Category Archives: Neil Turitz
If Freeform’s upcoming Marvel series Cloak & Dagger hews closer to the superhero shows on Netflix and the CW, rather than sister network ABC’s Agents of S.H.I.E.L.D. or The Inhumans, then it should be a winner when it debuts in 2018.
“People may be designing and buying Bitcoin, but the fact that it is not tangible would seem to imply that it remains open to potential sabotage, especially in a digital world without any regulation,” writes Neil Turitz.
One has to wonder if Disney is interested in spending the money required to help James Cameron see through his ambitious vision for Avatar, which has staked out four December release dates that would coincide with more than a few Star Wars films.
Despite being in fewer homes than the year before, MSNBC has seen its fortunes rise at least partially due to the election of Donald Trump. Seen by many as the network of the opposition, MSNBC has enjoyed record ratings thanks to shows led by Rachel Maddow, Chris Hayes and Lawrence O’Donnell.
Five Christmas releases could be on the path to profitability right now if any of their distributors had opted to take advantage of the calm before the Star Wars storm. So why didn’t they? Neil Turitz questions Hollywood’s December release strategy in his new column.
Why aren’t more publications writing about the women of Time’s Up, who reportedly include Kathleen Kennedy, Oprah Winfrey, Amy Pascal, Shonda Rhimes, Reese Witherspoon, Megan Ellison and Natalie Portman?
Spike will soon relaunch as the Paramount Network, which will introduce a plethora of new shows, including Taylor Sheridan’s ranching drama Yellowstone, adaptations of the movies Heathers and The First Wives Club, the comedy American Woman from legendary creator John Wells, and the star-studded limited series Waco.
What’s the difference between Brie Larson’s Captain Marvel, Jude Law’s Mar-Vell and Zachary Levi’s Shazam, who’s also known as Captain Marvel even though he’s in the DC Comics universe? Neil Turitz, who’s a marvel in his own right, has the answer.
The thriving network has several interesting projects on the horizon, including an adaptation of Howard’s End from Oscar winner Kenneth Lonergan and starring Hayley Atwell, and the sci-fi series Counterpart starring Oscar winner J.K. Simmons.
The embattled filmmaker is at a career crossroads following Justice League‘s disappointing opening weekend, making his next movie that much more important in the eyes of the industry.
“Podcasts are sort of perfect for TV adaptations, since they have set story structures, they’re often serialized, and they come with a built-in audience, which is exactly what IP-hungry networks are looking for,” writes Neil Turitz.
It’s unclear how much money the network spent on its Twin Peaks sequel, but whatever the figure was, it doesn’t appear to have been a great investment. The 18-part series was hardly watched at all, averaging less than 300,000 viewers per episode.
“I really like the idea of giving a single, skilled filmmaker the opportunity to oversee a story of this scale. It almost feels like a television-inspired take on things, but on the big screen it’s downright revolutionary, and it gives me hope that this could become an industry-wide trend,” writes Neil Turitz.
“Universal needs to do whatever it takes to keep Bill Condon onboard to direct Bride of Frankenstein and take the time to get the script right before moving forward with someone like Jennifer Lawrence, Scarlett Johansson or Emma Stone in the title role,” writes Neil Turitz.
With both Veep and Game of Thrones, coming to a close, there are a few projects that could potentially fill the void — chief among them, the third season of True Detective starring Oscar winner Mahershala Ali.
Thanks to his friendship with Australian billionaire James Packer, Ratner shifted from Hack Director into Big Time Producer over the past decade, but now his legacy hangs in the balance along with a $450 million co-financing deal.
In addition to antagonizing theater owners with a lopsided split of ticket sales, the company has banned the Los Angeles Times from screenings.
YouTube has made it clear that it is trying to emulate Amazon’s success on the film side and that it intends to challenge Netflix on the TV side.
When M&Ms manufacturer Mars turned down Steven Spielberg’s “E.T.,” the Hershey Company stepped in to make movie history with Reese’s Pieces
Are studios wasting money on talent like Michael Fassbender when they’re guaranteed to get audiences with popular IPs?
“What to say about Hulu? Seriously, I’m asking, because it’s not entirely clear that the streaming service itself knows what it wants to be,” writes Neil Turitz.
Neil Turitz takes a deep look at where the start of Oscar season using only six words.
When it comes to Amazon Studios, it really is a tale of two cities. On the film side, things are pretty good, but with TV, Amazon has been trying like hell to establish itself and somehow seems to keep slipping.
There have been numerous scandals in Tinseltown that have damaged careers, but there’s a basic tenet as to why some are able to return to glory and others, like Harvey Weinstein, cannot.
For years, conversations surrounding the use of sexual assault and rape in film and television have been building. Will the recent events surrounding Harvey Weinstein and others finally force storytellers to make a change?
Netflix has over 100 million subscribers now and, in spite of the billions of dollars it brings in through subscriptions, it continues to borrow billions more to keep churning out that content. How long can the business model hold?
While Blade Runner 2049 won raves from critics, the film underperformed in its opening weekend. As studios are determined to stick with franchises, here are seven sequels that could succeed in continuing their original stories and wooing audiences.
Is planning so far in advance for franchise release dates ultimately hurting studio films? Neil Turitz takes a look at the tentpole movies from Universal, Marvel, and DC that are driving Hollywood’s future.
With the actor’s latest, American Made, disappointing at the box office, it might be signaling “the requiem for the Movie Star,” according to Neil Turitz, but he offers some hope on how Cruise can come out of this freefall.
Neil Turitz takes a moment to look on the bright side of a tough year to see what the industry got right.