Chief Zack Snyder has disclosed a fascinating mystery for his impending Netflix film, ‘Dissident Moon,’ lighting energy among fans and industry aficionados the same. The mystery discharge comes in front of the profoundly expected debut date, which has been formally declared.
In a tweet posted recently, Zack Snyder (@ZackSnyder) shared a concise look at the ‘Revolutionary Moon’ universe, displaying his particular visual style and indicating the legendary size of the film. The mystery opens with a striking shot of a far off planet prior to uncovering a fighter embellished in cutting edge covering, making way for what vows to be an activity stuffed experience.
Snyder’s ‘Radical Moon’ is set to debut solely on Netflix on November 17, 2023, denoting a huge cooperation between the eminent chief and the streaming monster.
In an explanation, Zack Snyder communicated his energy for the undertaking: “I’m excited to collaborate with Netflix on ‘Dissident Moon.’ This is a story that is near my heart, and I can hardly stand by to impart it to crowds around the world.”
Netflix likewise shared their energy for the film, with Scott Stuber, Head of Worldwide Film at Netflix, expressing, “Zack is a visionary movie producer, and we are regarded to bring ‘Renegade Moon’ to our worldwide crowd. The secret offers a tempting look into the incredible world Zack has made.”
‘Rebel Moon’ is ready to be a sort mixing display, mixing components of sci-fi and dream. The film is set in a future where states on the edge of the universe face oppression, and a young lady named Amaia ascends as an encouraging sign.
While explicit plot subtleties remain strictly confidential, the venture has previously produced critical buzz, with Snyder’s standing for outwardly shocking and sincerely full narrating reinforcing expectation.
The cast of ‘Radical Moon’ incorporates Sofia Boutella, Charlie Hunnam, and Beam Fisher, among others, with every entertainer expected to carry their exceptional abilities to the assorted characters populating the film’s universe.
As the delivery date draws near, fans can anticipate more secrets, trailers, and in the background looks into the creation of ‘Renegade Moon.’ Zack Snyder’s ‘Radical Moon’ is without a doubt one of the most expected Netflix Firsts of the year, and it’s set to leave its imprint when it makes a big appearance this November.
She was Egypt’s last Pharaoh, a legendary leader who according to popular belief ended her life by allowing a deadly cobra to bite her breast.
But more than 2000 years after her death, the woman who had love affairs with Julius Caesar and Mark Antony has ignited a modern-day controversy over race and representation.
In Queen Cleopatra, a new four-part drama-documentary made by Netflix, the title role is played by Adele James, an actor of mixed heritage – a move that has enraged Egyptian experts who insist the pharaonic leader had “white skin and Hellenistic characteristics”.
This week, the Egyptian antiquities ministry published a lengthy statement that included opinions from experts that, it said, agree on Cleopatra’s skin colour and facial features.
“Bas-reliefs and statues of Queen Cleopatra are the best proof,” the statement said, embellishing its text with illustrations showing Cleopatra with European traits.
For Mostafa Waziri, head of the Supreme Antiquities Council, depicting the famous queen as black was nothing less than “a falsification of Egyptian history”.
He said there was nothing racist in this view, which is motivated by “defending the history of Queen Cleopatra, an important part of the history of Egypt in antiquity”.
Amid a Twitter storm on the subject, James, who has appeared in the British hospital drama Casualty, said: “If you don’t like the casting, don’t watch the show.”
Tudum, the official companion site to Netflix, earlier this week quoted the producers of the series as saying: “Her ethnicity is not the focus of [the series] Queen Cleopatra, but we did intentionally decide to depict her of mixed ethnicity to reflect theories about Cleopatra’s possible Egyptian ancestry and the multicultural nature of ancient Egypt.”
It had worked with leading historians and experts including Shelley Haley, professor of classics and African studies at Hamilton College in New York, and the Cleopatra scholar Sally-Ann Ashton to “explore Cleopatra’s story as a queen, strategist, ruler of formidable intellect as well as a woman whose heritage is the subject of great debate”, they said.
Cleopatra, who was born in the Egyptian city of Alexandria in 69 BC, succeeded her father, Ptolemy XII, in 51 BC and ruled until her death in 30BC. Afterwards, Egypt fell under Roman domination. She spoke many languages in addition to her native Greek.
The identity of Cleopatra’s mother is not known. Some historians say she could have been an indigenous Egyptian or from elsewhere in Africa. Shakespeare used the word “tawny” to describe the queen in his play Antony and Cleopatra. Cleopatra was portrayed as dark-skinned in some Renaissance art.
More recently, Cleopatra has been played by white actors including Vivien Leigh, Claudette Colbert and Elizabeth Taylor.
Jada Pinkett Smith, the American actor who was executive producer and narrator on the series, told Tudum: “We don’t often get to see or hear stories about black queens, and that was really important for me … The sad part is that we don’t have ready access to these historical women who were so powerful and were the backbones of African nations.”
Some experts have said the debate reflects contemporary views about race, rather than how race was understood in ancient times.
“To ask whether someone was ‘black’ or ‘white’ is anachronistic and says more about modern political investments than attempting to understand antiquity on its own terms,” Rebecca Futo Kennedy, an associate professor of Classics at Denison University, told Time magazine.
“There is nothing wrong in casting Cleopatra as black,” Kenan Malik wrote in the Observer this week. “The problem lies in the resonances that flow from that. James is no more and no less authentically a Cleopatra than Elizabeth Taylor was. Ancient commentary on Cleopatra reveals little interest in discussing her identity in the way the modern world obsessively does.”
A BBC documentary in 2009 claimed that Cleopatra had African blood, an assertion that passed without incident.
Agence France-Prese contributed to this report
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#Cleopatra #lightskinned #Egypt #tells #Netflix #row #drama
( With inputs from : www.theguardian.com )
Netflix has offered the first look at a young Prince William and Kate Middleton in the new season of The Crown, which inches closer towards the present day.
The first images from the sixth and final season feature William and Kate holding hands, and are thought to be a depiction of the early days of their courtship as students at the University of St Andrews in Scotland.
Two other images show Kate looking up in a classroom, and William sitting on a brocade sofa in front of framed images, which suggest it may be someone’s home. It is expected that the two characters will play a prominent role in the latest instalment.
William has appeared in the series as a child, but the new series will depict him as an adult for the first time, played by newcomer Ed McVey. Kate will appear for the first time, and will be played by Meg Bellamy.
The Crown has become progressively more controversial as it has depicted more recent history, with some viewers complaining about its use of artistic licence.
Bellamy as Kate Middleton and McVey as Prince William. Photograph: Andrew Milligan/PA
This included Dame Judi Dench, who wrote a letter in the Times, which said “the closer the drama comes to our present times, the more freely it seems willing to blur the lines between historical accuracy and crude sensationalism”.
Dench added “significant number of viewers, particularly overseas, may take its version of history as being wholly true”.
Ahead of the fifth season, Netflix added a label underneath the trailer for the new episodes and on the show’s Twitter page, as well as on the Netflix site itself, clarifying that the series is a “fictional dramatisation”.
Netflix has yet to confirm when The Crown season six will premiere, but if it follows the same pattern as earlier seasons it may launch in November 2023.
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( With inputs from : www.theguardian.com )
Red Rock West, a twisty thriller from 1993 starring an uncommonly subdued Nicolas Cage, is one of the best neo-noirs of the 90s. But you won’t see it mentioned much on social media or included in what-to-stream lists, because Red Rock West is unavailable on streaming platforms – a fate that now renders it all but nonexistent. Even many Cage fans haven’t seen it.
In 2021, when I needed to watch Red Rock Westfor a book I was writing about Cage, I accessed it the same way I would have a decade before: I rented the DVD from Netflix. Not only did I get to see it without crawling around sketchy torrent sites, I also got an insightful director’s commentary.
I’ve been getting Netflix’s red and white envelopes in the mail since 2007 – half of my life – and, surprisingly, I’m not the only one still holding on. The company’s DVD arm reportedly generated $145.7m in revenue last year, with more than a million American subscribers. (Its DVD rentals were never available in the UK, where people may instead recall services such as LoveFilm, which stopped posting discs in 2009.) All that will be left behind at the end of September, when Netflix finally kills the DVD-by-mail service that once comprised its business model.
While it may go unmourned by most of Netflix’s 230 million streamers, this amounts to a slow-motion murder of the greatest resource the early internet offered cinephiles. I’m only 32, but I feel like the grandma from the let’s-get-you-to-bed meme when I try to convince Zoomers that Netflix was once a boon for discovering classic films. It was a virtual video store with an enviably vast selection, but its transformation into Hollywood’s leading manufacturer of mediocrity (with the occasional Roma or The Irishman thrown in for prestige points) is now complete. Netflix is now in its austerity era, cracking down on password-sharers and Nancy Meyers alike.
I’m not quite as sentimental for Netflix DVDs as I am for the suburban video stores of my youth, but I’m pretty nostalgic for the service’s golden era. When I first signed up I was still in high school, and Netflix’s offerings helped expand my still-burgeoning taste in film. I remember ordering Akira Kurosawa’s Ran (1985), which amazed me with its gargantuan scope, because someone had recommended it to me on the Flaming Lips message board. I remember using Netflix to explore Pedro Almodóvar’s dazzling filmography – All About My Mother (1999), Talk to Her (2002) – after seeing Volver (2006).
In 2009, I went off to college, and my Netflix subscription became a reliable lifeline now that I was no longer within driving distance of those floundering video stores. I remember receiving Stanley Kubrick’s brutal Paths of Glory (1957) during freshman year and watching it with my roommate on a dorm-sized TV, bonding over a shared interest in movies from before we were born.
Look, I rented tons of crap from Netflix, too. In 2015, when my girlfriend and I were on a Winona Ryder kick, I rented long-forgotten duds like Square Dance (1987) and Boys (1996). Even now, plenty of the beloved and dated trash of yesteryear has fallen between the streaming cracks. “My dad can’t get his favourite comedy series (Police Academy), Steve Martin’s bombs [flops] or Charles Bronson’s oeuvre,” a fellow journalist told me when I began writing this piece. “Those – and other more valuable dated films – had huge audiences who would surely like to see them again.”
A Blockbuster Video shop before it closed down in Sidcup, Kent. Photograph: UrbanImages/Alamy
By the mid-2010s, as streaming options such as Prime and Netflix supplanted physical media, I began to sense that the central promise of streaming – every movie or show ever, available at your fingertips – was false. Too many great films are inaccessible. In 2017, I wrote about Netflix’s abysmal catalogue of classic films to stream. As of 2023, the US service offers just 35 movies released before 1980. Far more are available to rent on Amazon, but certainly not everything. Many culturally significant films, like Pink Flamingos(1972) or Rebecca(1940), remain mysteriously unstreamable.
Speciality services such as the Criterion Channel in the US are wonderful and smartly curated, but it’s not a replacement for breadth. Besides, the ghettoisation of classic cinema as a separate service means it’s only available to those who deliberately seek it out across multiple platforms, and not the curious kid who, 25 years ago, might have stumbled upon Mean Streets (1973)on a Blockbuster shelf.
Meanwhile, streaming content seems increasingly disposable because the corporate powers treat it as such. In the US, HBO Max (soon to be Max) recently removed a handful of its own original films and shows, including The Witches (2020) and An American Pickle (2020), starring Seth Rogen. If HBO Max can’t even be trusted to care for and preserve its own original movies, how can it be trusted to care about anyone else’s?
Netflix likes to cosplay as a home for film lovers, but it’s a hollow claim. When you’re lucky enough to stream a classic film, they vandalise the end credits with a pop-up ad. Compared with that indignity, watching a DVD feels weirdly luxurious these days: you don’t need to worry about intrusive ads or the wifi cutting out, no one’s shouting at you about what to watch next.
We were told that “everything’s on streaming now”. We thought we’d have access to 120 years of cinema history. Instead, we have access only to the content that can be readily and easily monetised, trapped in garish and unreliable platforms. There’s no guarantee your favourite movie will still be streaming next month. It feels as if the internet’s vast early possibility has shrunk.
DVDs won’t die out. They’ll probably go the way of vinyl – overpriced boutique items prized by stans and collectors, and cherished by canon-building organisations like the Criterion Collection. You’ll be able to find mainstream DVDs at the public library (for now) and the rarer ones on eBay. As for me, I’ll cling to my modest personal library of about 130 DVDs. A few years ago, during the streaming boom, I thought I might eventually get rid of them. Now I expect to carry them to the grave.
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( With inputs from : www.theguardian.com )
San Francisco: Streaming giant Netflix is finally set to crack down on password sharing in the US this summer.
Netflix originally planned to roll out “paid sharing” in the US during the first quarter this year. The company will now introduce the feature on or before June 30.
“We are planning on a broad rollout, including in the US, in Q2,” the company said in its first-quarter 2023 earnings.
“Paid sharing is another important initiative as widespread account sharing (over 100 million households) undermines our ability to invest in and improve Netflix for our paying members, as well as build our business,” the company added.
Netflix first launched paid sharing in Canada, New Zealand, Spain, and Portugal.
The company said it is also upgrading its ad-supported plan in terms of streaming quality and concurrent streams.
Netflix users subscribed to this plan will be able to see content in 1080p resolution (up from 720p) with support for two concurrent streams.
The feature is being rolled out to users in Canada and Spain now and people using the ad-supported plans in other 10 markets will receive these features later this month.
“We believe these enhancements will make our offering even more attractive to a broader set of consumers and further strengthen engagement for existing and new subscribers to the ads plan,” Netflix said.
Netflix says it will allow up to two extra members per account, and its fee per extra user varies by country.
The sharing plans are available to members using Standard ($15.49 a month) and Premium ($19.99 a month) subscriptions.
San Francisco: Streaming giant Netflix and popular women-first dating app Bumble have teamed up to help users connect over popular TV shows.
With the release of its weekly in-app question game “Netflix Nights In”, which asks users questions about a popular Netflix show, Bumble is putting the phrase “Netflix and Chill?” to the test, reports TechCrunch.
In the new question game, users can compete against one another to see who can correctly answer every question.
A recent Bumble survey found that about 78 per cent of users believe it is simpler to talk to matches when they have similar interests in TV and movies.
Moreover, 72 per cent of survey participants admitted that they discuss movies and television shows when out on a date.
The “Netflix Nights In” will start on January 30 and end on March 13.
The question game will be available to Bumble users in the US, Canada and the UK.
‘Emily in Paris’, ‘Stranger Things’, ‘Squid Game’, ‘Selling Sunset’, ‘Love Is Blind’ and ‘Outer Banks’ are just a few of the shows that will be featured in each Monday’s quiz questions.
Correct answers to each question will not be revealed until the user and their match vote on it.
Each round will also include celebrities from the corresponding show, such as Amanza Smith from ‘Selling Sunset’, Alexa Lemieux from ‘Love Is Blind’ and Ashley Park from ‘Emily in Paris’.
“When we’re getting to know someone, it’s human nature to try and find common interests. It gives you something to bond over and go beyond surface-level conversation,” Magno Herran, vice president of Marketing Partnerships at Netflix, said in a statement.
“We love seeing people connect over Netflix shows and films and create their own communities around them. And with this partnership, we wanted to give people a way to find someone who gets them based on what they watch while leaning into ‘if you know you know’ Netflix references that have helped to spark many conversations,” Herran added.
