Was that review written by Peter Griffin?

Most of the PLFs (Premium Large Formats) are gimmicks. The only ones that really matter are IMAX, Dolby Cinema, and 70mm if you like analog film instead of digital.

Letterboxd is more like a social media for movies instead of a user movie review site.

ENSHIGIFICTION

As opposed to enshigi non-fiction?

I use uBlock Origin and it works just fine for me. Bht if you can’t read the article, here’s the full text:

The person behind the anonymous X account ImStillDissin figured he was just trolling when he leaked two minute-long clips of the Legend of Aang: The Last Airbender. On Sunday, a friend from his hacker days sent him a full copy of the movie. He didn’t know what it was until he looked it up.

“I saw it’s just a Paramount+ thing, so I decided I’d troll a little bit” by posting the videos, he says, explaining that he didn’t think it was a big deal since the movie isn’t being released in theaters. He added a #PeggleCrew watermark to the clips in a nod to the affiliation of the hacker that sent him the movie.

Within hours, the videos reached the far corners of the internet. That included 4Chan, where a community of superfan hackers discuss trading movies and TV shows they’ve illicitly attained amongst themselves and, at times, sell their hauls to the highest bidder. Posters egged ImStillDissin on to leak the full film. He resisted, though it didn’t matter. By Monday, an unrelated account that appears to belong to someone in Singapore leaked the full movie. It’s circulated widely across the diehard fanbase since then.

Hollywood is no stranger to leaks. Screeners of The Revenant, Zero Dark Thirty and Game of Thrones all hit the internet days or even weeks before they were officially released. Still, you’d have to go as far back as 2017, when hackers stole episodes of the newest season of Orange Is the New Black from the show’s postproduction vendor in a bid to extort Netflix, for another incident involving a title as big as Legend of Aang: The Last Airbender that was leaked months in advance.

Paramount has conducted an investigation into the incident. As part of the ongoing probe, the company eliminated the possibility that the leak was caused by a vulnerability in its systems, sources familiar with the situation tell The Hollywood Reporter. Clips of the movie on X are still being taken down through its copyright takedown process.

The fallout has sparked a discussion over Paramount’s decision to forgo a traditional theatrical release for a valuable franchise. The original series had a dazzling Netflix run in 2020 when it topped the streamer’s daily chart for more than 60 consecutive days — a record at the time for a non-Netflix original — and even last year when it ranked as the third most streamed animated show on the platform two decades after it was released. The series has finished among Nielsen’s Top 100 most-streamed titles during 17 of 139 weeks since its debut on the platform in March 2023. Paramount, which declined to comment, decided to bypass a theatrical run as part of its plan for its streamer to become the exclusive home of all animated content from Avatar Studios, the creative force behind the universe.

Pointing to Paramount’s pivot away from releasing the movie in theaters, some fans have defended their choice to illegally download the leaked movie. One common refrain: they would’ve pirated the film anyway since it would’ve premiered on Paramount+.

“Anyone watching the leak wouldn’t even be watching it on Paramount+ in the first place,” posted an account on 4Chan. “It literally makes no difference.”

Another praised the animation and said the movie “deserved to be in theaters.” They added of Paramount, “You fund animation like this, and you throw it on a dead platform without any fucking advertising? The leak is deserved.”

Animators for the movie urged fans to resist watching, explaining that doing so undermines the work of cast and crew. “This is incredibly disrespectful to all of the hard work the artists put in,” wrote Julia Schoel, creator of animated short film The Legend of Pipi who’s also worked on Rise of the Teenage Mutant Ninja Turtles: The Movie, on X. Still, she called Paramount opting not to pursue a theatrical release a “terrible decision,” adding that the crew “worked on the aang movie for years with the expectation that’d we’d get to celebrate all of our hard work in theaters.”

Added Tessa Bright, animation director at Flying Bark Studios, which animated the movie: “It’s perfectly reasonable for anyone who worked on this project to be frustrated at this situation. The amount of effort and dedication it took to make this film happen speaks for itself in the final product and I’m sure a lot of you will agree.”

ImStillDissin says he never planned to leak the entire movie “not necessarily out of respect to Paramount” but rather because it’s a “jackass thing to do to the animators.”

It didn’t matter. The video he shared was obtained by someone affiliated with PeggleCrew, a hacking group best known for its 2016 infiltration of a download hosting site to distribute malware, but it appears others already had the full movie.

“Multiple people had access” ImStillDissin says “not just my guy.”

The origin of the video he received is unclear. It was a recording of the movie, meaning there were likely security measures in place to prevent unauthorized downloading. The version of the film that was ultimately pirated across the internet was a high quality file, potentially indicating a breach of systems maintained by those that worked on the movie.

The incident follows an unfinished copy of Paramount’s Saving Bikini Bottom: The Sandy Cheeks Movie leaking a couple weeks ahead of its theatrical release in 2024. The Legend of Aang: The Last Airbender is scheduled to premiere on Paramount+ in October, though the leak may force the David Ellison-led company to reconsider plans.

The “theatrical window” refers to how long a movie stays exclusively in theaters before it premieres on digital and physical.

Right now, the standard theatrical window is about 45 days before the movie drops on digital platforms (give or take a few weeks), but theaters want longer windows - meaning they want more theatrical exclusivity, a longer gap between the theatrical release date and the digital release date, so they can potentially make more money.

This is most likely being filmed in digital IMAX, not analogue.

Is it going to be a romance movie where Godzilla gets a girlfriend?

No, itt left IMAX screens to make room for Mario, it was still in regular theaters the whole time. Now, it’s coming back to the premium theaters.

Why yes, you probably can guess my approximate age.

Millenial?

None for this year yet.

In 2025, when “Infinity Castle” released, there were four superhero movies in theaters - three from Marvel (Captain America 4, Thunderbolts, and Fantastic Four) and one from DC (Superman).

And Demon Slayer made more money than all four of them.

• Demon Slayer: Infinity Castle - $781 million
• Superman - $618 million
• The Fantastic Four: First Steps - $521 million
• Captain America: Brave New World - $415 million
• Thunderbolts* - $382 million

Imagine telling someone 5 years ago that this would outgross every superhero movie in the same year…

This article has already been posted to this community, bur I’ll let it stay for now, since OP has already written an interesting comment.

Non-paywalled link.

Multiple Man movies?

They’re not gonna start scalping movie tickets. They already HAVE been scalping movie tickets.

Since “Oppenheimer”, and probably before that.

While production companies come and go in Hollywood, the announcement last week that J.J. Abrams’ Bad Robot would be shuttering its Los Angeles offices and downsizing came as a shock.

After all, if the creator of “Lost,” “Alias” and “Cloverfield” can’t make it, who can?

Indeed, the decline of the company where reshoots for huge “Star Wars” movies could be pulled off in their offices because they were so bursting with creativity, feels like the end of an era in more ways than one.

Not only was Bad Robot a haven for original and genre-busting storytelling, but Abrams’ company landed in the middle of a heated bidding war when he set out to find a cushy studio deal in 2019, eventually landing at WarnerMedia for over $250 million across five years.

But the trajectory of the company after that deal was signed underscores how significantly Hollywood has changed over the last half-decade, and how the company failed to live up to the pressure of its megadeal. After few new shows or movies materialized from the partnership, Abrams and Bad Robot re-upped with Warner Bros. at the end of 2024 for a much less pricey first-look deal.

For years, the studios and streamers battled it out to offer nine-figure deals to proven filmmakers, betting they’d keep delivering hits, and overpaying to keep top talent in-house as the streaming wars raged. But amid the industrywide contraction, studios are no longer content to bankroll prestige shingles without proven returns. The contraction has led to fewer films and shows being made, and with the insatiable appetite for new content evaporated. Massive overall deals — once a way to lock down talent — are now seen as risky bets that rarely pay off.

A film producer who spoke to TheWrap offered a sharp take: “It just means the town is contracting and studios no longer get maneuvered by agents to give massive deals that don’t bear out.”

But a studio executive had a different view, suggesting Abrams had lost his touch: “It probably says more about Bad Robot than anything else. And the bottlenecks that can arise at talent-led production companies, and how hard development is.”

“It’s pretty straightforward; they didn’t produce successful stuff and had their deal cut significantly with each new contract until now,” a top talent agent said.

Representatives for Bad Robot did not respond to TheWrap’s request for comment.

Bad Robot was a high-flying label for one of the most in-demand filmmakers around. It built off the success of “Lost” and “Alias” by backing high concept shows like “Fringe,” “Person of Interest,” and “Revolution” throughout the 2000s and 2010s. There were high-concept films like “Cloverfield” and “Overlord” and Abrams’ “Star Trek” films. It spurred several major TV shows, from Stephen King’s “11.22.63” and “Castle Rock” to “Westworld” and “Lovecraft Country.”

“J.J. had a solid 20-year run, which is far longer than most,” the agent said.

But as Abrams became busy directing “Star Wars,” 2015’s “The Force Awakens” and 2019’s “Rise of Skywalker,” the film development front slowed. TV consolidation made pricey shows like “Westworld” and “Lovecraft Country” unpalatable to studios — both were canceled, the former in 2022 and the latter in 2021. 2024’s Apple series “Presumed Innocent” was a hit, but other recent TV output like “Duster” and “Lisey’s Story” were not. “Duster” was canceled last summer, just two months after it debuted. “Lisey’s Story” whiffed with awards after it was released in 2021.

Abrams’ big return to creating and directing TV, an HBO series called “Demimonde,” was a casualty of the Warner Bros.-Discovery merger — after years of development and writing, on the cusp of starting production in June of 2022, HBO scrapped the show.

After signing 2019’s WarnerMedia deal, Abrams also tried to develop some Bad Robot DC projects — staking claim to characters including Constantine, Madame X, Superman and Justice League Dark, even enlisting Ta-Nehisi Coates to write a “Superman” movie. But a leadership tug-of-war and disarray in Warner Bros.’ DC strategy meant none of Abrams’ projects materialized.

Pressure started building. When David Zaslav took over Warner Bros. in 2022, he took a hard look at Bad Robot’s nine-figure deal. Only one Bad Robot feature film had been made, an Allison Janney-fronted thriller called “Lou,” but it was for Netflix, not Warner Bros. And the new regime decided a planned animated Batman TV series, “Batman: Caped Crusader,” was no longer desired. Bad Robot eventually moved it to Prime Video.

By December 2024, the megadeal was gone. Bad Robot re-upped with Warner Bros. Discovery, but this time as a first-look, non-exclusive pact. Less money. Less commitment. A drastically smaller footprint. Last November, the company offloaded the Santa Monica headquarters for $31 million to Black Bear.

The party, as it were, was over.

But for a moment in time, Bad Robot was the place to be, and former employees took to social media last week to pay tribute to their time at the company.

Jovan Avery James worked at Bad Robot as an intern: “Hands down one of my best jobs. Hired me as an intern right out of NYU Grad Film. Paid me enough to live in LA. Changed my life in so many ways. I’ll always be grateful for my time there, as well as their support of my work. I wouldn’t be in the WGA without them, thank you.”

Writer Ryan Parrott, who worked on the post-apocalyptic 2012 series “Revolution,” praised the company’s commitment to creativity: “I worked at Bad Robot for 3 years. The waiting room had art supplies, so visitors could be creative. The interns learned 3-D printing and silk screening. We had communal meals with movie stars and shot pickups for movies in the theater. It was the greatest place in the world.”

Screenwriter Zack Stentz also called it the end of a specific era in Hollywood: “The Bad Robot building in Santa Monica with its green roof, chef, soundstage, workshops & 3D printers was the closest Hollywood got to a fancy Silicon Valley or SF tech headquarters. So seeing it sold off feels like a ‘bursting of the dot com bubble’ moment for Los Angeles.”

Bad Robot’s current deal with Warner Bros. runs through December, and on the film side, Bad Robot still has some movies that are awaiting release. First up, Warner Bros. will release David Robert Mitchell’s high-concept dinosaur movie “The End of Oak Street” on Aug. 16.

Then, somewhat ironically, comes the first Warner Bros. film Abrams has directed, an original (and mysterious) sci-fi movie called “The Great Beyond,” which stars Glen Powell and will hit theaters in November.

Bad Robot is also producing the 2028 Dr. Seuss adaptation “Oh, The Places You’ll Go” from directors Jon M. Chu and Jill Culton.

For now, Abrams will keep working out of New York with a smaller team. But the Bad Robot that used to exist is no more.

Adam Chitwood contributed to this story.