Many entertainment executives, tired of playing catch-up to a Silicon Valley interloper, have been waiting for the comeuppance of Netflix. But this may not have been the way they hoped it would happen.
Netflix said this week that it lost more subscribers than it signed up in the first three months of the year, reversing a decade of steady growth. The company’s shares nose-dived 35 percent on Wednesday while it shed about $50 billion in market capitalization. The pain was shared across the industry as the stock of companies like Disney, Warner Bros. Discovery and Paramount also declined.
Netflix blamed a number of issues, ranging from increased competition to its decision to drop all its subscribers in Russia because of the war in Ukraine. To entertainment executives and analysts, the moment felt decisive in the so-called streaming wars. After years of trying, they may see a chance to gain ground on their giant rival.
But Netflix’s stunning reversal also raised a number of questions that will have to be answered in the coming months as more traditional media companies race toward subscription businesses largely modeled after what Netflix created. Is there such a thing as too many streaming options? How many people are really willing to pay for them? And could this business be less profitable and far less reliable than what the industry has been doing for years?
advertising-supported tier in the next year or two. Netflix also said it would crack down on password sharing, a practice that in the past it said it had no problem with.
“We’ve been thinking about that for a couple of years, but when we were growing fast it wasn’t a high priority to work on,” Mr. Hastings said. “And now, we’re working superhard on it.”
Netflix has no advertising sales experience, while rivals like Disney, Warner Bros. Discovery and Paramount have vast advertising infrastructure. And the password crackdown led some analysts to wonder whether Netflix has already reached market saturation in the United States.
Mr. Hastings tried to reassure everyone that Netflix had been through tough times before and that it would solve its problems. He said the company was now “superfocused” on “getting back into our investors’ good graces.”
“Stars matter more than ever,” said Bryan Lourd, the Creative Artists superagent who orchestrated the “Knives Out” deal. “When stars meet material that is their fastball, it cuts through all the noise.”
There are other explanations for the barrage. In a severely disrupted marketplace, stars are seeking safety in numbers; no one person can be held responsible for failing to deliver an audience, as with “Nightmare Alley.” Movie marketing has also changed, becoming less about carpet-bombing prime-time TV with ads and more about tapping into social media fan bases. Ms. Grande has 284 million Instagram followers. (Pity Mr. DiCaprio and Mr. Holland, with only about 50 million apiece.)
Ms. Basinger, who founded Wesleyan University’s film studies department, noted that individual star power has faded. Studios have become fixated on intellectual property — pre-existing franchises and characters. As a result, there has been less of a need to manufacture new stars and keep the older ones burning hot; Iron Man, Dominic Toretto, Wonder Woman and Baby Yoda are the stars now.
“In the old days, movie stars were the brands,” she said. “They reached the whole audience. Not a slice of the audience. Everybody. But that all fell apart. Now, it’s about adding up niches.”
In other words, few stars remain bankable in and of themselves, requiring Hollywood to stack casts with an almost absurd number of celebrities. Flood the zone.
And don’t forget Hollywood’s favorite game: Follow the leader. “The Avengers: Endgame,” which packed its cast with Robert Downey Jr., Don Cheadle, Chris Hemsworth, Scarlett Johansson, Chadwick Boseman, Jeremy Renner, Paul Rudd, Elizabeth Olsen and a dozen other boldface names, became one of the highest-grossing movies of all time in 2019. On a much different scale, an all-star remake of “Murder on the Orient Express” in 2017 was also a box office winner.
“It’s trendy at the moment,” Tim Palen, a producer and former studio marketing chief, said of what he called an “all skate” approach to casting. “Not new but certainly symptomatic of the battle for attention that’s raging.”
More than 1,500 workers for the video game maker Activision Blizzard walked out from their jobs this week. Thousands signed a letter rebuking their employer. And even as the chief executive apologized, current and former employees said they would not stop raising a ruckus.
Shay Stein, who used to work at Activision, said it was “heartbreaking.” Lisa Welch, a former vice president, said she felt “profound disappointment.” Others took to Twitter or waved signs outside one of the company’s offices on Wednesday to share their anger.
Activision, known for its hugely popular Call of Duty, World of Warcraft and StarCraft gaming franchises, has been thrown into an uproar over workplace behavior issues. The upheaval stems from an explosive lawsuit that California’s Department of Fair Employment and Housing filed on July 20, accusing the $65 billion company of fostering a “frat boy workplace culture” in which men joked about rape and women were routinely harassed and paid less than their male colleagues.
Activision publicly criticized the agency’s two-year investigation and allegations as “irresponsible behavior from unaccountable state bureaucrats.” But its dismissive tone angered employees, who called out the company for trying to sweep away what they said were heinous problems that had been ignored for too long.
Hollywood, restaurants and the media — the male-dominated video game sector has long stood out for its openly toxic behavior and lack of change. In 2014, feminist critics of the industry faced death threats in what became known as Gamergate. Executives at the gaming companies Riot Games and Ubisoft have also been accused of misconduct.
Now the actions at Activision may signal a new phase, where a critical mass of the industry’s own workers are indicating they will no longer tolerate such behavior.
“This could mean some real accountability for companies that aren’t taking care of their workers and are creating inequitable work environments where women and gender minorities are kept at the margins and abused,” said Carly Kocurek, an associate professor at the Illinois Institute of Technology who studies gender in gaming.
She said California’s lawsuit and the fallout at Activision were a “big deal” for an industry that had traditionally shrugged off claims of sexism and harassment. Other gaming companies are most likely watching the situation, she added, and considering whether they need to address their own cultures.
spared little detail. Many of the misconduct accusations focused on a division called Blizzard, which the company merged with through a deal with Vivendi Games in 2008.
The lawsuit accused Activision of being a “a breeding ground for harassment and discrimination against women.” Employees engaged in “cube crawls” in which they got drunk and acted inappropriately toward women at work cubicles, the lawsuit said.
In one case, a female employee died by suicide during a business trip because of the sexual relationship she had been having with her male supervisor, the lawsuit said. Before her death, male colleagues had shared an explicit photo of the woman, according to the lawsuit.
Employees reacted furiously. An open letter addressed to Activision’s leaders calling for them to take the accusations more seriously and “demonstrate compassion” for victims attracted more than 3,000 signatures from current and former employees by Wednesday. The company has nearly 10,000 employees.
“We no longer trust that our leaders will place employee safety above their own interests,” the letter said, calling Ms. Townsend’s remarks “unacceptable.”
a $155 million pay package that makes him one of the country’s highest-paid executives, added that the company would beef up the team that investigated reported misconduct, fire managers who were found to have impeded investigations and remove in-game content that had been flagged as inappropriate.
Employees said it was not enough.
“We will not return to silence; we will not be placated by the same processes that led us to this point,” organizers of the walkout said in a public statement. They declined to be identified out of fear of reprisal.
MOSCOW — Just weeks before the ransomware gang known as DarkSide attacked the owner of a major American pipeline, disrupting gasoline and jet fuel deliveries up and down the East Coast of the United States, the group was turning the screws on a small, family-owned publisher based in the American Midwest.
Working with a hacker who went by the name of Woris, DarkSide launched a series of attacks meant to shut down the websites of the publisher, which works mainly with clients in primary school education, if it refused to meet a $1.75 million ransom demand. It even threatened to contact the company’s clients to falsely warn them that it had obtained information the gang said could be used by pedophiles to make fake identification cards that would allow them to enter schools.
Woris thought this last ploy was a particularly nice touch.
“I laughed to the depth of my soul about the leaked IDs possibly being used by pedophiles to enter the school,” he said in Russian in a secret chat with DarkSide obtained by The New York Times. “I didn’t think it would scare them that much.”
released a statement a week earlier saying it was shutting down. A customer support employee responded almost immediately to a chat request sent from Woris’s account by the Times reporter. But when the reporter identified himself as a journalist the account was immediately blocked.
Megyn Kelly pressed him in a 2018 interview on why Russia was not arresting hackers believed to have interfered in the American election, he shot back that there was nothing to arrest them for.
“If they did not break Russian law, there is nothing to prosecute them for in Russia,” Mr. Putin said. “You must finally realize that people in Russia live by Russian laws, not by American ones.”
After the Colonial attack, President Biden said that intelligence officials had evidence the hackers were from Russia, but that they had yet to find any links to the government.
“So far there is no evidence based on, from our intelligence people, that Russia is involved, though there is evidence that the actors, ransomware, is in Russia,” he said, adding that the Russian authorities “have some responsibility to deal with this.”
This month, DarkSide’s support staff scrambled to respond to parts of the system being shut down, which the group attributed, without evidence, to pressure from the United States. In a posting on May 8, the day after the Colonial attack became public, the DarkSide staff appeared to be hoping for some sympathy from their affiliates.
“There is now the option to leave a tip for Support under ‘payments,’” the posting said. “It’s optional, but Support would be happy :).”
Days after the F.B.I. publicly identified DarkSide as the culprit, Woris, who had yet to extract payment from the publishing company, reached out to customer service, apparently concerned.
“Hi, how’s it going,” he wrote. “They hit you hard.”
It was the last communication Woris had with DarkSide.
Days later, a message popped up on the dashboard saying the group was not exactly shutting down, as it had said it would, but selling its infrastructure so other hackers could carry on the lucrative ransomware business.
“The price is negotiable,” DarkSide wrote. “By fully launching an analogous partnership program it’s possible to make profits of $5 million a month.”
“The real financial value behind this deal is the treasure trove of I.P. in the deep catalog that we plan to reimagine and develop together with MGM’s talented team,” Mike Hopkins, senior vice president of Prime Video and Amazon Studios, said in a statement.
Amazon’s appetite for movies became ravenous during the pandemic. It paid $125 million for the rights to “Coming 2 America,” $80 million for “Borat Subsequent Moviefilm,” and $200 million for “The Tomorrow War,” a Chris Pratt adventure that will arrive on Prime on July 2. Amazon also has Oscar ambitions, buying the rights to “Sound of Metal,” which was nominated for best picture and other top awards at this year’s ceremony.
When it comes to making its own hit films, Amazon has long struggled. MGM managers could help: Michael De Luca, MGM’s movie chairman, has a track record that includes, at various companies, the “Rush Hour,” “Austin Powers” and “Fifty Shades of Grey” franchises.
MGM also has a 17,000-episode television library and a TV studio that makes “Vikings,” “The Handmaid’s Tale,” “Fargo” and various “Real Housewives” shows. In 2014, MGM acquired Mark Burnett’s production company, One Three Media, which holds rights to competition series like “The Voice.” Mr. Burnett, a contentious figure in Hollywood because he helped shape Donald J. Trump’s image with “The Apprentice” and remained close to him during his divisive presidential term, serves as MGM’s television chairman.
Anchorage Capital, a New York investment firm, has been the majority owner of MGM for more than a decade. Before that, MGM was tossed between owners and, bitten by falling DVD revenue, eventually ending up in bankruptcy. It was worth about $2 billion in 2010, according to analysts.
Kevin Ulrich, Anchorage’s chief executive and MGM’s chairman, formally put the studio on the block late last year. Anchorage has been under pressure from various stakeholders to exit the investment, with some agitators complaining that Mr. Ulrich was overly enamored with Hollywood and should have sold years ago.
LOS ANGELES — For 28 years, ever since “Super Mario Bros.” arrived in cinemas with the tagline “This Ain’t No Game,” Hollywood has been trying and mostly failing — epically, famously — to turn hit video games into hit movies. For every “Lara Croft: Tomb Raider” (2001), which turned Angelina Jolie into an A-list action star, there has been a nonsensical “Max Payne” (2008), an abominable “Prince of Persia” (2010) and a wince-inducing “Warcraft” (2016).
If video games are the comic books of our time, why can’t Hollywood figure out how to mine them accordingly?
It may finally be happening, powered in part by the proliferation of streaming services and their need for intellectual property to exploit. “The need for established, globally appealing I.P. has naturally led to gaming,” Matthew Ball, a venture investor and the former head of strategy for Amazon Studios, wrote last year in an essay titled “7 Reasons Why Gaming I.P. Is Finally Taking Off in Film/TV.”
Sony Pictures Entertainment and its PlayStation-powered sibling, Sony Interactive, are finally working together to turn PlayStation games into mass-appeal movies and television shows. There are 10 game adaptations in the Sony Pictures pipeline, a big leap from practically none in 2018. They include “Uncharted,” a $120 million adventure based on a 14-year-old PlayStation property (more than 40 million copies sold). “Uncharted” stars Tom Holland, the reigning Spider-Man, as Nathan Drake, the treasure hunter at the center of the game franchise. It is scheduled for release in theaters on Feb. 18.
post-apocalyptic game of the same title. Pedro Pascal, “The Mandalorian” himself, is the star, and Craig Mazin, who created the Emmy-winning mini-series “Chernobyl,” is the showrunner. Executive producers include Carolyn Strauss, one of the forces behind “Game of Thrones,” and Neil Druckmann, who led the creation of the Last of Us game.
Sony games like Twisted Metal and Ghost of Tsushima are also getting the TV and film treatment. (Contrary to speculation, one that is not, at least not anytime soon, according to a Sony spokesman: God of War.)
In the past, Sony Pictures and Sony Interactive operated as fiefs, with creative control — it’s mine; no, it’s mine — impeding adaptation efforts. When he took over as Sony’s chief executive in 2018, Kenichiro Yoshida demanded cooperation. The ultimate goal is to make better use of Sony’s online PlayStation Network to bring Sony movies, shows and music directly to consumers. PlayStation Network, introduced in 2006, has more than 114 million monthly active users.
“I have witnessed a radical shift in the nature of cooperation between different parts of the company,” said Sanford Panitch, Sony’s movie president.
Halo,” a series based on the Xbox franchise about a war between humans and an alliance of aliens (more than 80 million copies sold), will arrive on the Paramount+ streaming service early next year; Steven Spielberg is an executive producer. Lionsgate is adapting the Borderlands games (roughly 60 million sold) into a science fiction film starring Cate Blanchett, Kevin Hart and Jamie Lee Curtis.
Buoyed by its success with “The Witcher,” a fantasy series adapted from games and novels, Netflix has shows based on the “Assassin’s Creed,” “Resident Evil,” “Splinter Cell” and “Cuphead” games on the way. Jonathan Nolan and Lisa Joy, the duo behind HBO’s “Westworld,” are developing a science-fiction show for Amazon that is based on the Fallout video game franchise.
And Nintendo and Illumination Entertainment, the Universal Pictures studio responsible for the “Despicable Me” franchise, have an animated Mario movie headed to theaters next year — another new collaboration between a game publisher and a film company.
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Still, Hollywood’s game adaptation track record is terrible. Why should the coming projects be any different?
For a start, the games themselves have evolved, becoming more intricate and cinematic. “Games have stories that are so much more developed and advanced than they used to be,” Mr. Panitch said.
first major game adaptation in three decades to receive a “fresh” designation on Rotten Tomatoes, the review-aggregation site. Since then, two more adaptations, “Sonic the Hedgehog” (Paramount) and “The Angry Birds Movie 2” (Sony) have been critical and commercial successes.
“Quality has definitely been improving,” said Geoff Keighley, creator of the Game Awards, an Oscars-like ceremony for the industry.
The most recent game-to-film entry, “Mortal Kombat” (Warner Bros.), received mixed reviews but has taken in $41.2 million in the United States since its release last month, a surprisingly large total considering it was released simultaneously on HBO Max and theaters were still operating with strict coronavirus safety protocols.
Mr. Panitch acknowledged that “video game movies have a checkered history.” But he added, “Failure is the mother of invention.”
Game adaptations, for instance, have often faltered by trying to rigidly replicate the action and story lines that fans know and love. That approach invites comparison, and movies (even with sophisticated visual effects) almost always fail to measure up. At the same time, such “fan service” turns off nongamers, resulting in films that don’t connect with any particular audience.
“It’s not just about adapting the story,” said Michael Jonathan Smith, who is leading Sony’s effort to turn Twisted Metal, a 1995 vehicular combat game, into a television series. “It’s about adapting how you feel when you play the game. It has to be about characters you care about. And then you can slide in the Easter eggs and story points that get fans absolutely pumped.”
“Uncharted” is a prequel that, for the first time, creates origin stories for the characters in the game. With any luck, such storytelling will satisfy fans by giving them something new — while also inviting nongamers, who may otherwise worry about not knowing what is going on, to buy tickets. (The producers of “Uncharted” include Charles Roven, who is known for the “Dark Knight” trilogy.)
“It’s a question of balance,” said Asad Qizilbash, a senior Sony Interactive executive who also runs PlayStation Productions, an entity started in 2019 and based on Sony’s movie lot in Culver City, Calif.
Unlike in the past, when Sony Pictures and Sony Interactive pledged to work together and ultimately did not, the current collaboration “has weight because there is a win for everyone,” Mr. Qizilbash added. “We have three objectives. Grow audience size for games. Bring product to Sony Pictures. Showcase collaboration.”
The stakes are high. A cinematic flop could hurt the game franchise.
“It’s risky,” Mr. Qizilbash allowed. “But I think we can do it.”
give up day-to-day duties at the private equity giant, after clashing with his fellow founders over the departure of Leon Black as the firm’s chief executive.
The departure of Mr. Harris, 56, comes months after he argued that Mr. Black should step down immediately following Apollo’s investigation into his ties to Jeffrey Epstein, the late financier and registered sex offender. Mr. Harris was overruled by the other two members of Apollo’s executive committee, the firm’s other founders, Mr. Black and Marc Rowan.
Mr. Harris served as one of Apollo’s most visible and hands-on managers, but instead of succeeding Mr. Black as chief executive, he lost out to Mr. Rowan, who had announced last year that he was taking a “semi-sabbatical” from the firm.
In March, however, Mr. Black — who had agreed to step down as chief executive in July, while remaining chairman — unexpectedly gave up all his duties. Mr. Black, at the time, cited health reasons and continuing media coverage of his dealings with Mr. Epstein.
But by then, Mr. Harris was seen as having less of a leadership role at the firm. It was Mr. Rowan who engineered Apollo’s takeover of Athene, a big insurance and lending affiliate that is expected to bolster the firm’s investing power.
Mr. Harris was not on Apollo’s quarterly earnings call with analysts earlier this month, an absence noted by a participant on the call, which fueled speculation that his role at Apollo had diminished since Mr. Rowan’s ascension.
Mr. Harris had wanted Mr. Black to make a complete break with Apollo after a law firm hired by Apollo’s board had found Mr. Black paid $158 million in fees to Mr. Epstein and lent him another $30 million in recent years. Mr. Harris was concerned that institutional investors in Apollo funds might be troubled by the law firm’s findings, even though the report concluded Mr. Black had paid Mr. Epstein for legitimate tax planning advice and had done nothing improper.
Apollo’s stock, which had lagged its competitors while the law firm investigated the matter, has risen about 20 percent since Mr. Black said he was resigning as chairman.
The board of Apollo hired the outside law firm to conduct review following a report in October in The New York Times of Mr. Black’s business and social dealings with Mr. Epstein, who died in federal custody in August 2019 while awaiting trial on sex trafficking charges.
Mr. Harris will officially step down after Apollo completes the Athene deal, which is expected to be completed early next year. He will remain a member of the firm’s board and its executive committee. Mr. Harris, like Mr. Black, is one of Apollo’s largest shareholders.
He is expected to focus on an array of other business interests, including his co-ownership of several professional sports franchises — including the Philadelphia 76ers basketball team and the New Jersey Devils hockey team — and his family office. He is also expected to focus more on philanthropy.
“I have become increasingly involved in these areas and knew that one day they would become my primary pursuit,” Mr. Harris wrote in an internal memorandum reviewed by The Times.
Mr. Harris, whose net worth is estimated at just of $5 billion, recently bought a $32 million mansion in Miami.
Stocks on Wall Street edged higher on Thursday, rebounding slightly from three consecutive days of selling.
The S&P 500 rose 0.3 percent in early trading. The index had dropped 1.4 percent through the close on Wednesday, after falling by the same amount the week before.
Concerns about rapid economic growth fueling inflation, as well as rising coronavirus cases in some parts of the world, have undermined recent optimism about the global economic recovery from the pandemic.
On Wednesday, minutes of the latest Federal Reserve policy meeting showed several officials thought that “at some point in upcoming meetings” they could begin to discuss tapering the bank’s bond-buying program. Investors have speculated the central bank would have to do so as price increases accelerated. The same day, data showed Britain’s annual inflation rate doubled to 1.5 percent in April.
European stock indexes were higher on Thursday. The Stoxx Europe 600 rose 0.8 percent as gains in health care and industrial stocks outweighed a fall in energy company shares. The FTSE 100 in Britain rose about half a percent.
Bitcoin was trading just below $40,000 on Thursday morning after a volatile day on Wednesday when the price plunged to below $32,000.
Ethereum, another major cryptocurrency, also recovered some of its losses from Wednesday, when it fell about 20 percent.
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Oatly, the oat-based milk substitute, priced its shares at $17 each for its initial public offering, the company said on Wednesday, valuing it at about $10 billion. Oatly is expected to begin trading on Thursday with the ticker symbol “OTLY.”
Oil prices dropped. Futures on West Texas Intermediate, the U.S. benchmark, fell half a percent to $63.02 a barrel.
Initial claims for state jobless benefits fell again last week, continuing a fairly steady decline since the start of the year, the Labor Department reported Thursday.
The weekly figure was slightly under 455,000, a decline of 37,000 from the previous week and the lowest weekly total since before the pandemic. New claims for Pandemic Unemployment Assistance, a federally funded program for jobless freelancers, gig workers and others who do not ordinarily qualify for state benefits, totaled 95,000. The figures are not seasonally adjusted.
New state claims remain high by historical levels but are less than half the level recorded as recently as early January. The benefit filings, something of a proxy for layoffs, have receded as business return to fuller operations, particularly in hard-hit industries like leisure and hospitality.
More than 20 Republican-led states have said they will abandon federally funded emergency benefit programs in June or early July, saying the income is deterring recipients from seeking work as some employers complain of trouble filling jobs. Those programs include not only Pandemic Unemployment Assistance but also extended benefits for the long-term unemployed.
— Kevin McKenna
Ford unveiled an electric version of its popular F-150 pickup truck on Wednesday called the Lightning, signaling a shift in the auto industry’s electric vehicle push, which so far has been aimed at niche markets.
With an electric motor mounted on each of its axles, the vehicle will offer more torque — in effect, faster acceleration — than any previous F-150 and will be capable of towing up to 10,000 pounds, Neal E. Boudette reports for The New York Times. Its battery pack can put out 9.6 kilowatts of energy, making it able to power a home for about three days during an outage, according to Ford.
For contractors and other commercial truck users, the Lightning will be able to power electric saws, tools and lighting, potentially replacing or reducing the need for generators at work sites. It has up to 11 power outlets.
The truck is expected to go on sale next spring, with a starting price of $39,974 for a model that can travel 230 miles on a full charge. A version with a range of 300 miles starts at $59,974.
The truck’s base price is a few thousand dollars less than that of a Tesla Model 3 and even that of the company’s own Mustang Mach-E sport-utility vehicle. The total cost is lower still because buyers of Ford’s electric vehicles still qualify for the $7,500 federal tax credit available for the purchase of E.V.s. Some states such as California, New Jersey and New York offer additional rebates worth as much as $5,000.
The Alamo Drafthouse theater chain furloughed its 3,100 employees during the pandemic, declared bankruptcy in December, shut down three theaters as part of its restructuring plan and halted a planned project in Orlando. AMC Entertainment’s chief executive, Adam Aron, said this month that the chain had been “within months or weeks of running out of cash five different times between April 2020 and January 2021.”
Now, theaters are trying to assure people that the troubles are over, Nicole Sperling reports for The New York Times. That movies are coming back, with a vengeance, and moviegoing should soon return to normal.
“It’s magic, what we do,” Tim League, Alamo’s founder, said in a phone interview. He acknowledged that his company got dangerously close to running out of money in December before filing for Chapter 11 bankruptcy protection. “We’re in the business of creating the best possible viewing experience — to get lost in an amazing story and have heightened emotions around it. It’s amazing when it’s done right, and we’re in the business of doing it right. I know that people are craving a return to any kind of out-of-home experience, being with people and having a sense of rejoining the community.”
Some 70 percent of moviegoers are comfortable to returning to the theater, according to the exhibition research firm National Research Group. The box office for April hit $190 million, up 300 percent since February. That’s a welcome relief to the South African director Neill Blomkamp, whose new horror film “Demonic” from the indie outfit IFC will debut only in theaters at the end of August.
“This brings me joy,” he said in a video message. “I want people to be terrified in a darkened theater.”
Ford Motor is about to open a major new front in the battle to dominate the fast-growing electric vehicle market, and it’s banking on one of the world’s most powerful business franchises.
In a splashy presentation Wednesday night at a Ford plant in Dearborn, Mich., the automaker will unveil an electric version of its popular F-150 pickup truck, which will be called the Lightning. Ford’s F-Series trucks, including the F-150, make up the top-selling vehicle line in the United States, and typically generate about $42 billion a year in revenue, according to a study commissioned by Ford — or more than twice what McDonald’s brought in last year.
It is one of the most anticipated introductions of a new car and invites comparisons to Ford’s Model T, the car that made automobiles affordable to the masses. Ford has a lot at stake in the new vehicle’s success. If it can turn the F-150 Lightning into a big seller, it could accelerate the move toward electric vehicles, which scholars say is critical for the world to avoid the worst effects of climate change.
Tailpipe pollution from cars and trucks represents the largest source of greenhouse gas emissions in the United States and one of the largest in the world. But if the Lightning does not sell well, it could suggest that the transition to E.V.s will be a lot slower than President Biden and other world leaders need to achieve climate goals.
auto industry’s E.V. push, which has been aimed at niche markets so far. Tesla has grown rapidly for the last several years by selling flashy sports cars to the affluent and early adopters. It sold close to 500,000 cars globally last year, a little more than half as many F-Series trucks Ford sold. Other electric models that have sold well have been small cars, such as the Chevrolet Bolt and Nissan Leaf, that appeal to environmentally minded consumers.
The F-150 Lightning, in contrast, is aimed at small businesses and corporate customers such as building contractors and mining and construction companies that buy lots of rugged pickups. These buyers typically care not just about the sticker price of a truck but also how much it costs to operate and maintain. Electric vehicles tend to cost more to buy but less to own than conventional cars and trucks because they have fewer parts and electricity is cheaper than gasoline or diesel on a per mile basis.
“There are a lot of big fleets who have been looking for green solutions but haven’t had any answers until now,” William C. Ford Jr., the company’s chairman and a great-grandson of Henry Ford, said in an interview.
General Motors and start-ups like Rivian are also working on electric pickups. Rivian has said it will start delivering its truck, the R1T, this summer and G.M. is expected to sell the GMC Hummer pickup truck later this year.
many people will buy them. Beyond commercial buyers, trucks like the F-150, Chevrolet Silverado and the Ram tend to be bought by people who have a lot of stuff to haul or by people — usually men — who like driving trucks.
“There will probably be some initial raised eyebrows, but once we get people to experience the driving dynamics and the extra room, the skepticism will abate,” Mr. Ford said.
The F-Series trucks have been the top-selling model line in the United States for the last 44 years. A 2020 study by the Boston Consulting Group found the truck supports 500,000 jobs at Ford, parts suppliers and dealerships.
Ford’s introduction of the Lightning got a major boost from Mr. Biden, who on Tuesday visited the company’s Rouge Electric Vehicle Center where the pickup will be made. Before a pool of White House reporters gathered at the plant, Mr. Biden pulled up behind the wheel of a prototype covered in black-and-white camouflage sheeting used to conceal the shape of the truck ahead of the Wednesday event.
“This sucker’s quick,” Mr. Biden said, and let slip that the truck can zoom to 60 miles an hour in 4.4 seconds, a detail that wasn’t supposed to be released until Wednesday. Mr. Biden then zoomed off, reaching a top speed of 80 m.p.h.
The Secret Service normally does not allow presidents to drive. Ford officials were not sure Mr. Biden would drive the truck until he arrived at the Rouge center, but it’s not a surprise he did.
Mr. Biden is a well known car enthusiast and owns a green 1967 Corvette that was given to him by his father as a wedding present. In 2016, he and his Corvette appeared on an episode of “Jay Leno’s Garage,” in which he drove the car at an enclosed Secret Service training facility.
with union labor closely aligns with the Biden administration’s goal to cut greenhouse gas emissions, increase domestic manufacturing, support unions and accelerate the transition to electric vehicles.
The administration’s $2 trillion infrastructure proposal includes money to help build half a million charging stations and incentives for the purchase of electric vehicles.
Ford has said it plans on spending $22 billion to develop electric vehicles over a five-year period ending in 2025.
Other automakers are moving in the same direction. G.M. is spending a similar sum and has said it aims to produce only electric vehicles by 2035, setting a target date for phasing out the internal combustion engine, which has powered the auto industry for more than a century.
G.M. recently introduced an updated version of its electric car, the Chevrolet Bolt. It also plans to make an electric version of its popular Silverado pickup truck, which is one of the biggest competitors to the F-150.
Streaming has become fiercely competitive, with Disney+ coming on strong and HBO Max, Apple TV+ and Paramount+ determined to make inroads. That has pushed the original streaming disrupters — Netflix and Amazon Prime Video — to lean harder on broad-appeal movies to keep growing, particularly overseas.
The 58-year-old James Bond franchise is a Hollywood crown jewel that has generated tens of billions of dollars in ticket sales, home entertainment revenue, video games and marketing partnerships. But 007 has been both an enticement and a deterrent to prospective MGM bidders.
That is because MGM owns only 50 percent of the spy franchise. The balance is held by Barbara Broccoli and her brother, Michael G. Wilson. Through their company, Eon, which stands for Everything or Nothing, the siblings also have ironclad creative control, approving every line of dialogue, casting decision, stunt sequence, TV ad, poster and billboard. Bond has enormous untapped value, with television offshoots as one potential bonanza. But Ms. Broccoli and Mr. Wilson, worried about adulterating the brand, have blocked spinoff efforts in the past: Bond belongs on big screens, not small ones.
“If we get the wrong partners, there are liable to be conflicts,” Mr. Wilson said in a 2015 interview.
“No Time to Die,” the 25th installment in the Bond series, cost about $250 million to make and is scheduled for pandemic-delayed release in theaters on Oct. 8. (The previous film, “Spectre,” took in about $900 million worldwide in 2015.) The role of James Bond is expected to be recast after “No Time to Die,” as Daniel Craig leaves the role after 15 years.
Amazon’s entertainment strategy has evolved as streaming services have proliferated. Indie films like “Manchester by the Sea” and unconventional shows like “The Marvelous Mrs. Maisel” and “Transparent” gave Amazon a foothold in Hollywood; domination will require a steady supply of mainstream hits.
The problem: Amazon Studios has limited bandwidth, most of which is tied up with television series — including a coming “Lord of the Rings” adaptation that is believed to be the most expensive show ever made, with a one-season budget of $465 million. To stock its shelves with big movies, Amazon has been turning to outside suppliers. It paid $125 million for the rights to “Coming 2 America” and $80 million for “Borat Subsequent Moviefilm.” In July, Amazon will release “The Tomorrow War,” a science-fiction spectacle it bought for $200 million.
SpongeBob, “Star Trek” and the Super Bowl have attracted new subscribers to ViacomCBS’s streaming platforms.
The company, led by Shari Redstone, rebranded its long-running streaming service as Paramount+ in March, while also providing it with a slew of new shows, films and sports programming. The company also added content to Pluto, its free streaming service.
The stronger commitment to digital media has created a revenue powerhouse, with streaming sales jumping 65 percent to $816 million in the first quarter, the company reported Thursday. ViacomCBS said it added 6 million new streaming subscribers to both Paramount+ and a smaller streaming service, Showtime, bringing the total to 36 million.
The company doesn’t disclose how many customers are coming to each platform, but the majority have bought Paramount+, a cheaper service at $6 a month with ads, or $10 a month without commercials. ViacomCBS plans to offer a new tier at $5 a month this June in an effort to drive more subscribers. That should help the company sell more ads, offsetting the price drop.
true profitability only after it surpassed 200 million subscribers last year.
The company said it will invest more in original series and films for Paramount+, and, in a marked switch from its previous strategy, it plans to hold back more of its own productions for the service, instead of licensing them to other streamers.
In 2019, the company sold rights to “South Park,” one of its most popular franchises, to AT&T’s HBO Max for $500 million for several years. It has also sold shows such as “Tom Clancy’s Jack Ryan” to Amazon Prime Video and “Thirteen Reasons Why” to Netflix. Now, ViacomCBS will try to fill its content pipeline from its own studios.
jumped nearly tenfold in the past year.
Most of those gains had come as a result of a heavily leveraged trading strategy from a single investment firm called Archegos Capital Management, led by the investor Bill Hwang. At one point Mr. Hwang was responsible for $20 billion of ViacomCBS stock, or a third of all shares.
It all came tumbling down last month, when lenders demanded their money back. ViacomCBS also suffered as its share price plummeted from a high of $100 to about $38 on Thursday.