Twentieth Century Fox is hoping to lure viewers back to the cratering DVD market–by offering them an endless series of digital distractions during home releases of the studio’s movies.
FoxPop, a technology that makes its debut next month, works like a specialized Twitter feed, offering up a string of trivia, photos and shopping suggestions during selected movies.
When Astro Boy debuted as a Japanese manga comic almost 50 years ago, people had an out-of-this world notion of what the future would look like.
Ever since Atari paid $21 million for the rights to make a videogame based on “E.T. the Extra-Terrestrial”–and then gave a programmer just six weeks to make it–there’s been a disconnect between Hollywood and the videogame world.
It had taken the better part of a decade, but Reed Hastings was finally ready to unveil the device he thought would upend the entertainment industry.
A slate of new Hollywood science-fiction films share a common vision: In the future, we will become a race of puppet masters.
While the occasional wedding-dance entrance, skateboarding bulldog or Novocained kid makes a YouTube splash, most Internet users are still watching standard television when they go online, a new survey says.
In the complex tango between movies and video games, Hollywood may be losing its lead.
If the world seems to turn faster with each passing month, then don’t be surprised that the weekend box office has now shrunk to a single day: Friday. The rise of social networking, studio executives say, is driving a near-instantaneous word of mouth effect that is doing much to hyper-charge Hollywood’s multi-million-dollar marketing efforts…or to defeat them a lot faster than usual.
Hulu is stepping up its global initiatives to compete for audience and advertising dollars overseas.
On Monday, the video-streaming site added Johannes Larcher to its executive ranks as senior vice president of international. Mr. Larcher must work with each content provider to negotiate international rights for each video. Hulu has more than 130 content providers and 1,100 TV programs and movies, and its library continues to grow.
Tie-ins—games based on movies—have earned a well-deserved reputation for shoddy quality. As a result, such games are seen as little more than attempts to separate fans of the films from some extra cash. But one title stands out among the masses of inferior games: The Chronicles of Riddick: Escape From Butcher Bay.
Los Angeles has long been known as a one-industry town–the movies. And so it came as no great surprise when two of my closest friends announced their intention to get their German shepherd, Heidi, into show business. Heidi soon became the star of her own Los Angeles Times blog.
Reed Hastings is prowling CES for deals. Already, in the past year, the CEO of DVD rental service Netflix Inc. has cut at least a half-dozen partnerships with consumer electronics makers to make a Netflix service that streams movies and television shows over the Internet watchable on television sets via game consoles, digital video recorders and other gadgets.
Two things struck me about Roku’s newly announced $100 Netflix Player, a book-sized set-top box that lets people watch streamed video files from Netflix on their TVs. First, it was priced lower than anything I’d previously seen in the “digital media adapter” category (i.e., devices that bridge the gap between the Internet and the TV). And second, it delivered less than any of those other devices. All it can do, in fact, is connect to Netflix’s Web site, select a movie or TV show to stream, then display the chosen program on a TV set.
For years, we’ve been pointing out that disc-based media was on the way out, but for the industries (mainly music and movies) that make money from selling those discs, the allure of the cash cow was too strong. They’ve done little to plan for a future without disc-based media–which is why you see the recording industry in such a freak-out these days.
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