Tag Archives: Neil Turitz
While ABC came in a close second to NBC last season in the prime demo rankings, without any sports programming to speak of, they also finished a distant third place in total viewers, with 6.2 million per show, losing nine percent of their audience from the year before.
Four pre-teen boys are haunted by strange dreams after eating a pumpkin pie… A pie they learn was made from a pumpkin that grew from the grave of a boy who was murdered at their age. As the boys realize their dreams are visions of the dead boy’s past, they’re sent down a path far scarier than anything in their nightmares.
“Getting older means you realize you can’t waste a minute. Harry Dean knew that since he was 13 years old, and he never wasted a single second,” said John Carroll Lynch.
Plenty of people are outside the prime demo of 18-49 and they not only watch a lot of television and see a lot of movies, they also spend a fair amount of money. But apparently, that money is of no interest to networks and advertisers.
The Peacock Network, which used to be known for its Must See TV Thursday night lineup of sitcoms, has mostly eschewed them of late to focus on hour long dramas, and found great success in the process. But can This is Us and the NFL keep the network on top?
There’s just no other way to describe what Byron Allen has been doing at the Toronto Film Festival over the past few days, so Neil Turitz takes a step back to look at what the variety show host-turned-titan of the industry has accomplished.
“Rather than going to these festivals and seeing the bright shining lights that emerge from them, we instead choose to focus on which of these movies premiering in front of an audience has any chance at all of scoring Oscar gold, as if that’s the only true measure of a movie’s worth,” writes Neil Turitz.
With Labor Day now in our rearview mirror and the new TV season about to knock on our door, it’s time once again to turn from the big screen to the small. Considering that CBS has won the crown for most viewers for nine straight seasons, and 14 of the last 15, it’s hard to imagine that it was ever a punchline, but it was. A big one.
Yes, you read that right! It’s time for Neil Turitz to look back over the first two-thirds of the year for the best and the worst of what the film world has had to offer with the First Second Annual Neily Awards.
It’s been a fun summer, taking a deep dive into each of the major studios, as well as the mid-majors and the biggest and more relevant indie distributors, but it’s probably fitting that we end with the company that is most certainly the biggest disrupter of them all: Amazon.
With the entertainment news cycle and box office taking their typical late summer slow down, Neil Turitz takes a look into his crystal ball to see what the big television topics will be in the coming months.
While in past boxing movies have received great critical acclaim and box office success, recent releases have shown a downturn in public interest. As MMA fights continue to gain appeal, should Hollywood stories turn their sights to a new sport?
How to judge a company that doesn’t actually put its films in theaters? Or doesn’t actually show what kind of revenues it has? The answer to these questions: you don’t judge them by the same criteria.
An Obi-Wan Kenobi standalone movie is officially in the works to which Neil Turitz asks: really? As Lucasfilm insists on limiting itself off to a very small number of characters for their standalone films, are they actually hurting the brand.
“While the scripted versions of the behind-the-scenes world of entertainment can be insightful, it now feels like these kinds of projects are everywhere, to the point where even those of us who enjoy this kind of self-examination are throwing up our hands and wondering if it has all become overkill,” writes Neil Turitz.
As we march inexorably toward both the end of the Studio Series, we come to one of the most interesting entries of the entire enterprise. Bleecker Street is a new and exciting operation in the indie world that has designs on much bigger and more impressive prey, and ultimately succeeding where Broad Green recently failed.
We live in troubled times. It’s on the news every day, we read about it, it keeps us up at night. Maybe it’s time to start thinking of survival plans, and who better to guide us than Hollywood?
In remembrance of country music legend Glen Campbell, Neil Turitz takes a look back at the documentary that depicted the star’s struggle with Alzheimer’s, bringing awareness to the disease and showing the power of filmmaking.
It’s one thing to take an existing company and examine its ups and downs based on a concrete history. It’s a whole other kettle of fish to utilize the same set of standards and apply them to a pair of companies that have no real track record at all, but which have declared themselves as major players in the arena moving forward.
On the heels of YouTube Red’s announcement to revive The Karate Kid as a new series with the original film’s stars, Neil Turitz gives a few ideas of where streaming networks should look to find their next reboot hit.
Christopher Nolan is regularly praised for his work, but not everyone is in love. Neil Turitz is ready to go to battle with Nolan fans as he gives some critical words to the acclaimed director.
Exactly a year ago, when we took a look at The Weinstein Company during this Studio Series, we talked about the fact that the company was in the midst of a terrible year, and was strapped for cash. Three hundred and sixty-five days later, little has changed.
In a landscape where big names rule what was once a way to “break in”, Neil Turitz ponders what it means to be an independent film these days.
The master plan Rothman has put in motion to set Sony up for future success might not be working so well at the moment, but the strategy behind it is sound, explains Neil Turitz.
It’s tough to have one’s cake and eat it, too, but Focus is certainly trying. If you doubt it, look at the success of 2016 and, though the first seven months of 2017 have been the company’s worst since 2010, the list of upcoming releases is as impressive as anyone’s. In the 15 years since its creation, Focus it is responsible for some of the very best examples of what independent film is and can be.
In the midst of a mostly humdrum news weekend that was focused primarily on Comic-Con, a story suggested that Ben Affleck’s days are numbered as Batman in the DCEU. Everyone involved denied it, of course, when the question came up at the Justice League panel and presentation in Hall H on Saturday, but the writing has been on the wall for a while now.
Right now, William Shakespeare is as in vogue as he’s been in quite some time. There are two current TV shows about him, a plethora of stage productions (garnering attention for a variety of reasons), and several film adaptations in the works. Want a quality IP? Look no further than this dead English guy.
What’s interesting about Open Road’s history is how much of an outlier a film like Spotlight was, and whether or not anything like it will come from them again anytime soon. Regardless, what is very evident is that the soft grosses of the last couple years can’t persist for too much longer, or else we could see Open Road fall to the second division of indie distributors.
What Disney does is so darn smart. It shares the time and space with no one. While everyone else who might have something fancy to show is holding off until they head a hundred or so miles south, Disney is looking over all it has and holding out maybe one thing to tantalize the comic book crowd.
There’s a big difference between the Emmys and every other major awards show. Besides the TV half of the Golden Globes, only the Emmys allow for repeat nominees and winners, because every year, new content is being created for the same shows. Herein lies the issue. Emmy voters are lazy, and the question has to be asked whether or not the majority of them are even watching the shows for which they’re voting.