View Source

>>> Don’t Miss Today’s BEST Amazon Deals! <<<<

Scrounging for Hits, Hollywood Goes Back to the Video Game Well

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.

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.”

View Source

>>> Don’t Miss Today’s BEST Amazon Deals! <<<<

Discovery and AT&T: How a Huge Media Deal Was Done

>>> Check Out Today’s BEST Amazon Deals!<<<<

Deals are rarely smooth, and an anomaly with Discovery’s share price dovetailed with the negotiations. Discovery’s stock began to inexplicably rocket in February and March to $75 from $45 because of a convoluted trading scandal involving Archegos, a little-known private investment firm that bet big on Discovery and other companies via derivatives using billions in borrowed money.

With banks forced to buy shares to hedge their spiraling exposure to Archegos, Discovery’s market value jumped nearly 60 percent, for no obvious reason to outsiders. But by May, the stock had returned to where it was during Mr. Zaslav’s initial approach, and the two sides ultimately forged a deal that gave 71 percent of the new company to AT&T shareholders and 29 percent to Discovery.

Now, the trick was closing it before word could leak out.

One awkward conversation awaiting Mr. Stankey was with Jason Kilar, the former chief of Hulu tapped by AT&T, with great fanfare, just a year earlier to lead WarnerMedia. To mark the occasion of his first anniversary on the job, Mr. Kilar had agreed — with AT&T’s blessing — to be profiled by The Wall Street Journal. He invited a reporter in late April to interview him on the Warner Bros. lot in Burbank, Calif., unaware that across the country, his colleagues were feverishly working to close the deal.

At some point during the week of May 3, Mr. Stankey dropped the bomb: He informed Mr. Kilar that the company would soon change hands, and it was unclear what Mr. Kilar’s role might be. The 2,600-word Journal profile of Mr. Kilar, which included a quote from Mr. Stankey, was published on May 14, three days before the deal was announced.

Usually a cheerful presence on Twitter, Mr. Kilar didn’t bother sharing the article with his 37,000 followers. By the weekend, Mr. Kilar had retained the entertainment power lawyer Allen Grubman to start negotiating his exit.

A little after 7 a.m. on Sunday, Mr. Zaslav boarded a corporate jet at a small airport on the East End of Long Island, not far from his home, to head to AT&T’s Dallas headquarters to put the finishing touches on the deal. But just over an hour into the flight, word got out through Bloomberg’s black-and-orange terminal screens: “AT&T is in talks to combine content assets with Discovery.”

View Source

AT&T’s WarnerMedia Group to Merge With Discovery

It’s as if Logan Roy, the fictional patriarch of the Waystar Royco media empire on HBO’s popular series “Succession,” masterminded the deal himself: AT&T has thrown in the towel on its media business and decided to spin it off into a new company that will merge with Discovery Inc.

The transaction will combine HBO, Warner Bros. studios, CNN, TNT, TBS and several other cable networks with a host of reality-based cable channels from Discovery such as Oprah Winfrey’s OWN, HGTV, the Food Network and Animal Planet.

But it raises numerous questions about what that will mean for popular shows and streaming platforms, whether entertainment bills will go up or down, or what will happen to the people working at WarnerMedia and Discovery.

WarnerMedia is known for producing some of the industry’s biggest theatrical and television hits.

HBO last year captured more Emmys than any other network, studio or platform, and its hit shows include “Succession,” “Curb Your Enthusiasm” and “Last Week Tonight With John Oliver.” It also has a huge library that includes “The Sopranos,” “Game of Thrones” and “Sex and the City.”

Netflix, the industry leader, has over 200 million subscribers, and everyone else is far behind.

Both WarnerMedia and Discovery have invested heavily in streaming. WarnerMedia has spent billions building HBO Max, which together with the HBO cable network has about 44 million customers. Discovery has 15 million global streaming subscribers, most of them for its Discovery+ app.

The companies plan to invest more in both services to get those numbers much higher. David Zaslav, the chief executive of Discovery, who will run the new business, said on Monday that he envisioned hundreds of millions of subscribers around the world, but that will be tough as Netflix and Disney invest in new shows of their own to keep a grip on the market.

Jason Kilar, who was hired to run AT&T’s media group only last year, is most likely on his way out. He was kept in the dark about the deal until a few days ago, and he has hired a legal team to negotiate his departure, according to two people briefed on the matter.

But it could mean the elevation of other executives within WarnerMedia. On Monday, Mr. Zaslav praised Toby Emmerich, the head of the film division, Casey Bloys, who runs HBO, and Jeff Zucker, the leader of CNN. Mr. Zucker and Mr. Zaslav are also longtime golfing buddies.

When asked about his plan for the management team, Mr. Zaslav said he would not favor Discovery executives.

“Philosophically, our view is we don’t know better,” he said. “There’s a reason WarnerMedia is where it is today.”

The companies expect the deal to be finalized in the middle of next year, and they anticipate annual cost savings of $3 billion. That usually means layoffs are coming.

WarnerMedia already went through several rounds of deep staff cuts after AT&T’s purchase of the company in 2018 as Mr. Stankey, who led the unit for a time, slimmed down the operations. Executives and managers were let go as he combined HBO, Warner Bros., CNN and the other cable networks under a single management team.

When Mr. Kilar came aboard last year, he cut further. Over 2,000 employees were laid off in the process.

To realize $3 billion in cost savings will inevitably mean more layoffs — at both WarnerMedia and Discovery. Mr. Zaslav said there was “a treasure trove of talent” at WarnerMedia, and emphasized the fact that Discovery doesn’t make scripted shows.

View Source

AT&T, in Abrupt Turn, Will Shed Media Business in Deal With Discovery

The merger is a significant about-face for AT&T, a telecommunications giant that got into the media business with its Time Warner foray. Industry experts questioned AT&T’s deal, and now the spinoff indicates a failed acquisition strategy.

John Stankey, the chief executive of AT&T, has looked at its media business as a way to keep its phone customers from switching to other companies. AT&T Wireless subscribers get discounts and free access to HBO Max. A deal with Discovery could include stipulations that customers would maintain those benefits.

Before he took over as chief executive last year, Mr. Stankey was the company’s chief mergers strategist. But his track record has been spotty. In addition to planning AT&T’s purchase of Time Warner, he was behind the company’s $48 billion acquisition of the satellite operator DirecTV in 2015. The service has been bleeding customers for years; in February, AT&T sold part of the business to the private equity firm TPG for about $16 billion, a third of what it originally paid.

For Discovery, the WarnerMedia deal could finally give Mr. Zaslav the size and scale he has long sought. A swashbuckling executive who can recall ratings figures off the top of his head, Mr. Zaslav represents the last of the old guard in media, a hobnobbing mogul known for hosting lavish get-togethers at his house in the Hamptons.

The new company would create a new kind of media behemoth, one that is still living off the fat profits of old-school cable, while spending those profits (and more) on streaming.

Even with increased competition, HBO remains a standout in television, and last year, once again, captured more Emmys than any other network, studio or platform, including Netflix. It has several hit shows, including “Succession,” “Curb Your Enthusiasm,” “Barry” and “Last Week Tonight With John Oliver.” It also has a huge library that includes “The Sopranos,” “Game of Thrones” and “Sex and the City.”

The Warner Bros. TV studio likewise has produced successful shows for both its parent company, WarnerMedia, and outside studios with series like “Ted Lasso” (Apple TV+), “Riverdale” (CW), “The Flight Attendant” (HBO Max) and “The Bachelor” (ABC). The Warner Bros. movie studio recently released movies like “Godzilla vs. Kong,” “Mortal Kombat” and has big coming releases like “Dune” and “The Matrix 4.”

Brooks Barnes and Lauren Hirsch contributed reporting.

View Source