British actor Rege-Jean Page left the hit Netflix series Bridgerton to pursue a Hollywood film career and it seemingly has already come full circle with him returning to the streaming giant for a new project.
Variety reports that Page has landed a lead role in an untitled heist film that will be written and directed by Noah Hawley (Lucy In The Sky, Legion, Fargo) with AGBO producing, the production company from Joe and Anthony Russo.
The Russo Brothers are also behind Netflix’s most expensive film The Gray Man that features Rege-Jean Page on the call-sheet alongside Ryan Gosling (The Nice Guys, Drive, Blade Runner 2049), Chris Evans (Snowpiercer, Captain America 1-3, Avengers 1-4), Ana De Armas (No Time To Die, Blade Runner 2049, Knives Out), Wagner Moura (Narcos), Jessica Henwick, Dhanush, Billy Bob Thornton (Fargo), Alfre Woodard (Luke Cage), Julia Butters (Once Upon A Time In Hollywood), Eme Ikwuakor (Inhumans, Moonfall) and Scott Haze (Venom, Jurassic World: Dominion, Minari).
To those who lurk in the shadows, he’s known as the Gray Man. He is a legend in the covert realm, moving silently from job to job, accomplishing the impossible and then fading away. And he always hits his target. Always. But there are forces more lethal than Gentry in the world. Forces like money. And power. And there are men who hold these as the only currency worth fighting for. And in their eyes, Gentry has just outlived his usefulness. But Court Gentry is going to prove that, for him, there’s no gray area between killing for a living and killing to stay alive…
Page recently wrapped on Dungeons & Dragons and is attached to star in The Saint reboot, replacing Chris Pine.
Meanwhile, Noah Hawley was officially announced back in December as working on a FX on Hulu series set in the Alien universe with Ridley Scott set as the Earthbound show’s producer.
It’s also unclear when this heist project will begin shooting.
While director Neill Blomkamp was able to convince both actress Sigourney Weaver and Aliens director James Cameron (called the film’s outline/idea “gangbusters”) about his pitch for Alien 5, but it sounds like Ridley Scott was ultimately the harder sell and may have ultimately led to the project’s death.
During a recent interview with The Playlist, Blomkamp suggested that Ridley Scott was possibly behind his exit from the sci-fi sequel.
“At the end of the day even though Ridley Scott is producing it, he brought that to the world, so if he changes his mind or if there is a director on it he doesn’t want, whatever it may be, it’s his. I understand that, it makes logical sense to me.”
Blomkamp further alluded to The Guardian that Alien 5 producer Ridley Scott (current gatekeeper of the Alien franchise) potentially watched Chappie and that may have behind Scott changing his mind about letting Blomkamp direct Alien 5 (a project Ridley Scott tried to make 20 years ago).
“It’s possible that Ridley watched Chappie and he was like, this guy can’t do Alien so let’s just go ahead and move on.”
When asked if he’d return to the franchise anytime in the future he declined that as a possibility and quickly debunked online rumblings that Alien 5 was back on track with his involvement.
“Not after, no no no, there’s no coming back from that. I’m not gonna work on a film for two years and have the rug pulled out from underneath me and then go hang out and have beers. It’s exactly why I don’t want to do IP based on other people’s stuff ever again.”
“I’m sure they will make many films with that piece of IP, it just doesn’t include me.”
It’s worth noting that as soon as Alien 5 got nixed by Scott/20th Century Fox, they quickly moved forward with Scott’s Alien: Covenant. There is a good chance that Scott saw Alien 5 as a competing film to Covenant and decided to curb-stomp it (considering his high status at the studio). There were some similarities between the two films with multiple androids as revealed in concept artwork (one good and one bad), and we wouldn’t be terribly shocked if Covenant lifted other elements from Alien 5.
Chappie was both a critical and box office disaster for Blomkamp. The sci-fi movie had multiple oddball choices including giving large roles to non-actors Die Antwoord (rapper pals of Blomkamp), who played awful characters that were on par with Hugh Jackman’s villain but were supposed to be “likable.” It certainly had less to say than the social commentary infused into the story as Blomkamp’s prior two movies District 9 and Elysium, feeling like more of “this would be cool if we did this” exercise.
With District 10 in development and other Elysium films on table, I don’t think we can say that the director has any interest in Chappie follow-ups anytime soon.
CHAPPIE – In the near future, a mechanized police force patrols the streets and deals with lawbreakers — but now, the people are fighting back. When one police droid is stolen and given new programming, he acquires the ability to feel and think for himself. While the robot, dubbed “Chappie (Sharlto Copley),” puzzles out human behavior, the authorities begin to see him as a danger to mankind and order; they will stop at nothing to ensure that Chappie is the last of his kind.
We’re all excited to see Noah Hawley’s latest entry in the Alien franchise with his FX series that will be produced by Ridley Scott. FX boss John Landgraf spoke at the TCA presentation via Deadline and gave some brief updates on the Earthbound show he’s calling “very grounded.”
First, Landgraf made it clear that the “beast” of a show will feel familiar to fans.
“I think you’ll also see that the show will feel like a part of the cinematic universe you’re familiar with in terms of Alien.”
He also teased a potential release in 2023.
“I have optimism that that show may well roll out in 2023. It will probably roll out 2023, but we want to get it right.”
Noah Halwey has talked up the idea of an Alien story focusing on the humanity/company angle previously and told Vanity Fair the following:
“Those are great monster movies, but they’re not just monster movies. They’re about humanity trapped between our primordial, parasitic past and our artificial intelligence future—and they’re both trying to kill us. Here you have human beings and they can’t go forward and they can’t go back. So I find that really interesting…It’s a story that’s set on Earth also. The alien stories are always trapped… Trapped in a prison, trapped in a space ship. I thought it would be interesting to open it up a little bit so that the stakes of ‘What happens if you can’t contain it?’ are more immediate.”
“On some level it’s also a story about inequality. You know, one of the things that I love about the first movie is how ’70s a movie it is, and how it’s really this blue collar space-trucker world in which Yaphet Kotto and Harry Dean Stanton are basically Waiting for Godot. They’re like Samuel Beckett characters, ordered to go to a place by a faceless nameless corporation. The second movie is such an ’80s movie, but it’s still about grunts. Paul Reiser is middle management at best. So, it is the story of the people you send to do the dirty work…In mine, you’re also going to see the people who are sending them. So you will see what happens when the inequality we’re struggling with now isn’t resolved. If we as a society can’t figure out how to prop each other up and spread the wealth, then what’s going to happen to us? There’s that great Sigourney Weaver line to Paul Reiser where she says, ‘I don’t know which species is worse. At least they don’t fuck each other over for a percentage.’”
It’ll be interesting who they will ultimate cast and might end up start production sometime in 2022, given that 2023 target mentioned for a release.
Friday marked the 25th anniversary of German director Roland Emmerich‘s alien invasion film “Independence Day,” but it wasn’t the only big sci-fi spectacle he had been working on for 20th Century Fox.
In the wake of David Fincher‘s “Alien 3,” it felt like 20th Century Fox was over the “Alien” franchise, and Sigourney Weaver leading it. Ellen Ripley had killed herself at the end of the film making subsequent sequels seemingly moot after their lead character’s death and flopping at the box office. Thinking they were done with the Ripley saga, between “Alien 3” and “Alien Resurrection” the studio tried to develop an early incarnation of an “Alien vs. Predator” movie years before the Paul W.S. Anderson version.
A rumor appeared in 1992 (same year that “Universal Soldier” is released) that Emmerich was going to direct an “AVP” film based on the popular Dark Horse Comics run, this wasn’t hard to imagine because 1990’s “Predator 2” had given audiences a nod to the comic book crossover as they added a xenomorph skull on a wall of trophies in the predator ship at the end of the film. In 1994, “Stargate” is released and that success leads to another original humans vs. aliens project with the 1996 box office juggernaut “Independence Day,” Toho and TriStar Pictures feel confident enough to allow Roland Emmerich to direct a modern “Godzilla” reboot using CGI special effects.
In 1996, “Alien Resurrection” begins shooting in Los Angeles with French director Jean-Pierre Jeunet overseeing the sequel and Ellen Ripley is brought back via the wonders of cloning (originally going to be a clone of Newt), thanks “Jurassic Park.” The film ends with the survivors landing in Paris and leaves the door open for a fifth installment.
In the November 1997 issue of Starlog Magazine, screenwriter Dean Devlin (“Stargate,” “Independence Day,” “Godzilla“) was interviewed about his Fox Television series “The Visitor” and asked about the status with “Alien vs. Predator” he replied, “For the time being, it’s dead. We wanted to do it if they had not just decided to do ‘Alien Resurrection,’ and now we’re all just waiting around to see how that film does. If it really works, the studio is going to want to continue the franchise with just the alien. If that were to happen, then we won’t be involved at all.”
This interview taking place before “Alien Resurrection”s late November release and while the sequel made slightly more than “Alien 3,” it still didn’t meet studio expectations. The following year, Roland and Dean released their critical disaster “Godzilla,” which was ridiculed and likely could have been a reason why 20th Century Fox ultimately didn’t want them handling a crossover to their two lucrative sci-fi franchises.
Speaking of “Predator 2,” Arnold Schwarzenegger was originally going to return as Dutch in the sequel before the role was reworked as Peter Keyes for actor Gary Busey and there has been a longstanding rumor that Arnold was going to star in this “AVP” movie, there might be something behind that.
In 1991, before Emmerich’s “Universal Soldier” starring Jean-Claude Van Damme was released in 1992, Schwarzenegger visited the film’s set, and we have a bunch of photos that documented that visit. There is a possibility that Arnold was there to get a read on Roland Emmerich and speak to Jean-Claude Van Damme about his experience working with him.
JCVD’s star was rising in the 1990s and had played the first incarnation of the alien hunter in “Predator” before leaving during Stan Winston‘s redesign of the creature (with some help from James Cameron) to lead his action film “Bloodsport” instead of being hidden behind a predator costume.
Producers had been trying to lure him back to the “Predator” franchise every chance they got and a crossover with a huge budget along with the right director could be attractive enough for Arnold to get involved. A reminder, the studio was looking to move past Weaver since Ripley was dead and Schwarzenegger was hot as a pistol at the box office, Dutch was theoretically still alive and every “Predator” sequel since there have been attempts to have him appear.
“Something similar to what we did with Aliens. A bunch of great characters, and of course Sigourney [Weaver]. I’ve even discussed the possibility of putting him [Arnold Schwarzenegger] into the Alien movie,” Cameron told the BBC in 2003 about the possibility of adding Schwarzenegger to his “Alien 5.”
Paul W.S. Anderson begins shooting “Alien vs. Predator” in Prague at the end of 2003 and essentially kills “Alien 5,” finally ending the Ellen Ripley saga for good.
James Cameron pivots to “Avatar” and the film still holds the global box office record thanks to a re-release with four sequels on the horizon.
The original version of “Alien 5” would see Ridley Scott direct with Cameron producing and co-writing (possibly with “Alien Resurrection” screenwriter Joss Whedon writing too) and would take Ripley to the homeworld of the xenomorph. The project was never made, but Ridley Scott returned to tackle his prequel “Prometheus” attempting to explore the origin of Space Jockey (engineers) and was a producer on Neill Blomkamp‘s new “Alien 5” incarnation (approved by James Cameron) that would have acted as a direct sequel to “Aliens” (ignoring the other two sequels) before that also stalled, “Alien: Covenant” stepping in to fill the void.
Scott is currently producing Noah Hawley‘s “Alien” series at FX that will be set on Earth and return the franchise to its class warfare root. He’s also talked-up a third prequel film still being in the works that has previously used the working title of “Alien: Awakening.”
In December, FX confirmed they were indeed moving forward with an original series set within the Alien universe with Noah Hawley (Fargo, Legion) and producer Ridley Scott. However, the project wasn’t going to be a continuation of the David or Ripley stories, as it would be taking place on Earth.
During a new interview with Vanity Fair, Noah Hawley is giving tiny tidbits about the project and reaffirming his plans to take more of human angle with the show. Something that sort has got lost with Scott’s wishy-washy prequels and the horrible cash-grab Alien vs. Predator films.
“Those are great monster movies, but they’re not just monster movies. They’re about humanity trapped between our primordial, parasitic past and our artificial intelligence future—and they’re both trying to kill us. Here you have human beings and they can’t go forward and they can’t go back. So I find that really interesting…It’s a story that’s set on Earth also. The alien stories are always trapped… Trapped in a prison, trapped in a space ship. I thought it would be interesting to open it up a little bit so that the stakes of ‘What happens if you can’t contain it?’ are more immediate,” Hawley told Vanity Fair.
He also brought-up returning to the franchise’s main dynamic between the greedy corporation (Weyland-Yutani) exploiting it’s workforce, something that was a key element of the first three Alien movies.
Hawley states the show will focus on the human dynamics, “On some level it’s also a story about inequality. You know, one of the things that I love about the first movie is how ’70s a movie it is, and how it’s really this blue collar space-trucker world in which Yaphet Kotto and Harry Dean Stanton are basically Waiting for Godot. They’re like Samuel Beckett characters, ordered to go to a place by a faceless nameless corporation. The second movie is such an ’80s movie, but it’s still about grunts. Paul Reiser is middle management at best. So, it is the story of the people you send to do the dirty work…In mine, you’re also going to see the people who are sending them. So you will see what happens when the inequality we’re struggling with now isn’t resolved. If we as a society can’t figure out how to prop each other up and spread the wealth, then what’s going to happen to us? There’s that great Sigourney Weaver line to Paul Reiser where she says, ‘I don’t know which species is worse. At least they don’t fuck each other over for a percentage.'”
Folks seem to be losing their minds about these comments, however, I have to question if they have actually watched the Ellen Ripley movies that mainly focused on the rich exploiting the poor workforce to get their hands on the xenomorph to make billions off it by turning it into a bio-weapon.
The original film saw the company secretly install a robot (Ash) and direct the Nostromo crew to the derelict ship, Ripley discovers the company sees the crew is expendable (seen as glorified space truckers) and Ash tries to kill her when she discovers the company is willing to sacrifice them all to get their hands on the alien. Walter Hill and David Giler (did rewrites on Alien and co-wrote Aliens with James Cameron) seemingly took elements directly from the Joseph Conrad (his book Heart of Darkness inspired Vietnam War film Apocalypse Now) novel Nostromo, that was about human greed connected to a fictional silver operation in South America.
Parallels of greed from Nostromo was doubled-down in Aliens (Sulaco name came from the book too), as seen when Ellen Ripley tries to explain what happened to the ship and crew they simply dismiss her story. Carter Burke, a Weyland-Yutani suit, pretends to be concerned about Ripley as a manipulation tactic and it’s discovered that he personally got all the colonists on LV-426 killed (colonists and Newt’s parents shown in the director’s cut) without warning them about the alien. Not only that, he also was willing to kill the Marines (sabotaging their freezers on the trip home) alongside turning Ripley and Newt into hosts to bring back the xenomorph back to Earth for the company’s weapons program. Silver being replaced with the promise of a perfect bio-weapon. When he was caught by Ripley, he tries to rationalize his greed and when that doesn’t work he unleashes facehuggers upon her.
In David Fncher’s Alien 3, Ripley crash lands on a prison colony planet and the Warden blindly is following orders from the company only for her to warn them that they might kill everyone in the installation just for witnessing the xenomorph to keep it a secret as the previous two movies backed-up that conclusion.
Lastly, Alien Resurrection saw a black site military operating trying to clone an alien queen, then hiring space pirates to hijack a transport full of innocent workers kidnapping them to become hosts (essentially killing them) for soldier aliens before everything hits the fan. Yet, another attempt to get a bio-weapons program going.
To say the Alien franchise isn’t about politics is complete ignorance.
There has been lots of fantastic artwork from Niell Blomkamp’s Alien 5 aka Red Harvest making the rounds online thanks to concept artist Geoffroy Thoorens (new concept art pictured above). It looks like the former Blomkamp project is getting some support from another creative working within the Alien franchise.
Deadline sat down with Fargo’s Noah Hawley and the subject of his new Alien series was brought up, but he wasn’t dishing details. However, when talking about the franchise’s legacy of directors, Noah mentioned that he wanted to have seen Neill Blomkamp’s unmade Alien 5 starring Sigourney Weaver in the Ellen Ripley role. A sequel that would have acted as a direct companion to James Cameron’s Aliens, resurrecting characters that died early on in David Fincher’s Alien 3.
“For five minutes Neill Blomkamp was going to make an Alien movie, I would have paid money to see that,” Hawley told Deadline during a video podcast chat.
As far as we know, Neill Blomkamp doesn’t have a desire to return after 20th Century Fox pulled-the-plug to make Ridley Scott’s lackluster Alien: Covenant. Scott has mentioned in previous interviews that he’s speaking with the studio about a third prequel film and is attached as a producer on the new streaming series led by Hawley.
Over a year ago I first reported at HN Entertainment that there was a rumbling of a potential live-action Alien series from producer Ridley Scott was in the works at Hulu and later on it was revealed that Fargo‘s Noah Hawley had attempted to pitch an Alien series then played coy about show’s current status when Deadline confronted him with sourced information that it was happening.
There was a sense after HBO Max announced that Ridley Scott’s mature sci-fi series Raised By Wolves was their their most viewed original on the streaming service, that it was only a matter of time before Disney came to their senses with a series set within the Alien universe.
During the Disney Investor Day event earlier in the week, it was officially announced that the series was moving forward at FX on Hulu with a combined effort from Ridley Scott and Noah Hawley. Nothing was revealed outside the project will be the first to be set on a near future Earth, of course, they’re ignoring the Alien vs. Predator films.
Noah had recently telegraphed in an interview with the Observer his series would focus on the human-side of the Alien universe which is just as dangerous as the xenomorphs as profits come before lives.
HAWLEY: “Alien is on some level the complete opposite of Stark Trek. It’s sort of about humanity at its worst. There’s this moment in the second film when Sigourney says, ‘I don’t know which species is worse. At least they don’t screw each other over for a percentage.’ If you look at what Aliens tends to be, it’s usually a trapped story – trapped in a ship, trapped in a prison, etc. And because the Alien has this life cycle to it, where it goes from egg, to chestburster, to xenomorph, there becomes a certain routine to it.”
“I thought it would be interesting if you could expand. If you’re going to make something for television, you’ve got 10 hours let’s say. Even if you have a lot of action, like two hours, then you’re still going to have eight hours left. So what is the show about? That’s what I tried to talk to them about. As I did with Legion, the exercise is: Let’s take the superhero stuff out of the show and see if it’s still a great show. What’s the show about? Let’s take the Alien out of the show. What’s the show about? What are the themes, who are the characters and what is the human drama? Then we drop the aliens back in and we go, ‘This is great. Not only is there great human drama, but there’s aliens!’”
Alien is currently in development at @FXNetworks. The first TV series based on the classic film series is helmed by Fargo and Legion's @noahhawley. Expect a scary thrill ride set not too far in the future here on Earth. pic.twitter.com/KBigUGnXpB
Ridley Scott has suggested in various interviews that his Alien: Awakening (working title) could still happen and was in development at 20th Century Studios. A third incarnation of Alien V was recently being written on spec by franchise screenwriters/producers Walter Hill and David Giler. The pair have worked on Scott’s Alien, James Cameron’s Aliens, and David Fincher’s Alien 3.
We’re still waiting on Disney and 20th Century Studios to make announcements concerning the feature film side.
Disney has had huge success with their family-friendly streaming service Disney+, however, the service is indeed geared towards families and younger audiences which means other Disney-owned content can’t really appear there.
A new report from Collider claims things might be changing soon with sources suggesting that their domestic service Hulu is being prepared to be folded into Disney+, Disney is a majority owner of Hulu and plenty of people have suggested this becoming an option given that Hulu doesn’t have an international presence being a domestic service but could with some help from Disney/Disney+ take the leap into the global realm like Netflix.
Sources say Disney is looking to combine its two streaming services into a single juggernaut.
For more than a year now, there has been speculation that Disney might one day fold Hulu into its Disney+ streaming service, and sure enough, Collider is hearing that multiple Hulu executives have been leaving or let go from the streaming service in anticipation of the move, which makes a lot of sense from a business perspective.
They phrase the report’s headline as a question which could mean this might be more of a rumor circulating among reliable people they’re talking to.
If this officially happens, Disney+ adding Hulu’s content, the 20th Century Studios library and their multiple television offerings from 20th Television/FX would add a massive under served demographic to their international streaming service. Another upside is that Disney might be forced into developing mature content with the Disney branding moving into the 21st Century as the media company will need to attract adult audiences as well and move beyond children’s entertainment.
We’ve already seen this with 20th Century Studios moving forward with Predator 5 and Marvel Studios hiring screenwriters for Ryan Reynolds’ Deadpool 3, both expected to be R-rated offerings. This could be a way for Disney+ to start making mature shows using their budgets that they’ve used for Star Wars and Marvel series. I’m sure that Alien series that Noah Hawley (Fargo, Legion) wanted to make wouldn’t have as much trouble getting the budget it would need to look proper. It also gives a home to franchise films like Die Hard, Alien/Predator franchises, Logan, and Deadpool.
Netflix and Amazon’s Prime Video are doing a lot to attract older subscribers with original content which to some extent HBO/HBO Max is doing as well but like Hulu isn’t on the global stage.
Speaking of HBO Max, does this mean Disney announces this and then throws their entire 2021 slate of films on the combined service? We don’t really know if they’re going to mirror HBO Max’s new release model for 2021 and if this happens it could be another ding on the theatrical runs of future films. Alongside their potential to earn the billions at the box office that Disney is accustomed to. Hulu could be placed in an odd spot here and might see massive layoffs as jobs become redundant.
A while back it was reported that Fargo and Legion series creator Noah Hawley had attempted to pitch 20th Century Fox to develop a series at FX set within the Alien universe which was ultimately rejected before the merger with Disney.
An Alien series wouldn’t be the first new project that was purposed.
District 9’s Neill Blomkamp had tried to finally get an Alien 5 movie (Ridley Scott and James Cameron pitched a version before AVP years ago) off the ground with Sigourney Weaver attached to star and Ridley Scott producing but that never materialized. As Scott has been talking up a third installment of his Alien prequel, a follow-up to Alien: Covenant that had been once called Alien: Awakening and more recently has been indicating that it’s in development stages. Franchise screenwriters/producers Walter Hill and David Giler seemingly inspired by Blomkamp’s concept of erasing the two sequels had written a couple of drafts for Alien V with Weaver reading an early draft of it.
It was announced that Dan Trachtenberg (10 Cloverfield Land, Black Mirror) would be directing Predator 5 aka Skulls, that according to him had been in the works for almost four years. An old synopsis for the project suggested it could be taking a period western setting with the main human character being “a female Comanche warrior”.
There had been some hints that Disney might want to circle back to Noah’s Alien series idea and Deadline asked him about it in their interview for Season 4 of Fargo. Admitting he’s since had talks about the show since the merger which sounds like new interest in making it as Deadline suggests a deal for a show is incoming.
DEADLINE: Are you still involved with the Alien reboot TV series? I understand deals are trying to be done.
HAWLEY: “I know that there’s an effort to reshuffle a lot of things post-Disney takeover and it was a conversation that I had a couple years back. And I have not in the last few weeks been having those conversations about it. But I know that like any studio that there’s a great desire to make the most of one’s library so I wouldn’t be surprised to see something like that.”
DEADLINE: But you’re involved in it?
HAWLEY: “Ya know, I have conversations from time to time but I’m not committed.”
DEADLINE: And there isn’t a hard conceit to it yet?
HAWLEY: “No, I haven’t — nothing is at that stage.”
Back in September, Noah gave some insight to Observer what he wanted to do and hinted that he would like to explore a character-driven series set in the universe that may have focused on the humans behind the Weyland-Yutani company and those underneath them. An interesting proposal given that filmmakers have really only scratched the surface of what that futuristic universe looks like.
HAWLEY: “Alien is on some level the complete opposite of Stark Trek. It’s sort of about humanity at its worst. There’s this moment in the second film when Sigourney says, ‘I don’t know which species is worse. At least they don’t screw each other over for a percentage.’ If you look at what Aliens tends to be, it’s usually a trapped story – trapped in a ship, trapped in a prison, etc. And because the Alien has this life cycle to it, where it goes from egg, to chestburster, to xenomorph, there becomes a certain routine to it.”
“I thought it would be interesting if you could expand. If you’re going to make something for television, you’ve got 10 hours let’s say. Even if you have a lot of action, like two hours, then you’re still going to have eight hours left. So what is the show about? That’s what I tried to talk to them about. As I did with Legion, the exercise is: Let’s take the superhero stuff out of the show and see if it’s still a great show. What’s the show about? Let’s take the Alien out of the show. What’s the show about? What are the themes, who are the characters and what is the human drama? Then we drop the aliens back in and we go, ‘This is great. Not only is there great human drama, but there’s aliens!’”
We had heard a while back there had been some interest in Ridley Scott getting involved with a Hulu series, the streamer now has a strong relationship with FX’s programming post-merger and would be a perfect home for an Alien series if/when it come together. If there were to be any Alien series Scott is most likely landing an automatic executive producer credit given his current status on the franchise and previous involvement with Alien 5 as a producer.
It’s also worth noting that Ridley Scott’s sci-fi series Raised By Wolves (formerly at TNT) had been touted by HBO Max as their most successful original series and that could help influence folks at Disney, 20th Century Studios, FX, and Hulu to give Noah’s series a second look as it sounds like they might already have.
Yesterday, the Walt Disney Company announced a new initiative to get more content going for its streaming services such as Disney+, ESPN+, and Hulu from its sports, television, and film divisions. The new division will be called The Media & Entertainment Distribution group led by Kareem Daniel.
It sounds like they’ll be dedicating a lot more resources and money than they have previously as means to compete with competitors like Netflix and Amazon. However, this announcement says nothing about them throwing their 2021 theatrical slate on Disney+ and never mention a thing about ending theatrical releases altogether only pushing to place more content on their streaming services.
We will get more details on these plans on December 10th.
During an interview with CNBC, Disney’s new CEO Bob Chapek was quick to point out that they aren’t looking to stop the theatrical experience and would be announcing further details.
Also, specifically downplayed COVID-19’s role in the decision.
CHAPEK: “I would not characterize it as a response to Covid. I would say Covid accelerated the rate at which we made this transition, but this transition was going to happen anyway. Because essentially what we want to do is separate out folks who make our wonderful content based on tremendous franchises from the decision making in terms of prioritization is on how it gets commercialized into the marketplace. And what we want to do is leave it to a group of folks you can really see objectively across all of the constituents we have and various considerations we’ve got and make the optimal decision for the company as opposed to having it predetermined that a movie is destined to theaters or that a TV show is destined for ABC. So what we really want to do is provide some level of objectivity and really make it a decision that benefits the overall company and its shareholders.”
When pressed on Disney’s commitment to the theatrical model Bob said the following that gives the impression they’re not giving up on the theatrical model just yet.
CHAPEK: “We’ve benefited from a tremendous relationship with theatrical exhibition for many many many years as dynamics change in the marketplace though we want to make sure that we are giving consumers who want to go to theaters to experience everything that a theatrical release can give them, we want to continue to give them that option but at the same time there are a lot of consumers that want to experience a movie in the safety, comfort, and convenience of their own home for whatever reasons they do.”
To me, it sounds like either they are going to pursue a shorter theatrical window or a mixed model of day-and-date which obviously the theater industry wouldn’t be terribly pleased about on either front.
Here is the official press release from the Walt Disney Company website that gets a little more into the weeds about what all this means.
In light of the tremendous success achieved to date in the Company’s direct-to-consumer business and to further accelerate its DTC strategy, The Walt Disney Company (NYSE: DIS) today announced a strategic reorganization of its media and entertainment businesses. Under the new structure, Disney’s world-class creative engines will focus on developing and producing original content for the Company’s streaming services, as well as for legacy platforms, while distribution and commercialization activities will be centralized into a single, global Media and Entertainment Distribution organization. The new Media and Entertainment Distribution group will be responsible for all monetization of content—both distribution and ad sales—and will oversee operations of the Company’s streaming services. It will also have sole P&L accountability for Disney’s media and entertainment businesses.
The creation of content will be managed in three distinct groups—Studios, General Entertainment, and Sports—headed by current leaders Alan F. Horn and Alan Bergman, Peter Rice, and James Pitaro. The Media and Entertainment Distribution group will be headed by Kareem Daniel, formerly President, Consumer Products, Games and Publishing. All five leaders will report directly to Bob Chapek, Chief Executive Officer, The Walt Disney Company. Disney Parks, Experiences and Products will continue to operate under its existing structure, led by Josh D’Amaro, Chairman, Disney Parks, Experiences and Products, who continues to report to Mr. Chapek. Rebecca Campbell will serve as Chairman, International Operations and Direct-to-Consumer. Bob Iger, in his role as Executive Chairman, will continue to direct the Company’s creative endeavors.
“Given the incredible success of Disney+ and our plans to accelerate our direct-to-consumer business, we are strategically positioning our Company to more effectively support our growth strategy and increase shareholder value,” Mr. Chapek said. “Managing content creation distinct from distribution will allow us to be more effective and nimble in making the content consumers want most, delivered in the way they prefer to consume it. Our creative teams will concentrate on what they do best—making world-class, franchise-based content—while our newly centralized global distribution team will focus on delivering and monetizing that content in the most optimal way across all platforms, including Disney+, Hulu, ESPN+ and the coming Star international streaming service.”
Under the new structure, the Company’s three content groups will be responsible and accountable for producing and delivering content for theatrical, linear and streaming, with the primary focus being the Company’s streaming services:
STUDIOS: Messrs. Horn and Bergman will serve as Chairmen, Studios Content, which will focus on creating branded theatrical and episodic content based on the Company’s powerhouse franchises for theatrical exhibition, Disney+ and the Company’s other streaming services. The group will include the content engines of The Walt Disney Studios, including Disney live action and Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Lucasfilm, 20th Century Studios and Searchlight Pictures.
GENERAL ENTERTAINMENT: Mr. Rice will serve as Chairman, General Entertainment Content, which will focus on creating general entertainment episodic and original long-form content for the Company’s streaming platforms and its cable and broadcast networks. The group will include the content engines of 20th Television, ABC Signature and Touchstone Television; ABC News; Disney Channels; Freeform; FX; and National Geographic.
SPORTS: Mr. Pitaro will serve as Chairman, ESPN and Sports Content, which will focus on ESPN’s live sports programming, as well as sports news and original and non-scripted sports-related content, for the cable channels, ESPN+, and ABC.
The Media and Entertainment Distribution group, led by Mr. Daniel, will be responsible for the P&L management and all distribution, operations, sales, advertising, data and technology functions worldwide for all of the Company’s content engines, and it will also manage operations of the Company’s streaming services and domestic television networks. The group will work in close collaboration with the content creation teams on programming and marketing.
It’ll be interesting to see if Disney+ will start mining IP from the 20th Century Studios side of things soon as Disney+ series and limited series focused on properties like Avatar and Planet of The Apes could be extremely successful. In the press release they suggest that they could end up making episodic projects based on 20th Century properties.
A live-action Flash Gordon series stands out as a property that Disney really could do justice with on Disney+ and be a counter of sorts to their Star Wars shows as it could be way more swashbuckling than the Lucasfilm property that was inspired by it. Taika Waititi (Thor: Ragnarok, Thor: Love & Thunder, Jojo Rabbit) is attached to direct an animated Flash Gordon film and at one time 20th Century was developing a live-action feature as well from directors Matthew Vaughn (X-Men: First Class, Stardust, Layer Cake) and Julius Avery (Overlord) involved at different points.
I wouldn’t even put it past Disney to reboot John Carter eventually given the Volume/StageCraft would allow them to make a series more cost effective that world like Flash Gordon is different enough from Star Wars it would be worth pursuing.
Of course, this could mean a major influx of more shows from Marvel, Star Wars, and Pixar universes but might also see Hulu getting a bump of adult content as well with franchises like Alien (Noah Hawley pitched an Alien series to FX) and Predator just collecting dust while they could be helpful to get more eyeballs on Hulu. HBO Max had recently crowed about Ridley Scott’s sci-fi series Raised By Wolves being the most popular original on their service when announcing they were moving forward with a Season 2 order.
Matthew Vaughn has also been talking up the idea of a Kingsman spinoff series that could fit nicely at Hulu.
Disney certainly has a massive gap in the adult market and places like Canada don’t have access to Hulu and that really needs to change if they want to compete with Netflix/Amazon on an international level as those services offer content to both kids and adults alike. Cornering the kid market just won’t be enough for Disney if they want to grow their streaming presence.
I guess we’ll have to wait for December 10th to get more concrete answers about what all this actually means for content that is already in the can or is about to begin filming.
THE RONIN 