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    Small Streamers Like Hallmark+ and BritBox See Subscribers Surge

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    Like Christmas shows? So does Hallmark+. Like horror? Dare to try Shudder. And British shows? There’s BritBox and more.Executives from the Hallmark Channel made a curious decision this fall: They started a new streaming service.It seemed like an awfully late date to do so. Most media companies entered the streaming fray years ago, and few have had success going head-to-head against titans like Netflix, Amazon and Disney.But Hallmark executives decided the timing was not an issue. Their app, Hallmark+, did not need to appeal to the whole country, they said, just their core audience — the people who regularly flock en masse to the network’s trademark holiday and feel-good programming.“We don’t have to make content that are all things to all people,” said John Matts, Hallmark Media’s chief operating officer.He might very well be onto something.For much of the past decade, conventional wisdom inside the entertainment world has been that only a small handful of megaservices would survive the streaming wars. After all, they had the stars, the budgets and the technological prowess.But numerous media executives now believe that there could be room for some more modest streaming services, too.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Netflix Wanted ‘Wuthering Heights.’ Margot Robbie Wanted a Theatrical Release.

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      In the end, Ms. Robbie got what she wanted, signing a deal with Warner Bros.In the latest Hollywood movie bidding war, the battle between a theatrical and a streaming release could not have been more stark.And in this case, theaters won out.The project is an adaptation of Emily Brontë’s “Wuthering Heights,” seen through the warped mind of Emerald Fennell, the writer and director whose previous projects, “Promising Young Woman” and last year’s “Saltburn,” were viral, transgressive hits. The film will star Margot Robbie as Catherine Earnshaw and Jacob Elordi from “Saltburn” as the rageful Heathcliff. Based on Ms. Fennell’s past work, the R-rated film promises to be sexy, gothic and excessively modern.Netflix was willing to pay $150 million to have it.But Ms. Robbie, who is producing the film with her husband, Tom Ackerley, and their business partner Josey McNamara, wanted to maintain her track record of making movies for traditional studios that put them into theaters. Think “Barbie 2.0” with less pink and much more sex.Ms. Robbie’s company and its partner, MRC, an independent studio, have instead been won over by Warner Bros., the studio said on Thursday. The company offered them around $80 million plus a significant marketing commitment, according to a person with knowledge of the decision. (It helps that her company, LuckyChap, also has a multiyear first-look deal with the studio.)“From the moment we were introduced to Emerald’s vision for the film, and with an incredible cast led by Margot and Jacob, we were instantly committed to forging a partnership with this team to ensure the movie was brought to theaters around the world,” Michael De Luca and Pam Abdy, co-chairs of Warner Bros. Motion Picture Group, said in a statement.The decision to go with Warner Bros. is a blow to Netflix. Getting the film would have been viewed as a feather in the cap of the company’s new film chief, Dan Lin.Yet Mr. Lin found himself up against the same restrictions as his predecessor: his boss’s reluctance to take films to theaters to appease filmmakers, most of whom want their films to debut on the big screen before heading to a streaming service.Ted Sarandos, a co-chief executive of Netflix, restated his uninterest in theatrical releases just last week during his earnings call. “I’m just going to reiterate we are in the subscription entertainment business,” he said before adding, “I’m sure that we can continue to pierce the zeitgeist and have those moments in the culture, even when those moments begin on Netflix.”Ms. Robbie is one of the few A-list stars who have not starred in a film released by a streaming service. The actress, who headlined “Barbie” and produced it, has seen her power in Hollywood only rise on the back that film, which was the highest-grossing film of 2023. “Wuthering Heights” will be her next film, and production is set to begin in the first quarter of next year. More

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      ‘Joker’ Sequel Falls Far Short of Original at the Box Office

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      The bleak musical drama is on track to open to around $40 million, significantly less than what the 2019 version made on its first weekend.The original “Joker,” in 2019, earned 11 Oscar nominations, $1 billion in global box office receipts and created a cultural phenomenon. So it was inevitable that Warner Bros. would make a sequel, with the same director, Todd Phillips, and star, Joaquin Phoenix.More of a surprise is that the new film was dismissed by its audience this weekend. Titled “Joker: Folie à Deux,” and featuring Lady Gaga as Mr. Phoenix’s love interest/partner-in-crime, the bleak R-rated musical drama is on track to open to around $40 million, significantly less than what the 2019 version made on its first weekend. The studio will now struggle to earn back its production budget of around $200 million, plus its hefty marketing costs.Reviews have been dismal. The New York Times called it “a dour, unpleasant slog,” and audiences awarded it a D score in exit polls, according to tracker CinemaScore. The musical element — an idea that apparently came to Mr. Phoenix in a dream — offered audiences a fresh idea and, to many critics, it served as the proper way to further explore a deranged main character with a warped imagination. But in this case, it alienated the typical fanboy audience who would be expected to have been frothing for a follow-up to the nihilistic film that won Mr. Phoenix his Best Actor Oscar.The opening draw is a far cry from the $96 million “Joker” generated in its first weekend five years ago, almost to the day. That film cost $55 million to make. This one is contained primarily to two locations: Arkham Asylum, which houses Arthur Fleck, a.k.a. The Joker, after his murderous spree killed six people, and the courthouse, where he’s being tried for his crimes. So it shouldn’t have cost as much. But everyone was paid handsomely for their efforts, under the new production heads at Warner Bros., Michael De Luca and Pamela Abdy. (Trade reports indicate that Mr. Phoenix received $20 million to reprise his role of Arthur Fleck/Joker while Lady Gaga earned $12 million to return to the bleak world of Mr. Phillips’s creation.)“Lady Gaga in a musical was an unconventional choice,” David A. Gross, a film consultant who publishes a newsletter on box office numbers, said in an email. “‘Joker’ was a well-made character study about a dark, sad figure. That story had limited potential to grow, and ‘Folie à Deux’ is not overcoming it.”With overall box office receipts down 12 percent compared with last year at this time, Hollywood was looking for a big hit to kick off October and help the studios stoke momentum through the rest of the year. Now it looks as if it will have to rely on “Venom: The Last Dance” and the Thanksgiving movies: “Wicked,” “Gladiator 2” and “Moana 2” to recover. More

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      Michael Crichton’s Estate Calls New Show an Unauthorized ‘ER’ Remake in Lawsuit

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      The best-selling author’s estate has filed suit over “The Pitt,” an upcoming series, claiming that it is an unauthorized reboot of the hit hospital drama.The estate of Michael Crichton filed suit against Warner Bros. Television on Tuesday, claiming that its upcoming Max series, “The Pitt,” is an unauthorized “ER” reboot that fails to credit him and compensate his heirs.The suit accused Warner Bros. and R. Scott Gemmill, the showrunner of “The Pitt,” of breaching a contract that requires Crichton’s consent for any remakes of the hit hospital drama. The estate also sued John Wells, an executive producer, and Noah Wyle, set to star and serve as an executive producer.“The lawsuit filed by the Crichton Estate is baseless,” Warner Bros. Television said in an emailed statement, calling “The Pitt” a “new and original show.” The company said it would “vigorously defend against these meritless claims.”The complaint, filed in Los Angeles County Superior Court, claims that in 2020, Warner Bros., Gemmill, Wells and Wyle began developing a reboot of the show without informing Sherri Crichton, the author’s widow and the guardian of his estate. Gemmill and Wells were executive producers on “ER,” and Wyle was a star of that show.When they told her about the project, nearly two years into development, Crichton’s estate was prepared to approve a reboot based on the condition that he would be credited as a creator, in addition to a set of financial terms. But Warner Bros. later walked back on many of its promises, the lawsuit said.After negotiating for nearly a year, the parties did not reach an agreement, according to the suit. But Warner Bros. “simply moved the show from Chicago to Pittsburgh, rebranded it ‘The Pitt’ and has plowed ahead without any attribution or compensation for Crichton and his heirs,” the complaint said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Barbie’ Was Supposed to Change Hollywood. Many See ‘No Effect.’

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      The film was a global phenomenon and seemed to herald a new era of embracing stories by, about and for women. What happened?When “Barbie” was released in 2023, it quickly became a phenomenon. It was the top box office film of the year, earning $1.4 billion worldwide, and it became Warner Bros.’s highest-grossing film ever, outpacing both “Dark Knight” movies, “Wonder Woman” and every chapter in the “Harry Potter” franchise.It was a DayGlo-pink rebuttal to decades of conventional Hollywood thinking, and its success seemed to herald a new paradigm for the film industry. Movies written and directed by women and focused on female protagonists could attract enormous audiences to multiplexes around the world.Yet in the 12 months since the movie’s release, little has changed in Hollywood. Buffeted by dual labor strikes that went on for months and a general retrenchment by entertainment companies trying to navigate the economics of the streaming era, the industry has retreated to its usual ways of doing business.The box office is down 17 percent from last year at this time, and studios spooked by a fickle audience (yes to “Twisters,” no to “Fall Guy”) are again questioning the reliability of the theatrical marketplace. Films released in 2023 featured the same number of girls or women in a leading role as in 2010, according to a report from the University of Southern California’s Annenberg Inclusion Initiative. Ask around Hollywood and the consensus seems to be that “Barbie” is a singular success, a gargantuan feat helmed by particular talents, the writer-director Greta Gerwig and the star Margot Robbie. Translation: Don’t expect a lot of movies like that in theaters anytime soon.“‘Barbie’ had no effect,” said Stacy L. Smith, the founder of the inclusion initiative, which studies inequality in Hollywood. “It’s perceived cognitively as a one-off. They have individuated the Margot Robbie, Greta Gerwig success and haven’t thought about how their own decision-making could be different and inclusive to create a new path forward.“Like most things with this industry, they’re like, ‘Oh, this is neat and shiny,’ and then they go right back to the way they’ve always been.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      New ‘Lord of the Rings’ Movie Will Put Gollum Center Stage

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      Andy Serkis, who played the creature in the trilogy, will direct and star in “The Hunt for Gollum,” an expansion of the fantasy epic scheduled for 2026.The next movie in the “Lord of the Rings” franchise will focus on Gollum, one of the series’s most recognizable characters, Warner Bros. Pictures announced on Thursday.Andy Serkis, who played the miniature creature in the original film trilogy, will direct and star in “Lord of the Rings: The Hunt for Gollum,” which is scheduled for 2026, the studio said in a news release.Another “Lord of the Rings” movie will follow “The Hunt for Gollum,” Warner Bros. said. The original trilogy’s director, Peter Jackson, and screenwriters, Fran Walsh and Philippa Boyens, will act as producers on both films. A separate animated movie directed by Kenji Kamiyama, “The Lord of the Rings: The War of the Rohirrim,” will be released in December.“Yesssss, Precious,” Serkis said in a statement. “The time has come once more to venture into the unknown with my dear friends, the extraordinary and incomparable guardians of Middle-earth.”In addition to his work in “The Lord of the Rings,” Serkis played Caesar in the “Planet of the Apes” franchise and Supreme Leader Snoke in “Star Wars” movies. He has directed “Venom: Let There Be Carnage” and “Mowgli: Legend of the Jungle” and is leading an animated adaptation of George Orwell’s “Animal Farm.”The “Lord of the Rings” movies are based on a series of fantasy novels by J.R.R. Tolkien. The trilogy directed by Jackson — “The Lord of the Rings: The Fellowship of the Ring” (2001), “The Lord of the Rings: The Two Towers” (2002) and “The Lord of the Rings: The Return of the King” (2003) — grossed $3 billion combined.About a decade later, Jackson directed a three-part movie series based on Tolkien’s “The Hobbit.” Amazon Prime Video released the Middle-earth show “The Rings of Power” in 2022.The announcement of two new “Lord of the Rings” movies comes as David Zaslav, the chief executive of the studio’s parent company, faces criticism for receiving $49.7 million in compensation last year despite the company’s financial troubles. The conglomerate is also reportedly in jeopardy of losing its rights to broadcast National Basketball Association games. More

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      ‘Color Purple’ Struggles at Box Office After Big Christmas Opening

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      The musical adaptation of the Pulitzer Prize-winning novel seemed an instant hit, but it sold less than $5 million in tickets in its second weekend.“The Color Purple,” a new musical take on Alice Walker’s landmark novel, seemed to arrive as an instant hit.Awash in critical exultation, the movie rolled into theaters on Christmas Day and sold more than $18 million in tickets, a near record for the holiday. Audiences gave it an A grade in CinemaScore exit polls. Oprah Winfrey, who produced the film with Steven Spielberg, celebrated on Instagram. “I’m overwhelmed with gratitude,” she wrote, adding, “For y’all to buy tickets, dress up in purple, and show up in droves is filling me up.”But the sizzle has turned to a sputter.“The Color Purple,” which cost Warner Bros. at least $90 million to make and another $40 million to market, collected an estimated $4.8 million from 3,218 theaters in the United States and Canada over the weekend, according to Comscore, which compiles box office data. It was enough only for seventh place, behind George Clooney’s “The Boys in the Boat” — a period drama that also arrived on Christmas Day — even though “The Boys in the Boat” had only 2,687 theaters.What happened?In Hollywood parlance, the movie has not broadened beyond a “specialty audience.” To put it more candidly, “The Color Purple,” enthusiastically received by Black moviegoers, needs more white, Hispanic and Asian ticket buyers to give it a chance. The film’s opening-weekend audience was 65 percent Black, 19 percent white, 8 percent Hispanic and about 5 percent Asian, according to PostTrak, a service that provides studios with demographic information on ticket buyers.Fantasia Barrino was nominated for a Golden Globe and could receive more recognition for her performance.Warner Bros. PicturesWarner Bros. has not given up.“I think the jury is going to be out for several weeks, as people talk to their friends about what movies they have seen and enjoyed — what has moved them and uplifted them — and the film continues to be honored by awards groups,” said Jeff Goldstein, Warner’s president of domestic distribution.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Oppenheimer’ Will Be Released in Japan After Earlier Backlash

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      Critics said the film’s cross-promotion with “Barbie” trivialized the U.S. nuclear attacks on Japan during World War II, but the biopic will be released in 2024.The box office blockbuster “Oppenheimer” will be released in Japan in 2024, a local distributor announced on Thursday, quashing speculation over the film’s rollout there following criticism of its promotion online.Bitters End, a Japanese film distributor, did not give an exact date for the Universal Pictures film’s opening in Japan, but said it would happen next year.The simultaneous release this summer of “Oppenheimer,” the brooding biopic about the creation of the atomic bomb, and “Barbie,” a fantastic-plastic tale of a doll’s awakening, was a discordant mash-up that delighted film fans. The “Barbenheimer” moment generated fan-made merchandise, memes and plentiful cross-promotion of the two features.But many in Japan took offense, with critics saying that the Barbenheimer meme trivialized the horrors of the U.S. military’s nuclear attacks, which killed hundreds of thousands of mostly civilians in Hiroshima and Nagasaki. The hashtag #NoBarbenheimer spread widely on social media, and some vowed to boycott watching “Barbie,” which was released in Japan in August.The backlash even spurred conflict among the films’ distributors after the official “Barbie” movie account on social media responded playfully to fan-made Barbenheimer creations — including a photoshopped image of a Barbie with an atomic bomb bouffant.In an unusual rebuke, a Japanese subsidiary of Warner Bros called the headquarters’ endorsement of the meme “highly regrettable.” Warner Bros. later apologized for “insensitive social media” engagement and deleted its responses to the memes.The decision to release “Oppenheimer” in Japan came after “various discussions and considerations,” Bitters End said in a statement on Thursday, according to local media. The distributor said that it was aware that the film’s “subject matter has a very important and special meaning for us Japanese people,” and said it believed that the film should be seen in cinemas. Bitters End did not immediately respond to a request for comment.Foreign films are often released in Japan far later than their initial distribution, sometimes by years, but when its promoters there did not initially set a release date, the marketing backlash caused speculation over “Oppenheimer” not being released at all. It has grossed nearly $1 billion in box office sales worldwide.“Barbie,” the top-grossing Warner. Bros. film of all time at nearly $1.5 billion, debuted in Japan just weeks after its initial release. But its reception in Japanese theaters was modest, and some local commentators speculated that the Barbenheimer controversy had cast a shadow on the film. More

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      Warner Bros. Suspends Deals With Top Show Creators

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      The move, which affected star writers like Mindy Kaling and J.J. Abrams, is an escalation of the standoff between Hollywood studios and the Writers Guild of America.When television and movie writers went on strike in May, studios quickly suspended certain first-look deals — mostly those for lesser-established writers. Star show creators like Mindy Kaling and J.J. Abrams were kept on the payroll. Worried about keeping them happy, even during a walkout, studios left their multimillion-dollar deals alone, shielding them from the pain of the strike.No more.In an escalation of the standoff between studios and the Writers Guild of America — it has entered its fifth month, with no end in sight — Warner Bros. moved late Wednesday to suspend deals with the 1 percent of television writers. That includes Ms. Kaling, a creator of the Max series “The Sex Lives of College Girls,” and Mr. Abrams, whose recent television efforts include “Duster,” a coming thriller set in the 1970s, according to two people briefed on the matter, who spoke on the condition of anonymity to discuss private suspension notices.Warner Bros. also suspended deals with Greg Berlanti (“Superman & Lois”) and Bill Lawrence (“Ted Lasso”), among others, the people said.A spokeswoman for Warner Bros. declined to comment. Representatives for the writers either declined to comment or did not return calls. A spokesman for the Writers Guild of America had no immediate response.Top writers have contractual protections that will ultimately enable them to receive all the compensation promised in their original deals. Warner Bros. is doing what is known as “suspend and extend,” according to the people briefed on the matter, meaning that the studio will halt payments for the duration of the strike — and then, when work resumes, extend the contracts by the amount of time they were suspended.The suspension of the A-lister deals suggests that the Alliance of Motion Picture and Television Producers, which bargains on behalf of studios, expects the strike to continue into the fall. (A representative for the studio alliance declined to comment.) Studio executives had signaled that Labor Day was an inflection point; the industry’s sitting idle beyond that date would have a severe impact on the 2024 release calendar, particularly for movies.J.J. Abrams’s deal was also suspended. The move can exert more pressure on the striking writers guild.Jerod Harris/Getty ImagesWarner Bros. Discovery said in a securities filing on Tuesday that the Hollywood strikes — tens of thousands of actors joined writers on picket lines in mid-July, the first time both unions have been on strike at the same time since 1960 — would negatively affect its 2023 earnings by up to $500 million.“We are trying to get this resolved in a way that’s really fair and everyone feels fairly treated,” David Zaslav, the chief executive of Warner Bros. Discovery, said at a Goldman Sachs event on Wednesday. “Having said that, in our guidance, we said that this would be resolved by September. And here we are in September. This is really a very unusual event — the last time it happened was 1960.”Suspending the deals of prominent writers is one way for the studios to try to put pressure on the Writers Guild. During the last writers’ strike, in 2007, a small group of showrunners agitated for union leadership to settle with the studios as the stalemate wore on. That strike lasted 100 days; the current strike is now at the 128-day mark.Studio officials and Writers Guild negotiators have not met formally since Aug. 23, when talks broke off for the second time and the companies publicly released their latest offer in an appeal to rank-and-file members. Studios were hoping the offer would look good enough for members to pressure their leaders to make a deal.But the move seemed to have the opposite effect, instilling the 11,500-member Writers Guild with renewed resolve to keep fighting. “The companies’ counteroffer is neither nothing, nor nearly enough,” guild leaders said in a note to members on Aug. 24. “We will continue to advocate for proposals that fully address our issues rather than accept half measures.”The studios defended their proposal as offering the highest wage increase to writers in more than three decades. The studios also said that they had offered “landmark protections” against artificial intelligence, and that they vowed to offer some degree of streaming viewership data to the guild, information that had previously been held under lock and key.Both the writers and the actors have called this moment “existential,” arguing that the streaming era has deteriorated their working conditions as well as their compensation levels.Nicole Sperling More