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There’s a good chance Apple might buy Netflix

Charmaine Blake



Apple could soon make a bid for Netflix, according to Citi analysts. While it’s complicated and far from certain, there’s a decent chance it might actually happen, and it all hinges on Donald Trump‘s corporate tax cut.

That’s because the GOP tax plan not only offers a significantly lower tax rate but also boasts a one-time repatriation of overseas cash. Apple is said to have $252 billion in foreign cash, which it can now bring back to the U.S. without a major tax hit. Citi analysts Jim Suva and Asiya Merchant believe there’s a chance the Cupertino giant will use those funds on a major acquisition.

The analysts ranked the companies Apple is most likely to acquire, and they gave Netflix 40 percent odds as the leading target. Second to Netflix is Disney, with a 20 to 30 percent chance of acquisition, but that was before Disney purchased 21st Century Fox assets. Other companies Apple may be eyeing include gaming firms Electronic Arts, Activision, and Take-Two (10 percent chance), and electric automaker Tesla (5 percent).

Apple has taken steps to grow its own TV business, but the results are still unclear. It recently launched its first set of original TV shows in Carpool Karaoke and Planet of the Apps, and it’s set to reboot the sci-fi classic Amazing Stories with Steven Spielberg. Apple was early to online video streaming with iTunes but has struggled to keep users tuned in as the market shifted to subscription-based services like Netflix, Hulu, and Amazon Prime.

While Apple is known for cautiously buying up startups and folding them into its operation, it may choose to make an exception and jump ahead of its growing competitors now that it has more funds to work with. Netflix has grown rapidly over the past decade and has more than 100 million subscribers worldwide. It spends billions on more than its original series, movies, and documentaries.

But until there are firm reports of discussions between these two tech powerhouses, you should take Citi’s predictions with a grain of salt. Apple’s largest acquisition to date was purchasing Beats for $3 billion 2014, so it seems unlikely that it would throw down $75 million for a service it already spent a significant amount competing against.

We have reached out to Apple and will update this article if we hear back.

Correction 11:01am CT: An early version of this report misstated the amount Apple spent to acquire Beats in 2014. That purchase was $3 billion, not $3 million.

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MoviePass CEO proudly says the app tracks your location before and after movies

Charmaine Blake



Everyone knew the MoviePass deal is too good to be true — and as is so often the case these days, it turns out you’re not the customer, you’re the product. And in this case they’re not even attempting to camouflage that. Mitch Lowe, the company’s CEO, told an audience at a Hollywood event that “we know all about you.”

Lowe was giving the keynote at the Entertainment Finance Forum; his talk was entitled “Data is the New Oil: How will MoviePass Monetize It?” Media Play News first reported his remarks.

“We get an enormous amount of information,” Lowe continued. “We watch how you drive from home to the movies. We watch where you go afterwards.”

It’s no secret that MoviePass is planning on making hay out of the data collected through its service. But what I imagined, and what I think most people imagined, was that it would be interesting next-generation data about ticket sales, movie browsing, A/B testing on promotions in the app and so on.

I didn’t imagine that the app would be tracking your location before you even left your home, and then follow you while you drive back or head out for a drink afterwards. Did you?

It sure isn’t in the company’s privacy policy, which in relation to location tracking discloses only a “single request” when selecting a theater, which will “only be used as a means to develop, improve, and personalize the service.” Which part of development requires them to track you before and after you see the movie?

Naturally I contacted MoviePass for comment and will update if I hear back. But it’s pretty hard to misinterpret Lowe’s words.


The startup’s plan is to “build a night at the movies,” perhaps complete with setting up parking or ordering you a car, giving you a deal on dinner before or after, connecting you with like-minded moviegoers, etc. Of course they need data to do that, but one would hope that the collection would be a bit more nuanced than this.

People clearly value the service, because it essentially lets them use someone else’s credit card instead of their own at the movies (and one belonging to a bunch of venture capitalists at that). Who would say no? Some people sure might, if they knew their activities were being tracked at this granularity (and, it has to be said, with such a cavalier attitude) to be packaged up and sold. (Good luck with the GDPR, by the way.)

Hopefully MoviePass can explain exactly what data it collects and what it does with it, so everyone can make an informed choice.

Update: In a statement, a MoviePass representative says:

We are exploring utilizing location-based marketing as a way to help enhance the overall experience by creating more opportunities for our subscribers to enjoy all the various elements of a good movie night. We will not be selling the data that we gather. Rather, we will use it to better inform how to market potential customer benefits including discounts on transportation, coupons for nearby restaurants, and other similar opportunities.

I’ve also asked for information on what location data specifically is collected, for how long before and after a movie users are tracked, and where these policies are disclosed to users.

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Aesthetic excellence: how cinematography transformed TV

Charmaine Blake



Directors of photography from Atlanta, Transparent and other top shows discuss how they achieve the sensibility of cinema

Much of the conversation regarding the rise of prestige television has rightfully centered around the showrunners and writers rooms whove energized a medium that was once the province of three-camera sitcoms filmed on studio sets. But less often do we focus on the cinematographers behind the lens, many of whom never saw themselves working in television until, in the last decade or so, the schisms between the small and big screens dwindled. And not merely in the scope of the stories or the quality of scripts: never before has television looked so good, from inventive camerawork to glossy lighting.

Its hard to ascertain exactly when the paradigm shift began, but there have certainly been seminal moments that most boldly bridged the gap between the two: the six-minute tracking shot in True Detective following Matthew McConaughey and Woody Harrelson on a drug bust comes to mind, as do early seasons of Game of Thrones and Boardwalk Empire, ambitious, world-building series that took a sledgehammer to the conventions of episodic television. That the Television Academy split its cinematography honors between one-hour and half-hour series last year also signaled that the Emmys governing body had taken note of the profusion of aesthetic excellence on TV.

Nowadays, changes to TVs visual orthodoxy is reflected everywhere, and more diversely, too: in the sprawling, noir-ish science fiction of Netflixs new series Altered Carbon; in the shabby surrealism of FXs Atlanta; in the bright, California sheen of HBOs Insecure; and in the hyper-naturalism of Amazon shows like Transparent and I Love Dick. In these shows, and several others, environment comes alive as much as the characters do and, unsurprisingly, the directors of photography behind them were inspired by the world of film, approaching the work less like fragmented installments of a serialized story than like marathon movies, constructed piecemeal.

None of the creatives involved in this project saw this as a TV show, says Martin Ahlgren, who shot half of Altered Carbons first season and several episodes of House of Cards. We all imagined it as a 10-hour movie, and thats the approach we took to creating not only story arcs but visual arcs.

Joel Kinnaman in a still from Netflixs Altered Carbon. Photograph: Netflix

For Altered Carbon, a Blade Runner-inspired series about a future in which consciousness is digitized and stored in microchips, Ahlgren says that the visual world was more fully realized than it might have been as a two-hour feature, where much of the show would have been constructed via green screens and digital effects. Moreover, for a series that bounced between six different directors in its 10-episode first season, more responsibility falls on showrunners and cinematographers to establish and sustain visual through-lines in the absence of consistent episode-to-episode direction.

Jim Frohna, the Emmy-nominated DP behind Transparent and I Love Dick, took a similar approach in his collaboration with showrunner and head writer Jill Soloway. The pair, inspired by the intimacy of Andrea Arnolds film Fish Tank, first teamed up on the 2013 feature Afternoon Delight; when they moved to Amazon to make Transparent and, later, I Love Dick, they saw no need to change their formula as they ventured into television.

Jill would always talk about Transparent as a five-hour movie and never had any expectation that wed change how we shot Afternoon Delight, says Frohna, whos teamed up with Arnold to shoot the second season of Big Little Lies. I love lighting very naturalistically and was always drawn to hand-held cameras. I purposely would light from outside the windows, just like how youd have light coming into an actual place, and that freed up space for the actors to use the whole room.

There was a time, 15 years ago, when there were so many movies in town you would see them shooting on the streets, at the studio, and then that dried up, says Transparent DP Jim Frohna. Photograph: Merie Wallace/Amazon

When speaking of their approach to television, cinematographers frequently invoke the influence of naturalism on their work. Christian Sprenger, who shoots Atlanta, attributes the shows raw, dreamlike quality to his fruitful relationship with creator Donald Glover and director Hiro Mirai, who were often expressly working against the conventions of the small screen and culling inspiration from indie films like Memphis, Belly and Martha Marcy May Marlene.

Ive never been involved in a project before where it almost feels like no risk is too big. Were shooting in Super 16, using these super-old garbage hand-lenses, putting tons of filtration, purposely trying to improperly calibrate the color balance, Sprenger says. When we were making season one, it was around the time that the first season of House of Cards and True Detective came out. It felt like there were these institutional pillars getting knocked over by these auteur film-makers, coming in and saying Were going to make a TV show however we want, and well make it not feel like television at all.

This was what Ava Berkofsky had in mind before she was hired to shoot the second season of Insecure, which she felt too closely resembled a standard television sitcom and hadnt yet taken full advantage of its environment. I was really drawn to Insecure, as a fan of the show, but I thought there were a lot of opportunities that werent being embraced, with it being an LA show, a female-driven show, a black show. I thought that the lighting overall looked too similar to television, and that people of color didnt need to be lit so aggressively.

Insecure DP Ava Berkofsky: Its no longer the same 50 people in charge of all the content that happens. Its a much bigger, more democratic pool. Photograph: HBO

I never had any desire to shoot television before, so I felt like I had nothing to lose in the interview, Berkofsky adds. I told them I would want to switch from zooms to prime lenses, change the lighting from stage-y to naturalistic, and treat it like a film. When she was brought on to shoot most of Insecures second season, Berkofsky and director Melina Matsoukas, who directed Beyoncs Formation music video, drew from the color palettes of films like Nightingale, Selma and Moonlight while referencing Flying Lotuss Until the Quiet Comes video to establish a sense of place.

Naturally, given that cinema is a common point of reference for todays premium television series, the distinctions between the two mediums have begun to shrink. But subject matter, too, comes to bear on the look of a series, and more or less presupposes that it differ visually from the kinds of shows that preceded it. If were pulling back the curtain, opening your eyes to a different sort of protagonist or subject matter, something has cracked open for all the creative members of a team, says Frohna, who shoots with his preferred Canon Cinema EOS C300 Mark II. We dont want to make another slicker-looking police procedural. Were in new terrain. So with that, theres a new look to it.

Berkofsky agrees: Unexpected people are running shows and unexpected stories are being told in unexpected ways on television, which is very attractive to cinematographers because the people we used to look at in the features world are in television now.

This migration of indie film-makers to premium and streaming television was set in motion chiefly by changes to the film industry, which used to be more hospitable to the kinds of mid-budget projects whose creators now revel in televisions abundant resources and creative liberties. Most of us see ourselves as film-makers, but the differences between the mediums have more or less disappeared, says Ahlgren. Theres very few movies between $10m and $40m being produced; its become either very small indies or tentpole Hollywood blockbusters.

These auteur-driven series check all the boxes of those movies from the 90s we all look back on, adds Sprenger, who also shoots Netflixs female wrestling comedy Glow. The $5m-$20m realm has dwindled, and a lot of those film-makers and crew members are moving to premium television. And youre getting seen by millions of people, which is sometimes the turn-off for a handmade indie film.

Where the streets of Los Angeles were once overflowing with film crews, youre now more likely to happen upon a television production, not only in Hollywood but in Atlanta, New Orleans and Vancouver, where Altered Carbon shoots. I moved out to Los Angeles maybe 10 years ago and theres a night-and-day difference between how incredibly busy everyone is crew-wise, says Sprenger. If youre lucky, you get work on something that feels like a movie, and know youll have eyeballs on it when its done.

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Snoke Screens: Designing the User Interfaces In The Last Jedi



You’ll find no touch screens in Star Wars: The Last Jedi—not even when you can watch it at home next month (March 13 for digital, two weeks later for physical). Same goes for mice and keyboards. They’re all too familiar, too of-this-world, to appear in a galaxy so far, far away. What you’ll find instead are interface displays, and lots of them. Whether in an X-wing’s cockpit or the bridge of a Star Destroyer, every display in The Last Jedi exists to support the story—to provide a graphical complement to the film’s action and dialogue.

And it started with the film’s director. “Whenever possible, Rian [Johnson] wanted us to use practical graphics to enforce the narrative,” says creative director Andrew Booth, who oversaw the creation of TLJ’s assorted instrument clusters, targeting systems, medical readouts, and tactical displays. “It would actually appear in the script that you look at a screen and gain a deeper understanding of what’s happening. The challenge was always, what can we do in-camera to create something that feels real and believable?”

What’s impressive about the interfaces in The Last Jedi is that they feel believable not just to the audience, but to the film’s dramatis personae. In the real world, designers design for one person: the user. But creatives like Booth—whose design agency, BLIND LTD, has been behind the look and feel of some of this century’s biggest blockbusters, including every Star Wars film from TFA onward—designed the practical displays in The Last Jedi with at least three groups of people in mind: the characters, the actors depicting those characters, and the folks watching along in theaters.

Consider the film’s opening scene, in which (fair warning: plot points and spoilers from here on out) Commander Poe Dameron calls General Hux. The point of Poe’s call is to buy time; he’s charging the engines on his X-wing so he can stage a surprise attack on the First Order Dreadnought that’s poised to obliterate his Resistance buddies planetside. It’s a plan the audience comes to understand when the camera cuts to a display inside Poe’s starfighter that shows the status of his boosters.

The inside of Poe’s X-wing. The top display depicts the Dreadnaught tower Poe attacks at the beginning of the film; the middle one shows the status bar for his X-wing’s engines; and the bottom one, which is all wonky, visualizes his spaceship’s damaged targeting system.

“For us, that’s a perfect piece of storytelling,” Booth says. “Now you’ve got exposition, drama, and tension all wrapped up in this close-up of a progress bar.” And because it’s a practical effect, that tension is experienced by audience, actor, and character alike. In fact, every single display in Poe’s cockpit pulls triple duty: The top one depicts the tower Poe is attacking; the middle one shows the status bar for his X-wing’s engines; and the bottom one, which is all wonky, visualizes his spaceship’s damaged targeting system, which BB-8 spends much of the sequence trying to repair.

These kinds of details don’t always make it into the final cut of a film, and even when they do, audiences don’t always notice them. Not explicitly, anyway. “For us, these graphics are more about shape and form than they are about spelling things out—but they do allow people to feel what’s going on in a scene, and they help support the actor’s performance,” Booth says.


The WIRED Guide to Star Wars

Similar details abound inside the spacecraft from Canto Bight, the opulent casino city. The graphics aboard the ship that DJ and BB-8 steal are shiny. Slinky. Sumptuous. A striking contrast to the First Order’s stark, militaristic vibes and the ragtag aesthetics of the Resistance. “This was us trying to evoke a different world,” Booth says.

But even the film’s familiar spaces brim with visual information. Toward the end of the film, on the chalk-dusted mining planet Crait, the audience gets multiple glimpses inside Kylo Ren’s shuttle, from which he has orchestrated the First Order’s assault on what remains of the Resistance. “The aesthetic is sharp, clean, systematic—just like the First Order, itself, and the color palette is all red, grey, black and white,” Booth says.

Inside Kylo Ren’s shuttle, above the battle on Crait.

These are classic, higher-order stylistic cues, many of which date back to the original trilogy. During pre-production on The Force Awakens BLIND LTD researched the original designs closely, and collaborated with production designers Rick Carter and Darren Gilford to get the look and feel just right. The graphics continued to evolve with Lucasfilm design supervisor Kevin Jenkins and production designer Rick Heinrichs on The Last Jedi. They immediately help viewers understand where they are and whose ship it is. (The Resistance’s aesthetic, by contrast, is analog and unstructured—its color palette dominated by orange, green, brown, and other earth colors.)

But look closely, and you’ll see that the screens inside the shuttle are loaded with details. Crait’s topography, the blast door separating the Resistance from the First Order, the line of AT-ATs—they’re all depicted on screens, often for the briefest of moments. “It gives you an idea of the level of detail that we put into these interfaces,” Booth says. “It’s one of the things we pride ourselves on: You don’t necessarily always see it, but you sure as hell feel it.”

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