Rebecca Mead looks at how Serial changed the medium — opening floodgates of possibility, pressure, and money — and how some of that show’s successors have dealt with issues of narrative form and ethics.
“For The Ballad of Buster Scruggs, the new film from the Coen brothers and the first title Netflix is distributing this way, the exclusive theatrical release was something of a mirage” — one screen in each of three cities for four barely publicized days. The same thing is going to happen next week for Alfonso Cuarón’s Roma. Film fans are not happy.
Gisele Regatao: “My accent? It’s mild; Americans can tell right away that I am not a native English speaker, but foreigners can’t. I moved to the US from Brazil 20 years ago, though most people can’t tell where I’m from. … I knew accents could be taboo for some radio people, but I thought NPR would be thrilled to have a piece about a Brazilian artist by a Brazilian journalist. Plus, I’d voiced stories for WNYC and PRI’s The World many times before.” She completed the piece, but NPR wouldn’t air it.
“Long a staple of television, the technique has gained traction in recent years as an antidote to the kind of smash-cut film editing that first became popular in the ’90s before passing into cliché. But the execution of extreme close-ups requires a certain bravery on the part of actors: nary a blemish, a crow’s-foot wrinkle, or clogged pore will be spared the camera’s unblinking scrutiny.” Thank heaven for CGI.
Take Luis Fonsi’s hit song Despacito, whose music video set a worldwide record with 5.6 billion views. The video contains multiple copyrights, and YouTube has a number of licensing agreements in place to pay for rights to the video views. But uncertainty about whether YouTube has identified all the rights holders might lead the video sharing website to block this video, simply to avoid liability
Spencer Kornhaber: “The first major-studio movie about adolescent gay romance, Greg Berlanti’s spring hit, Love, Simon, uses teen-comedy tropes to portray homosexuality as no big deal in a well-off, relatively woke slice of America. But other recent films, set in less tolerant places and eras, hint that integrating queerness into a schema that has been overwhelmingly straight isn’t so simple.”
To shoot Of Fathers and Sons, about a family of fighters with the Syrian Al-Qaeda affiliate Al-Nusra Front, Talal Derki (a Syrian Kurd)returned home from a safe exile in Berlin and convinced that family and its fellow extremists that he was sympathetic to their cause. Now that the film is out, he’s getting plenty of threats.
Not so long ago, YouTube videos resembled long-form Vines more than anything approaching a 22-minute sitcom. But as more people watch video via mobile, the lines between highly produced television show and a rough YouTube vlog have blurred. These days smartphone users spend a whopping 54 percent of their video-viewing time on videos over 20 minutes long—that’s up from just 29 percent in the beginning of 2016.
Production company Brave Bison, formerly known as Rightster, was awarded £1.8m to deliver the multi-channel network (MCN) for the arts in 2014. It was launched in September 2015, aiming to make arts content more discoverable and engaging to audiences, increase the number and range of people engaging with arts online and offline, develop both the skills and digital capacity of the arts sector, and build the volume of creative media.