Netflix’s ‘Elite’ Again Top Binge, ‘Criminal: United Kingdom’ Top ‘Show on the Rise’ on TV Time Charts

Netflix’s “Elite” held onto the top spot on the “Binge Report” for a third week, while another Netflix show, “Criminal: United Kingdom,” led the “Shows on the Rise” on the TV Time charts for the week ended Sept. 22.

Netflix’s animated Matt Groening series “Disenchantment” took the silver on both charts.

TV Time is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by more than 1 million consumers every day, according to the company. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

The second season of “Elite,” a crime drama about teens at an exclusive private school in Spain, hit screens Sept. 6.

“Criminal: United Kingdom,” a British police procedural starring David Tennant, debuted Sept. 20. It follows detectives pursuing suspect in four different countries.

The second installment of “Disenchantment,” from Matt Groening (“The Simpsons,” “Futurama”), also hit screens Sept. 20. The animated fantasy series geared toward adults takes place in the crumbling medieval kingdom of Dreamland and follows the misadventures of hard-drinking princess Bean, her elf companion Elfo and personal demon Luci.

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Top Binge Shows Week Ended Sept. 22 by Share of Binges:

  1. “Elite” (Netflix) — 4.57%
  2. “Disenchantment” (Netflix) — 3.54% NEW
  3. “13 Reasons Why” (Netflix) — 2.92%
  4. “Friends” (NBC) — 2.41%
  5. “Unbelievable” (Netflix) — 2.22% NEW
  6. “The Big Bang Theory” (CBS) — 1.63%
  7. “Lucifer” (Neflix) — 1.61%
  8. “Grey’s Anatomy” (ABC) — 1.45%
  9. “How to Get Away With Murder” (ABC) — 1.29%
  10. “The I-Land” (Netflix) — 1.18% NEW

 

Top Shows on the Rise Week Ended Sept. 22 by Rise Ratio:

  1. “Criminal: United Kingdom” (Netflix) — 99.9%
  2. “Disenchantment” (Netflix) — 97.5%
  3. “The Mind, Explained” (Netflix) — 92.1%
  4. “American Horror Story” (FX) — 70.5%
  5. “Unbelievable” (Netflix) — 67.6%
  6. “Top Boy” (Netflix) — 62.7%
  7. “Marianne” (Netflix) — 58.4%
  8. “The Ellen DeGeneres Show” (NBC) — 46.8%
  9. “SpongeBob SquarePants” (Nickelodeon) — 43.2%
  10. “Vineland Saga” (NHK) — 42.9%

Dynamic Enhancement and HDR

Dynamic Metadata, as opposed to static (HDR10), is considered by many to be the pinnacle of high dynamic range, adjusting the picture scene by scene.

Two forms of dynamic metadata enhancement are in the market, one licensed and one license-free.

Dolby Vision is a propriety licensed-based feature from Dolby, which also licenses the sound enhancement Dolby Atmos. There are now more than 500 movies and more than 1,500 episodes of original TV series available in Dolby Vision and more than 500 movies and more than 800 original TV episodes featuring Dolby Atmos, according to the company, and all major Hollywood studios have now released movies for home distribution in Dolby Vision and Dolby Atmos. Titles released this past year in Dolby Vision and/or Dolby Atmos include Stranger Things 3 (Netflix), “Tom Clancy’s Jack Ryan” (Amazon), Avengers: Endgame (Disney) and Alita: Battle Angel (Fox).

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Nine streaming services around the world are delivering the combined Dolby Vision and Dolby Atmos experience, according to the company, and Disney recently announced that it will support both Dolby Vision and Dolby Atmos its upcoming Disney+ streaming service. Dolby Vision is available on more than 140 4K UHD Blu-ray discs.

As far as devices, Dolby Vision and Dolby Atmos devices are now widely available at prices between $200 and $300, according to the company, and more than 30 CE manufacturers have launched products featuring Dolby Vision. Apple recently announced it would support Dolby Vision and Dolby Atmos on its latest iPhone, iPad, Mac and Apple TV 4K devices. Amazon also launched its first product to support both Dolby Vision and Dolby Atmos, the Fire TV Stick 4K, which is available at prices below $50.

“Dolby Vision and Dolby Atmos continue to play a primary role in delivering the highest quality and value to the 4K consumer experience across content, platforms and devices,” said Ron Geller, VP of worldwide content relations at Dolby. “As consumers broaden their engagement with 4K content from a growing variety of sources, Dolby technologies are at the forefront to ensure a spectacular experience across transactional digital, disc and the growing list of direct-to-consumer offerings.”

HDR10+ is a royalty-free technology, which backers tout as a key advantage. A joint venture among 20th Century Fox, Panasonic Corp. and Samsung Electronics, the technology’s ecosystem includes 81 adopting companies globally. In September, the consortium released an updated technical specification to respond to the industry’s request for new device categories and codecs expanded to include AV receiver/soundbar and VP9 compatibility via WebM.

The HDR10+ logo and certification program currently supports displays, including mobile displays; distribution devices, including UHD Blu-ray player and OTT streaming devices; and content, including UHD Blu-ray Disc and OTT.

Universal Pictures Home Entertainment and Warner Bros. Home Entertainment debuted HDR10+ on UHD Blu-ray with The Secret Life of Pets 2 and Godzilla: King of the Monsters, respectively, adding to the UHD Blu-ray discs already released from 20th Century Fox and others.

On the mobile side, Samsung announced the Galaxy S10 as the first mobile device featuring HDR10+ playback and recording. Other mobile devices followed, such as OnePlus 7, Samsung Note 10, and Galaxy Tab S6, which is the first HDR10+ tablet device.

“All our latest media products such as the Galaxy S10 line-up, the WALL Pro & Lux and all our UHD TVs include HDR10+ support to provide the best HDR image from Amazon Prime to major studio UHD Blu-ray releases,” said EVP Hyogun Lee from Samsung Visual Display. “Samsung is working with the HDR10+ LLC and the industry to continuously increase this ecosystem.”
Globally, companies such as Rakuten TV, Chili, The Explorers, Megogo, DT, Molotov, Videociety and Enteractive from Europe will feature HDR10+ technology.

Supporting companies also include TCL and Shout! Factory.
While dynamic metadata adds to quality viewing, consumers aren’t so keen on the competing technologies, which each require different hardware.
“I think a lot of people are frustrated by it,” said Bill Hunt of The Digital Bits.

Home Theater Forum’s Adam Gregorich bought equipment that supported Dolby Vision before the advent of HDR10+.

“I’m in no rush to upgrade really expensive displays,” he said, adding “if I had to buy one today I’d consider it.”

Q&A: Director Duncan Jones

Media Play News talked to director Duncan Jones about the advantages of 4K Ultra HD with HDR, especially on his feature Moon, just out on the format this summer.

MPN: How important is HDR?
Jones: Important is an interesting way to think about it. I’d say how dangerous is it? … High dynamic range means that we can go back into the grade and push and pull detail that we may never have originally considered accentuating. It’s a rabbit-hole for filmmakers, as we could go on tweaking and playing forever, but as it stands, I think we took the opportunity to really bring the best out of the original shot 35mm, and maybe made a few fixes and improvements here and there that bring a new vitality to what we already had.

MPN: How involved were you with the process?
Jones: You know that rabbit-hole I was just talking about? I needed to be reminded that eventually we had to stop fiddling!

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MPN: Specifically, what were some of the things you are concerned with in the process of preparing your film for 4K Ultra HD Blu-ray?
Jones: Moon was done on a very small budget. It was an independent movie. Some parts of our set were built out of items that you might buy at an IKEA. When you know that the detail and resolution is going up, you can’t help but be concerned that what you got away with at 2K might start to become noticeable at 4K. Fortunately, we had the tools and time to smooth out those issues and create a disc that I think really holds onto the original magic … and if you are eagle-eyed, you may notice a “Poäng” here or an “Ektorp” there!

MPN: How important is picture and sound quality in the home to you — as far as your own viewing experience and viewers of your films in general?
Jones: We wouldn’t put in the work we do to get the picture and audio quality right if we didn’t care. As a dad of little kids, getting out to the movies is becoming a rarer event these days. I know I am not alone. It’s lovely to see spectacles on the biggest screen possible, with a kick-ass sound system. But with the cost of going out a high hurdle for many these days — especially when you have kids — and the incredible strides made in home entertainment tech, watching in the comfort of your own home, at your own time, and with the audience you want there, is a big deal. I mean, you can get a home Atmos system now for goodness sake! Basically, home entertainment and going to the movies is now a choice between two equally valid options, not between a better one and a fallback. Do you want to see and hear a film with all its detail and audio balancing at home or with a crowd of people? With today’s tech, you can have both.

MPN: What’s your home entertainment setup?
Jones:
Here’s the thing about 3-year-olds. They break stuff. Right now, I am watching movies on a pretty standard 50-inch monitor in the kitchen, because my adorable son, Stenton, smashed our 85-inch Sony 4K TV with a train. The new one. I am being zen about this. For now, I am watching movies from a hard wooden chair when my daughter does not insist it’s time for “Peppa Pig” and “Hey Duggee.”

MPN: What does 4K UHD with HDR bring to your films for home viewing?
Jones: Parity. I think that’s really what filmmakers are always hoping for. We want the experience at home to be as close to the theatrical experience as possible. That is traditionally the bar we are setting for ourselves, and even with the explosion in formats and streamers out there, I see that continuing to be the gold standard all home entertainment strives for.

MPN: Is there a particular scene or sequence that really blew you away when you saw it in the new 4K format? If so, what in particular did you notice about the picture quality?
Jones:
Moon is a unique film in the amount of old-fashioned VFX used, blended with more modern post production techniques. Certainly unusual for its budget! I think what I was most pleased with is that the subtle use of what was contemporary VFX work from 10 years ago still looks damn good as it was done with such a delicate hand, there to enhance the beautiful prop and model miniature work that was already there as a foundation. It certainly becomes more of a challenge when more of the shoot is virtual than in camera. In a way, the idiosyncratic model work of Moon has become one of its strongest assets, keeping the look of the film fresh and detailed, no matter which viewing format or technology is thrown at it.

 

Over the Moon for 4K

Filmmakers have long championed new home viewing technologies, but their support of 4K Ultra HD — particularly in director Duncan Jones’ case — is “over the moon.”

Jones directed Moon, a 2009 science-fiction cult favorite that won a BAFTA Award for Outstanding Debut by a British Writer, Director or Producer. And he was thrilled that Sony Pictures Home Entertainment decided to celebrate the film’s 10th anniversary in July with a 4K Ultra HD Blu-ray  release.

Moon was a tiny little independent sci-fi film from England,” said Jones, who went on to direct Source Code (2011), Warcraft (2016) and Mute (2018). “The fact that we got a theatrical run in America at all was a thrill, but even with that run, a lot of people never would have had the chance to see the film in the fidelity of those who were able to see the screenings back in 2009. Fortunately the film has lived on and grown in cult status over the decade, but up until now has only been a shadow of its original self! Now we finally get to give our fans what they remember from those early, limited screenings.”

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Jones — who also happens to be the son of the late rock legend David Bowie — is by no means alone. Directors such as Oliver Stone and others in the creative community applauded Blu-ray Disc when that format was introduced more than a decade ago, but their cheers are even louder and more enthusiastic for 4K Ultra HD — with high dynamic range (HDR), of course.

“It’s astounding how far home theater tech has come in the last 20 years,” said director Rian Johnson (Star Wars: The Last Jedi) at a recent UHD Alliance event. “I think we’re really kind of in a golden age right now of home theater technology, and it’s only getting better in every single aspect of our TVs at home. Everything in resolution, dynamic range, the size of the screens, everything has gone up through the roof recently, while prices of all the tech has gone down so it’s in the reach of most consumers, and that for me is really, really exciting. I love that my mom has a great TV that she can watch at home. I love watching movies at home.”

The resolution of 4K is four times sharper than HD, while HDR offers brighter brights and darker darks — as well as wider color gamut — to create a more vivid and lifelike picture. What that means is that home viewers can replicate the theatrical experience more closely than ever — and since directors are all about the “Big Screen,” they see 4K Ultra HD as the best way to archive their artistic vision for future generations.

“I think for anyone who spends time and effort making a film, we desperately want the audience to see all the little details and care we put into our work,” Jones said. “Especially for those who are lucky enough to make ‘world-building’ films. From production design, to wardrobe, make-up and, in Moon’s case, model miniatures, just about everything is created to hold up to scrutiny in a close up. 4K UHD with HDR gives us the pleasure of knowing you are going to see all that hard work!”

Studio executives, too, see 4K Ultra HD Blu-ray as packaged-media’s most effective bulwark against total domination by streaming media. It remains the optimum way to watch a movie, despite steady advances in bandwidth capacity.

“The collector in the enthusiast market wants to buy discs,” said Bill Hunt, editor of home entertainment enthusiast site TheDigitalBits.com.

So, apparently, do a lot of other people. Ultra HD TVs were in about 53.4 million households at the end of the first quarter, an increase of 55% from the prior year, according to CTA numbers cited by the DEG. Meanwhile, the number of households with at least one 4K Ultra HD Blu-ray playback machine rose 63% to 14 million. According to the CTA, the total TV category will ship 38.8 million units in 2019 (a 1% increase) with upgrades driven by big-screen models and sets featuring 4K UHD resolution and HDR technology. This year, 4K UHD sets will account for 17 million of those units (a 6% increase).

IHS Markit estimates that by 2022, 60% of North American households will own at least one UHD video display.

Software continues to expand as well. Nearly 600 titles have been released on 4K UHD Blu-ray Disc, according to Media Play News research. And digital outlets tout the feature, and sometimes charge a premium for it.

Indeed, consumer interest in 4K UHD with HDR continues to grow.
“I think people are definitely into it. I think interest is growing; demand is growing,” said The Digital Bits’ Hunt. “There’s no shortage of people who read my website that are eager for every piece of news on 4K.”

Retailers of both digital and physical content are serving the rabid 4K consumer. Netflix offers 4K UHD content under its premium plan for $15.99 a month (up to four screens at once). Amazon also offers 4K streaming on certain titles. At transactional VOD site FandangoNow, 4K is a major selling point, noted Fandango VP of home entertainment Cameron Douglas.

“We saw there was audience demand,” he said. “It just kept growing.”

Redbox in March reported it more than doubled the number of cities offering 4K Ultra HD movie rentals — bringing 4K to a total of 15 markets. Rental pricing for 4K UHD titles is $2.50 per night.

“Our customers have spoken — they love the quality of 4K content,” said Galen Smith, CEO of Redbox. “We’re happy to make 4K rentals available to even more movie fans, giving them more format choices than ever before so they can make the most of their movie night.”

New markets included Colorado Springs, Colo.; Des Moines, Iowa; Kansas City, Mo.; Minneapolis; Portland, Ore.; Reno, Nev.; San Diego; San Francisco; and Spokane, Wash. They joined preview markets Austin, Detroit, Los Angeles, Miami, New York and Seattle.

“4K UHD continues to experience strong and steady growth across physical and digital, buoyed by the significant retail commitment and CE support, and an increasing number of titles being released,” said Eddie Cunningham, president of Universal Pictures Home Entertainment.

“4K UHD is no longer an early adopter format and has widely established itself as the best way to watch our content at home,” said Jessica Schell, EVP and GM of film at Warner Bros. Home Entertainment.

“We’re enthusiastic about the rapid consumer and retail adoption and the ability to present our films in the highest possible quality for the home,” added Lexine Wong, senior EVP of worldwide marketing at Sony Pictures Home Entertainment.

“The popularity of 4K continues to grow as evidenced by the wide range of titles now in the market,” noted Vincent Marcais, EVP of worldwide marketing for Paramount Home Entertainment.

Indeed, content available on 4K UHD is varied, from new releases to classic catalog.

“Sony Pictures Home Entertainment, a leader in the 4K Ultra HD market, consistently delivers premium product for the growing consumer base,” said Sony’s Wong. “To date, we have over 80 4K UHD titles available — including the global tentpoles Men in Black: International and Spider-Man: Far From Home, along with key library titles such as the commemorative 35th anniversary release of the original Ghostbusters and the fully remastered modern classic Stand By Me.”

“At Paramount, we just released Rocketman, and over 15% of our physical sales are 4K to date,” noted Marcais. “In addition, we will be releasing the perennial favorite It’s A Wonderful Life on 4K Ultra HD Blu-ray for the first time in October. The studio spent over a year restoring the film from the original negative and we wanted to make sure that enthusiasts and long-time fans could truly appreciate the vibrant and detail-rich picture, which 4K makes possible for home viewing like never before.”

“The continued diversification of content available in 4K HDR ranges across not just our new-release films, but also includes more and more evergreen classic catalog titles like 2001: A Space Odyssey, The Wizard of Oz and The Shining,” said Warner’s Schell.

“Catalog in particular has surged to become a meaningful driver of consumer engagement, with newly available classic franchises fueling a 25% growth in 4K UHD disc sales across the industry,” added Universal’s Cunningham.

Readers of enthusiast websites have feasted on new-release and a growing list of catalog classics that have greatly expanded this year.

“You had your big, splashy, superhero titles, but then you had Alien and Apocalypse Now,” noted Adam Gregorich, co-owner/editor of enthusiast site Home Theater Forum. “It’s not just new releases that people are interested in.”

“The biggest problem that people that are into 4K have is that there are titles that they want that they can’t get,” said The Digital Bits’ Hunt. “Fans are really starting to jones for those big titles now.”

Hunt’s readers are particularly looking forward to the 4K catalog releases on tap for the end of the year, including The Wizard of Oz, due Oct. 29.

“That film will look tremendous on 4K,” he noted.

“There is a ton of excitement for both The Wizard of Oz and It’s a Wonderful Life,” added Gregorich. How black and white films, such as Wonderful Life, would fare on 4K elicited “some concern,” Gregorich noted, “but then people pointed out Schindler’s List,” which translated and was enhanced very well.

Both Gregorich and Hunt agreed that the best way to experience 4K UHD with HDR is on Blu-ray Disc, which doesn’t suffer from the potential delivery dilution of streaming due to bandwidth.

Still, streaming is gaining.

“Stuff that I want to buy I want to buy on disc,” Hunt said. “The younger audience doesn’t seem to have that problem.”

“I think that discs are still more popular, but streaming has made up a huge amount of ground,” added Gregorich.

Soon, technology may offer a streaming assist, and studios are prepared to deliver 4K UHD wherever the consumer goes.

“With the expansion and adoption of 5G wireless service allowing faster access to streaming 4K UHD video, the demand for high-definition content will continue to grow rapidly,” said Warner’s Schell. “We are committed to delivering the best possible viewing experience of our wide array of film and television content, and we will continue to adapt, along with other studios and content providers, to the ever-changing technological landscape that dictates our business.”

4K Ultra HD Blu-ray All-Time Top 50 Sellers as of 8/24/19
All-Time Top 4K UHD BD Market Share as of 8/24/19

Disney+ Preorders Open to the Public

Disney Sept. 22 opened monthly and annual preorders for U.S. consumers to sign up early for its subscription service Disney+, launching Nov. 12.

Monthly and annual subscriptions are available at $6.99 and $69.99, respectively, with a seven-day free trial beginning Nov. 12.

In its first year, Disney+ will release more than 25 original series and 10 original films, including “The Mandalorian,” from executive producer and writer Jon Favreau, and Lady and the Tramp, a retelling of the 1955 animated classic — both streaming on Nov. 12, according to a Disney release.

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Subscribers can access up to four concurrent streams, unlimited downloads, personalized recommendations, and the ability to set up to seven different profiles, including the ability for parents to set kids profiles.

As previously announced, on Nov. 12, consumers in the United States will have the opportunity to purchase a bundled offering of Disney+, ESPN+, and Hulu (with ads) for $12.99 per month. Consumers interested in the bundle should wait until it becomes available at launch on Nov. 12, according to Disney.

Disney since the D23 Expo in August has already been signing up members of Disney-affiliated organizations for multiyear subscriptions to the service with deep-discounted promotional offers. Members of D23, the official Disney fan club, were offered a free year of the service when signing up for a three-year plan. And Disney Visa cardholders were offered $20 off a two-year subscription or $40 off three years.

For more information and/or to sign-up early to Disney+, visit disneyplus.com.

Nintendo Switch Lite Launches

Nintendo has launched Nintendo Switch Lite, which is cheaper and lighter than the original Switch, as well as a new Switch game, The Legend of Zelda: Link’s Awakening.

“The introduction of Nintendo Switch Lite gives people the choice of a Nintendo Switch system that best fits their needs and personal play style,” said Nick Chavez, Nintendo of America’s SVP of sales and marketing. “With the simultaneous launch of The Legend of Zelda: Link’s Awakening, today is a great day for newcomers and existing Nintendo Switch owners alike.”

A lightweight device with integrated controls designed specifically to play Nintendo Switch games that support Handheld mode, Nintendo Switch Lite is available in three colors: yellow, grey and turquoise. Available at $199.99, the system has integrated controls and is smaller than the original version. The original Nintendo Switch, which offers TV mode and Tabletop mode, in addition to Handheld mode, retails at $299.99.

As a dedicated handheld gaming device, Nintendo Switch Lite supports all Nintendo Switch software that can be played in Handheld mode. It’s designed for consumers who have lots of opportunities to play on the go, and for anyone who wants to play online via Nintendo Switch Online (sold separately) or local wireless multiplayer with friends or family who already own a Nintendo Switch system.

The Legend of Zelda: Link’s Awakening, which can be played on any system in the Nintendo Switch family, is available at $59.99.

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In the new Chamber Dungeon mode, players earn Chambers (dungeon rooms) throughout the story and arrange them to complete objectives. Launching alongside the game is a new Link amiibo figure. By using this figure, players can unlock Shadow Link in the Chamber Dungeon.

Also launching is The Legend of Zelda: Link’s Adventure, a reimagining of one of the games in the series. Link has washed ashore on a mysterious island, filled with strange and colorful inhabitants. To return home, Link must explore a reimagined Koholint Island that’s been faithfully rebuilt in a new art style. Along the way, he will battle enemies and conquer numerous dungeons riddled with tricks, traps and enemies, including some from the “Super Mario” series.

‘Spider-Man: Far From Home’ Actors Reveled in Chaperone Hijinks

They may play poor chaperones who tend to lose students — notably Spidey alter ego Peter Parker — but the antics of J.B. Smoove (Mr. Dell) and Martin Starr (returning as Mr. Harrington) provide plenty of comic relief in Spider Man: Far From Home.

The latest Spidey superhero flick is available now on digital and on 4K Ultra HD combo pack, Blu-ray combo pack and DVD Oct. 1 from Sony Pictures Home Entertainment.

In playing the teacher/chaperones on a European trip with Parker and his friends, Smoove and Starr were encouraged to improvise and try alternate jokes.

“The writers were there as we were shooting it, so that there were a lot of things changing on the fly,” said Starr. “[Director] Jon Watts had a lot of ideas that he gave us to just play with, so we were given a fair amount of freedom to play.”

Smoove found comedy in playing it straight.

“Even when we had our arguments about everything that was going on — that he was messing up, losing tickets and didn’t have the hotel reservations right — I played it like I was mad as hell at this guy for not going his job,” Smoove noted.

One comic scene featuring the duo that ultimately didn’t make it into the film is included on the extras under “Teachers’ Travel Tips.”

“Jon Watts had an idea that, as we had gone on, Mr. Dell keeps thinking that I’m cursed, and it became like a running joke that we would throw into different scenes that Mr. Harrington is just cursed, so every hotel that he sets up, every city that they visit, every opportunity that they have for like going to the opera, everything becomes really just about me being cursed,” Starr said.

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The duo played it as if the attack of the Elementals is part of that affliction.

“There’s a moment where [the curse] comes to a climax, where the Elementals are fighting in the river and I take responsibility, and I’m like, ‘Kids, go save yourselves. I’m the one they want,’” Starr said. “And then Mr. Dell leaves, too. And then I’m like screaming at the Elementals, ‘Take me! Take me!’ And I think it was the last thing to get cut.

“It was so close to being in the movie.”

As comic book fans themselves, both were thrilled to play supporting characters in the Marvel Cinematic Universe.

“It was very cool,” Starr said. “Spider-Man was the only comic book that I had a subscription to. I’ve read a number of different comic books. X-Men and Spider-Man were the two that I read the most, but Spider-Man I had a subscription to, so it actually came to my house. This was very cool to become a part of this particular story.”

Smoove, too, relished comic books growing up.

“I would hop on the train in Mount Vernon and go to the Bronx,” he recalled. “They had this huge comic book store there. We would spend three or four hours there. Between buying stuff, and reading stuff until the guy told us to stop reading stuff and buy it, we would be there all day.”

He added, “I still have comic books somewhere in boxes in plastic. I might be sitting on a good hundred thousand dollars. If things go bad…”

Starr and Smoove Sept. 17 continued their chaperone duties by taking journalists and others on a “field trip” in Los Angeles to uncover some of the visual magic behind Spider-Man: Far From Home. The group visited The Third Floor Visualization, which created the pre-vis graphics for the film; Ironhead Studio, which designed costumes; and ended at The Magic Castle, where illusionist Jason Latimer used science to create illusions.

‘Daniel Craig Collection’ of Bond Films Shooting to 4K UHD Oct. 22

The Daniel Craig Collection, with four James Bond films starring the actor, will come out on 4K Ultra HD with Dolby Vision Oct. 22 from MGM and 20th Century Fox Home Entertainment.

The collection includes Casino RoyaleQuantum of SolaceSkyfall and Spectre, and features the extended unrated version of Casino Royale and includes select special features on Casino Royale and Skyfall.

Casino Royale features crew commentary, and Skyfall features commentary by director Sam Mendes and commentary by producers Michael G. Wilson and Barbara Broccoli and production designer Dennis Gassner.

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Craig is currently in production on his fifth installment as James Bond in the franchise’s 25th feature film No Time to Die, set for U.S. theatrical release on April 10, 2020.

Classic Serial ‘Lost City of the Jungle’ Travels to Blu-ray Oct. 1 From MVD

The 1946 Universal serial Lost City of the Jungle is coming to Blu-ray Disc Oct. 1 from MVD Entertainment Group.

The story follows a warmonger, Sir Eric Hazarias (Lionel Atwill), who is searching for an element that is the only known antidote to the atomic bomb in order to sell it to the highest bidder. A group of peace activists are on his trail. They include Rod Stanton (Russell Hayden), United Peace Foundation investigator; Tal Shan (Keye Luke), Pendrang native; and Marjorie Elmore (Jane Adams), daughter of scientist Dr. Elmore (John Eldredge), unwilling assistant to Sir Eric.

The title is available now on DVD.

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Rob Zombie’s ‘3 From Hell’ Rampages to Digital and Disc, Including 4K UHD, Oct. 15

Rob Zombie’s 3 From Hell will come out on digital and 4K Ultra HD combo pack (plus Blu-ray and digital), Blu-ray combo pack (plus DVD and digital), DVD and on demand Oct. 15 from Lionsgate.

Written and directed by Zombie (House of 1000 CorpsesThe Devil’s RejectsHalloween), the film follows three of the director’s most vicious creations as they leave a trail of corpses in their wake.

3 From Hell stars Sheri Moon Zombie (The Devil’s RejectsHouse of 1000 CorpsesHalloween), Bill Moseley (The Devil’s RejectsHouse of 1000 Corpses), Richard Brake (“Game of Thrones,” Hannibal Rising31The Chameleon), Jeff Daniel Phillips (The Lords of Salem, “Westworld”), with Danny Trejo (The Devil’s RejectsMacheteFrom Dusk Till Dawn), and Sid Haig (The Devil’s RejectsHouse of 1000 CorpsesKill Bill: Vol. 2).

After barely surviving a furious shootout with the police, Baby Firefly (Sheri Moon Zombie), Otis Driftwood (Moseley), and Captain Spaulding (Haig) are behind bars. But pure evil cannot be contained, and a firestorm of murder, madness and mayhem will be released.

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Special features include an audio commentary with director Zombie and a four-part making-of featurette. Additionally, the 3 From Hell 4K and Blu-ray discs will feature the unrated cut.