Don’t expect miracles.”Ms. Kim said she needed to make Netflix feel less foreign and sell creators on why they should work with the company.She traveled to visit producers at their offices instead of summoning them to see her. She arranged regular boozy dinners with producers — the custom in South Korea — knowing that it was difficult to gain their trust until they got drunk with her.Over lunch, where she had a steaming bowl of beef offal soup, she described her strategy.“Here, you first have to build a relationship,” Ms. Kim said. “At the time, I think the way we approached things felt very transactional and aggressive. When it comes to Asian partners, oftentimes it’s more than just the money we put on the table.”The 2021 show “Squid Game” became the most-watched show ever on Netflix and spurred interest in more Korean shows and movies.Noh Juhan/NetflixEarly in her tenure, she came across a movie script called “Squid Game” by Hwang Dong-hyuk, a respected local filmmaker. He had written it a decade earlier and could never find a studio to finance it. She said she immediately loved the irony of a gory “death game” thriller based around traditional Korean children’s games. She thought the concept might work better as a TV show, allowing for more character development than a two-hour film.But it seemed like a strange choice for one of her first big bets. Similar titles were in the young-adult genre, such as “The Hunger Games” or “Battle Royale,” a Japanese cult film in which a group of students fight to the death.“Who wants to see a death game with poor old people?” she recalled being asked by a member of her team.But after she saw the set designs, she was convinced that it would be a big hit in Korea. Netflix decided to change the English title to “Round Six” to appeal to an international audience. Near the release date, Mr. Hwang asked to change the title back because he felt that “Squid Game” was closer to the show’s essence.Much to everyone’s surprise, “Squid Game” garnered an enormous number of views in South Korea and across the world. It was a sensation that broke into the cultural zeitgeist, complete with a “Saturday Night Live” skit and Halloween costumes. And Netflix finally threw the right kind of party for the show’s Korean cast: an after-party, after dominating last year’s Emmy Awards.“Squid Game” changed everything. It became the most-watched show ever on Netflix, and it spurred interest in other Korean content. In April, to coincide with a visit to the United States by South Korea’s president, Yoon Suk Yeol, Netflix said it was planning to invest $2.5 billion in Korean shows and movies in the next four years, which is double its investment since 2016.After decades of Hollywood’s delivering blockbusters to the world, Netflix is trying to flip the model. Mr. Sarandos said that “Squid Game” proved that a hit show could emerge from anywhere and in any language and that the odds of success for a Hollywood show versus an international show were not that different.“That’s really never been done before,” he said at an investor conference in December. “Locally produced content can play big all over the world, so it’s not just America supplying the rest of world content.”‘Green-light rigor’Global expansion requires a guiding principle. For Ms. Kim, that’s “green-light rigor,” a mind-set she brought to Netflix’s office in the Roppongi district of Tokyo, where she moved last year to oversee the content teams in Asia-Pacific except for India. In some Asian countries, she explained, Netflix has a more limited budget, so the company has to select only the “must-haves” and pass on “nice-to-haves.” Green-light rigor also means not pandering to what Netflix imagines viewers across the world want.How that discipline played out in practice was on display when the Japanese content team met to discuss whether to option a book for a show in late January.The book in question was a love story set in a dystopian world with elements of science fiction. A data analyst said that based on the show’s projected “value,” he wondered whether Netflix would recoup its investment because of the sizable budgets usually required for science fiction.Kaata Sakamoto, who heads the Netflix Japanese content team, said the company had helped creators working in their own countries in their own languages reach a global audience.Chang W. Lee/The New York TimesKaata Sakamoto, who heads the Japanese content team, said he worried about the mismatched expectations of viewers who might come expecting a romance drama and then find themselves in hard-core science fiction.“It’s like someone who goes into a restaurant and they are served food that is different from what they want to eat,” he said. “If this is a ‘Romeo and Juliet’ tale, do we need a big sci-fi world setting? It feels like mixed soup.”The executive pitching the project said the writer watched “a lot of Netflix” and was aware of what was popular. So instead of a pure love story, he wanted to infuse elements of dystopian science fiction — a popular genre on Netflix.But Mr. Sakamoto, who played an active role in producing some of Netflix’s hits from Japan, seemed unconvinced.“My question is what is it about this project that is uniquely Japanese?” he asked.Netflix’s Tokyo office exudes an American vibe, but very little English is spoken in the creative meetings. This was the case when Mr. Sakamoto met with Shinsuke Sato, creator of “Alice in Borderland,” a science-fiction survival thriller that was Netflix’s biggest hit in Japan, to discuss a coming project.It was a free-flowing discussion that touched on minute details of the project, from character development to plot twists to which scary animals would work best in computer graphics — reptiles could be easier than furry creatures, suggested Akira Mori, a producer who works with Mr. Sato. (“Maybe an alligator?”)Later, Mr. Sakamoto said that in the past, a lot of talented Japanese who were successful in Japan had struggled to break through in Hollywood because they didn’t speak English well.“But what Netflix has allowed is that creators can make work in their own countries in their own language, and if the storytelling is good and the quality is there, they can reach a global audience,” he said. “This is a major game changer.”“Physical: 100,” a gladiator-style game show in which contestants fight for survival and a cash prize, was in the Top 10 of non-English shows for six weeks. NetflixVision come to lifeThe increased expectations are apparent throughout Netflix’s high-rise office in Seoul. The meeting rooms are named after its prominent Korean movies and shows. In the canteen, a human-size replica of the doll from “Squid Game” looms over a selection of Korean snacks and instant noodles.Ms. Kim’s vision of creating a diverse slate of Korean shows has come to life. “Physical: 100,” a gladiator-style game show in which contestants fight for survival and a cash prize, was in the Top 10 of non-English shows for six weeks. This year, at least three Korean shows have been among the top-10 foreign language shows every week.“It’s exciting, but I’d be lying if I said I didn’t feel the pressure,” said Don Kang, Netflix’s vice president of content in South Korea, who has succeeded Ms. Kim in overseeing South Korea.Mr. Kang, who is soft-spoken with a baby face, joined in 2018 after heading international sales at CJ ENM, a Korean entertainment conglomerate. When he started, Netflix was still operating out of a WeWork office.He said that before Netflix, he thought there wouldn’t be much international interest in Korean reality shows or shows that weren’t romantic comedies.“I was very happy to be proven wrong,” Mr. Kang said.Netflix’s slate of Korean programs runs the gamut from romantic comedies to dark shows like “Hellbound,” an adaptation of a digital comic book about supernatural beings condemning people to hell. Yeon Sang-ho, the director of “Hellbound,” said such niche content wouldn’t be made by Korean broadcasters because the audience wasn’t big enough to justify the budget.Yeon Sang-ho, director of the Netflix show “Hellbound,” said such niche content wouldn’t be made by Korean broadcasters because the audience wasn’t big enough to justify the budget.Chang W. Lee/The New York Times“Netflix has a worldwide audience, which means that we can try more genres and we can try more nonmainstream things, too,” Mr. Yeon said. “Creators who work with Netflix can now try the risky things that they wanted to do but they weren’t able to.”Netflix’s success has reshaped South Korea’s entertainment industry. TV production budgets have increased as much as tenfold per episode in the last few years, said Lee Young-lyoul, a professor at the Seoul Institute of the Arts, and there is growing concern that domestic broadcasters will struggle to compete.Production companies need Netflix’s investments to hire top writers, directors and actors, creating a “vicious cycle of dependency,” according to “Netflix and Platform Imperialism,” an academic paper published in The International Journal of Communication this year.The extraordinary success of “Extraordinary Attorney Woo” highlights the tensions.AStory, the show’s production company, rejected Netflix’s offer to finance the entire second season, because of its previous experience with the service. AStory made “Kingdom,” a hit Korean zombie period show, as a Netflix original, meaning Netflix owned all the show’s intellectual property rights in exchange for paying the full production costs.“While it’s true that Netflix helped the series get popular, our company couldn’t do anything with that,” said Lee Sang-baek, AStory’s chief executive. “There are lots of regrets there.”Mr. Kang said that Netflix had a good relationship with AStory and that the situation was complex. He said Netflix had been “very, very generous” in compensating creators and actors but emphasized the need to grow in a “sustainable” way.“You do sometimes hear those types of concerns: Is Netflix taking too much from our industry? But you can’t be in this business and operate that way,” Mr. Kang said.The production company AStory made “Kingdom,” a hit Korean zombie period show, as a Netflix original.Juhan Noh/Netflix‘Too Hot to Handle’ around the worldOne by one, Ms. Kim rattled off the unique traits of audiences around the region. Korean audiences prefer happy endings in romance. Japanese dramas tend to portray emotion in an understated way. Chinese-language viewers are more accepting of a sad love story. (“The Taiwanese staff always says a romance has to be sad. Somebody has to die.”)Ms. Kim understands that local stories share universal themes, but the key to Netflix’s work is to understand these cultural differences.When Netflix’s “Too Hot to Handle,” a tawdry reality dating show with contestants from the United States and Britain, did well in South Korea and Japan, the company decided to make its own shows in the respective countries. But instead of programs replete with sex and hooking up, Netflix’s versions in South Korea (“Singles Inferno”) and Japan (“Terrace House”) were more suited to local sensibilities: only hints of romance with minimal touching or flirting.Storytelling can also differ. Impressions of the first episode of “Physical: 100” were divided by geography. Ms. Kim said she found that in general, American audiences thought the extensive back stories about the contestants slowed the show. Korean audiences liked the back stories because they wanted to know more about the contestants.Ms. Kim recalled how Netflix’s U.S. executives asked her why the first Squid Game contest did not come until the last 20 minutes of the first episode. She was puzzled, because this was fast for Korean audiences — but not fast enough for American sensibilities. In South Korea, the action often does not start until the fourth episode because shows often follow the cadence of a story arc suited to a 16-episode broadcast TV schedule.Ms. Kim said she thought that audiences would tolerate work that defied their expectations or values when it was foreign, but that it must be authentic when it was local.So far, that philosophy has been successful. “Squid Game” proves that. But it also shows the new challenge that awaits Netflix — once something is a global hit, there are global expectations.Leonardo DiCaprio is a fan, and Mr. Hwang, the writer-director, even teased that the Hollywood A-lister could join the “games,” a boost that most people chasing global domination might find hard to resist. But Netflix did manage it — for now.Last month, when the cast was announced, it featured all Korean actors. More

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      in Music

      A Lot of Opera Is Now Streaming. Here’s Where to Start.

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      Naxos, which collects videos of productions throughout Europe, has begun to make its catalog available on Amazon Prime Video.Opera isn’t so different from film and television in its glut of streaming platforms — which can be just as challenging, and expensive, to navigate.Established entities like Medici.tv and Met Opera’s On Demand run on subscription models. Deutsche Grammophon’s Stage+ works similarly, and is the only platform for streaming the most recent staging of Wagner’s “Ring” from his home court at the Bayreuth Festival. Building your own digital library of opera on video is more frustrating. The Met, for example, only allows nonsubscribers to rent, but not purchase, individual productions for $4.99.Enter the Naxos label, which has been smartly acquiring the rights to a wide variety of opera productions in recent years and releasing video recordings on DVD and Blu-ray. And now that catalog, which includes shows from Europe’s major houses, is beginning to emerge for digital purchase ($19.99) and rental ($5.99) on Amazon Prime Video. Here are five of Naxos’s best offerings.‘Tosca’ (Dutch National Opera, 2022)Barrie Kosky is one of the most sought-after directors on the international circuit. He’s made his name with comedic and serious rarities alike, but this recent take on Puccini’s bloody shocker shows that his punchy style can work well with the classics, too.There is a notable lack of scenic decoration during the first act’s machinations and romances; we don’t even see what the painter Cavaradossi is working on. But Kosky caps the act with an imagistic coup — and it’s as potent a portrait of Scarpia’s villainy as you’ll find anywhere. Urgently conducted by Lorenzo Viotti and well sung by a youthful cast, Puccini’s thriller here moves with a swiftness that anticipates the slasher flick. And it comes in under two hours.‘Atys’ (Opéra Comique, 2011)Now for something luxurious from the French Baroque. The mythological story told here, with a score by Jean-Baptiste Lully, so entranced Louis XIV that his affection became synonymous with the music. Then the work largely dropped into obscurity, until a 1980s production at the Comique put it back on the map. And in 2011, when a wealthy philanthropist paid for an international touring revival of this sturdy staging, high-definition cameras were ready.The conductor William Christie and his ensemble, Les Arts Florissants, perform the score with a courtly edge that enhances the power (and vengefulness) of Stéphanie d’Oustrac’s take on the goddess Cybèle. And Christie’s players likewise lend a glow to the lovestruck (or mad) exultations present in Bernard Richter’s portrayal of the title character.Sara Jakubiak and Josef Wagner in Erich Wolfgang Korngold’s “Das Wunder der Heliane.”Monika Rittershaus‘Das Wunder der Heliane’ (Deutsche Oper Berlin, 2018)Erich Wolfgang Korngold’s operas have generally struggled to catch on in the repertory, even after getting a quick start during the composer’s starry, youthful ascent in the 1920s. But in recent years, we’ve been gifted with sumptuous recordings of the composer’s lush music dramas — including Simon Stone’s production of “Die Tote Stadt” (documented on a Blu-ray from the Bavarian State Opera in Munich, but not yet streaming).“Das Wunder der Heliane” is even better than Korngold’s rightly famous film scores that followed his move the United States and went on to influence the likes of John Williams. This recording is nearly three hours of orchestral delirium, thanks to the work of the Deutche Oper’s orchestra, under Marc Albrecht. Also no slouch: the American soprano Sara Jakubiak, who proves blazing in the title role. The staging is spare, but the music and acting crackle.‘Mathis der Maler’ (Theater an der Wien, 2012)First came Paul Hindemith’s “Mathis der Maler” Symphony — a nearly half-hour work that drew the ire of Third Reich, and the defense of Wilhelm Furtwängler. Then came the full opera, which premiered in Switzerland in 1938. The stage show winningly incorporates the music of the symphony throughout, but has never dislodged the concert piece in the repertoire, in part because of the prohibitive cost of staging a three-hour opera about the role of art in wartime.In Hindemith’s libretto, the title painter has to choose whether to engage in the 16th-century’s “Peasant’s War.” The seriousness of the subject matter may seem forbidding, but the imagination of Hindemith’s sonic language — dissonant at times, but always rapturous and conceived with care — is so riveting, it actually sells the philosophical material. A straightforward but memorable staging by Keith Warner is likely the only chance many will have to see this work, so its inclusion in Naxos’s catalog is a cause for celebration.Tansel Akzeybek and Vera-Lotte Boecker in Jaromir Weinberger’s “Frühlingsstürme.”Oliver Becker‘Frühlingsstürme’ (Komische Oper, 2020)Now how about an immersion in Weimar operetta? Here, you can take in the last operetta to open during the Weimar Republic, which premiered in January 1933, soon before Nazis did their best to erase a theatrical tradition that was Jewish, gender-fluid and influenced by Black American music of the period.Once again, Barrie Kosky is the director. This was hardly the best operetta production during his long and celebrated decade of leadership at the Komische Oper. It’s not even the best show by Jaromir Weinberger that the theater has put on. (That would be “Schwanda the Bagpiper,” as directed by Andreas Homoki in 2022.)But “Frühlingsstürme” remains a valuable document of Kosky’s efforts to revive Weimar-era works. His playful staging brings a snazzy panache to the comic reversals of fortune and mistaken-identity gambits. You can listen to excerpts that a star singer like Jonas Kaufmann is keen to include in a show-tunes sampler, but the entire show has a fizzy intoxication that excerpts can’t match. More

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      Review: ‘The YouTube Effect’ Is a Discursive Documentary

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      Alex Winter offers an overview of the world’s second most popular website in this unfocused tech documentary.The numbing experience of web video surfing is recreated — intentionally, I think — in “The YouTube Effect,” a discursive documentary that assembles a fair amount of information about the impact of YouTube on society, but struggles to find something new to say with it. Directed by Alex Winter, the film charts the rise of the video sharing platform and then attempts to trace its Sasquatch-size footprint on the culture.YouTube, the world’s second most popular site (after Google), is a stimulus machine. The film emulates this quality, finding a formal rhythm by layering a hodgepodge of YouTube clips with voice-over analysis from tech experts. It also spotlights several popular YouTube creators, including the social commentator Natalie Wynn, who is best known for her channel ContraPoints. A cogent speaker, Wynn says that she has declined offers to partner with streamers or cable because she values the “creative control” YouTube offers.Interrupting these success stories are tangents into a number of troubling chapters in the site’s history. We hear from the video game developer Brianna Wu, a target of death threats during Gamergate, as well as Caleb Cain, who describes his tumble into a matrix of far-right videos. These events have already been heavily reported on — “Rabbit Hole,” a New York Times podcast, relays Cain’s experience — and the sections often feel like retreads.The internet moves quickly, perhaps too quickly for an overview this unfocused. Even Winter seems overwhelmed by the task of curating this deluge of white-noise news and memes: His rundown of YouTube’s connection to the Jan. 6 Capitol riot lasts about as long as the viral video “Charlie Bit My Finger.”The YouTube EffectNot Rated. Running time: 1 hour 39 minutes. In theaters. More

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      Pink Floyd, ‘The Wizard of Oz’ and Me

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      Last October, when Roger Waters brought his “This Is Not a Drill” tour through Austin, Texas, he also took the time to record a nearly three-hour appearance on “The Joe Rogan Experience” podcast. These are typically rambling affairs, guided by the host’s idiosyncratic curiosities, and about halfway through, following a riff by Waters about nuclear […] More

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      Universal Says On-Demand Film Strategy Has Increased Audience

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      The studio let viewers rent or buy movies earlier for a higher price. This made more than $1 billion in less than three years, with nearly no decrease in box-office sales.In 2020, at the height of the pandemic, Universal Pictures and its art-house sibling, Focus Features, set off alarm bells in Hollywood by ending the long-held practice of giving theaters an exclusive window of about 90 days to play new movies. Instead, their movies, which have since included “Jurassic World: Dominion,” “Belfast,” “Cocaine Bear” and “M3gan,” would become available for digital rental or purchase — at a higher price — after as little as 17 days.For a change-phobic industry that still views the 1981 arrival of armrest cup holders as a major innovation, the introduction of the service, known as premium video on demand, prompted extensive hand-wringing. Filmmakers and theater owners worried that ticket buyers would be more reluctant to leave their sofas if they could see the same films on their TV sets or iPads just a couple of weeks later.Universal’s competitors mostly stuck with the status quo.But the willingness by Universal to experiment — to challenge the “this is how we’ve always done it” thinking — seems to have paid off. Universal has generated more than $1 billion in premium V.O.D. revenue in less than three years, while showing little-to-no decrease in ticket sales. In some cases, box-office sales even increased when films became available in homes, which Universal has decided is a side effect of premium V.O.D. advertising and word of mouth.Universal, for instance, made “Minions: The Rise of Gru” available for premium V.O.D. after 33 days in theaters in 2022. The movie stayed in theaters after that, selling more tickets than “Minions,” released in 2015, did after 33 days, according to data from Comscore, an analytics company. Data for Universal’s “Jurassic World” and “Fast and Furious” franchises show a similar effect.An interesting wrinkle: Donna Langley, the chairwoman of the Universal Filmed Entertainment Group, which includes Focus Features, said the company had seen only a small decrease in revenue from traditional V.O.D. That service lets viewers rent or purchase movies at a lower price after 90 days in theaters. She said the premium offering was “an additive, important new revenue source that didn’t exist three years ago.”In other words, Universal thinks that, to some degree, it has found an entirely new customer.“It has had a hugely positive impact on our business,” Ms. Langley said, adding that without it, Universal would have likely had to make fewer movies. Universal and Focus will release 26 movies in theaters this year, more than any other Hollywood studio.Donna Langley, the chairwoman of the Universal Filmed Entertainment Group, calls premium on-demand “an additive, important new revenue source.”Valerie Macon/Agence France-Presse — Getty ImagesUniversal charges as much as $25 to rent a film for 48 hours and $30 to buy it during its premium V.O.D. sales period. Those prices can drop to $6 and $20 in the later, traditional sales window.About 80 percent of premium V.O.D. revenue goes to Universal, with sales platforms like iTunes and Google Play keeping most of the rest. (A small cut goes to theater chains like AMC Entertainment — grease to get them to agree to reduced exclusivity.) Ticket sales are typically split 50-50 with theaters.Premium V.O.D. revenue is small compared with box-office sales. But it’s certainly not nothing.“The Super Mario Bros. Movie” has generated more than $75 million in premium V.O.D. revenue since May 16, Universal said. “Jurassic World: Dominion,” “The Croods: A New Age” and “Sing 2” each collected more than $50 million. Universal said 14 films, including “News of the World,” a period drama starring Tom Hanks, and “M3gan,” each had more than $25 million.Films from Focus, including “Belfast” and “Mrs. Harris Goes to Paris,” have generated roughly $5 million each. For some art films, a theatrical release has become valuable mostly as “a marketing tool” for premium V.O.D. rentals and purchases, according to Julia Alexander, the director of strategy at Parrot Analytics, a research firm.Much like DVD sales in the 1990s and 2000s, premium V.O.D. has started to provide a type of financial safety net on box-office misses. “The Focus titles, in particular,” said Peter Levinsohn, the Universal Filmed Entertainment Group’s chief distribution officer. “Those smaller films aimed at older moviegoers have become, I wouldn’t say reliant on it, but they have benefited hugely.”It’s also about flexibility, Mr. Levinsohn said. The studio often decides that 17 days (three weekends) of theatrical exclusivity is enough. Sometimes, based on ticket sales, it allows for longer. “The Super Mario Bros. Movie” played exclusively in theaters for 41 days.“We have also taken back control of the decision of when to make our content available in the home, based on the most optimal timing for an individual film,” Mr. Levinsohn said. NBCUniversal said in January that revenue from its studios (both film and TV) increased 23 percent in 2022 from a year earlier, to $11.6 billion.Every studio has been trying to find creative ways to maximize movie profits in a fast-changing business. Part of Universal’s challenge is guessing what kind of impact premium V.O.D. might have on streaming: If movies are sold or rented more widely before they arrive on a streaming service (in Universal’s case, on Peacock and Netflix), does that make the movies less valuable tools for encouraging people to sign up for streaming services?“The impact on streaming is not quite as big as people might have expected, but it’s still notable,” Ms. Alexander said. More

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      ‘Movie Theaters Are the Marketplace of Free Ideas’

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      John Fithian saw a lot during his nearly three decades as the president and chief executive of the National Association of Theater Owners, the top lobbyist for movie theaters, a tenure that ended on May 1.He grappled with the transition from film projection to digital cinema and engaged in multiple battles over the studios’ desire to shorten the amount of time newly released movies can exclusively be shown in theaters amid the rise of streaming services. Yet it wasn’t until spring 2020, at the start of the pandemic, when Mr. Fithian actually wondered whether his business was going to survive.Mr. Fithian said he was receiving calls “multiple times a day, from people saying, my third-, fourth-generation family business will be gone in a couple of months if you don’t get something for us,” he said with a nervous laugh. “That was that was when the crisis was very, very real to us.”He helped secure more than $2 billion in tax relief for the industry, allowing most of the country’s theater chains to stay afloat. In the end, only 2,000 screens were closed down.Mr. Fithian, 61, was raised in Washington, D.C., the son of former Representative Floyd Fithian of Indiana. He began his career as an outside counsel for clients that included the Major League Baseball players’ union and the theater owners’ association.“Hearing theater owners talk about why they went into business or why their grandparents went into the business was completely inspiring,” he said. “It sounds silly, but movie theaters are the marketplace of free ideas.”This interview, which was condensed and edited for clarity, was conducted during CinemaCon, an annual industry trade event, in Las Vegas.When was the moment when you felt like the movie theater business was going to be OK?About a month ago. (Laughs.) In 2022, we knew that people were coming back on a per-film basis at prepandemic rates so that kind of gave us the inkling that everything would be fine if the movies kept coming back. But, to be completely confident that this business will now grow to higher levels, that was only within the last few months, with pronouncements from the leaders of the major studios about their release slates going forward, by Amazon and Apple jumping into the theatrical business.Do you now see some silver linings to the pandemic?The so-called streaming wars that had started before the pandemic had the companies who owned streaming services, and Wall Street and its financial backers, believe that the only thing that mattered as a competitive business model was the number of subscribers to streaming services. We had heard from several studio leaders prepandemic that they really wanted to experiment with the elimination of a theatrical window.Eliminate it completely?“Some executives thought that. Others thought it should be dramatically shorter. There was a lot of pressure coming into the pandemic and during the pandemic. And release models totally changed. A lot of movies went only to streaming services. A lot of movies went simultaneously to theaters and streaming services. At the time, these were thought of as crisis moments for the creative community and for theater owners.But what happened is that a whole bunch of data came out of the pandemic about these theories of the theatrical window. One, it was quite clear when you compare the movies during the pandemic, the ones that had an exclusive theatrical window did much better theatrically, but then also did better when it got to the home. Two, we learned that piracy is exacerbated by shrinking the theatrical window. If movies are only in cinemas, the only way you can pirate a movie is with a recording device. And the quality level is not great. When a movie gets released to the home, a pristine digital, easily replicable, easy-to-distribute-around-the-world copy becomes available. So you’re literally cannibalizing movie theater sales from the very first day.Netflix is the last holdout when it comes to the theatrical space. Now that you have Amazon and Apple demonstrating a much greater interest in theatrical, does Netflix’s position matter as much?I’m just stoked that one of my goals before retirement was to get two out of three of the streamers to go theatrical. We got two out of three. I just didn’t think those would be the two.Do you believe you’ve permanently lost moviegoers because of changing habits developed during the pandemic?We don’t think so. We were very nervous about that right when we started coming out of the pandemic, and there was data early in the reopening that suggested that two demographics, seniors and families with small children, weren’t prepared to come back to cinemas. Then it became a bit of a self-fulfilling prophecy, because studios wouldn’t theatrically distribute movies that appealed primarily to seniors, or to families with young children. Now the data is clear that movies released targeting those demographics are performing similar or better than they did in 2019, just like the movies targeted to other demographics. It was not a big surprise to us that the “Super Mario Bros. Movie” was going to do an extraordinary amount of business.People love to criticize the moviegoing experience: It’s too loud, and people talk, use their phones, and you have to sit through 30 minutes of ads before the movie starts. Is there an awareness that there are issues with going to the movie theater?We surveyed lots of theater owners about their plans coming out of the pandemic about adding premium large format screens, about replacing their sound systems, about adding alcohol service, about continuing to replace their seats. And the numbers are really strong. Now that the business is coming back, the theater owners have already started to continue to innovate and improve the experience so that it’s always better than the home.In both Los Angeles and New York, quite a few prime theaters that catered to independent film have shut down. Do you think independent film is struggling for a home nowadays?There’s a fascinating thing to me that I’ve noticed throughout my 30 years of representing theater owners, and that is what happens in Los Angeles or New York suggest to the creative community, the moviemakers, the reporters who cover our business, and the financial community, that is the movie experience. There’s a lot more out there. One company, Pacific Theaters, which ran the ArcLight, is the only company in the country who filed Chapter Seven bankruptcy. They went out of business entirely. There were a couple Chapter 11 reorganizations, but the only one that said, “Eh, I’m done” was Pacific. It does not mean that the art houses across the country closed down.What is a misconception people have about the movie theater business that you’ve tried to correct but didn’t succeed?Ticket prices. Even through all the innovations and improvements in the technology, and the sound systems and the premium screens — all the ways that we’ve improved the cinema experience over the last decade or two, it’s still the case that the average price of a ticket today on a cost-of-living basis is less than it was in the 1970s. And yet people always say movie tickets are too expensive.What are the biggest challenges facing the theatrical exhibition business going forward?I think the existential challenges — the pandemic, the streaming wars — are gone. I’m really the most optimistic I’ve been in 30 years about the future of the business. The biggest immediate challenge is it’s going to take a while to fix the balance sheets.Long term, it’s still about two things: the creation and distribution of really good movies that appeal to all demographics in all different genres, with diverse casts and diverse themes, and really good operational experiences at theaters that also offer diversity and different value-based judgments. If the studio partners keep making really good movies that appeal to diverse audiences, and we keep innovating and upgrading cinema experiences, I’m very bullish on the long-term health of the industry.Were you a movie lover before you took this job?I like movies. But I was principally a First Amendment lover, and a First Amendment lawyer in Washington. Our members will play everything: the most radical, left-wing anarchist film, the most conservative religious film, and we get protests on both sides. To me it was always like, “Bring it on.” Movie theaters are the town halls of modern society. It’s where people go to experience something collectively, and then debate the issues of the day.What is the thing you are going to miss the least?I don’t know who I’m going to miss the least, the really aggressive know-it-alls in Hollywood or the really aggressive know-it-alls in Washington, D.C. A lot of these people are my really good friends, and I’ll have some lasting relationships with both creatives and studio executives, but, you know, sometimes just because you run a big studio or you’re a United States senator doesn’t mean you know everything. I will not miss that. More