Home Release Dates Uncertain After Movie, Original Series Postponements and Production Halts

Movie release postponements as well as production suspensions for films and original SVOD series due to the mounting coronavirus health crisis will likely lead to significant shifts in the home release calendar for the rest of the year.

With movies typically becoming available for disc or digital delivery three months or so after their theatrical openings, delayed home releases include several big Hollywood movies, including the Walt Disney Co.’s live-action Mulan; Universal Pictures’ latest “Fast and Furious” film, F9; and the Paramount Pictures horror sequel A Quiet Place: Part II.

Meanwhile, such original digital series as the Netflix comedy “Grace and Frankie” and Marvel’s “The Falcon and the Winter Soldier” on Disney+, will likely debut later than expected due to production halts.

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On the film front, Mulan’s scheduled March 27 theatrical opening has been called off, with no new date set — despite a star-studded premiere March 9 at the Dolby Theater in Hollywood that was attended by some 3,400 guests and a smaller London premiere March 12.

F9’s theatrical debut has been postponed by nearly a year, from May 2020 to April 2, 2021. According to a Twitter posting, “While we know there is disappointment in having to wait a little while longer, this movie is made with the safety of everyone as our foremost consideration.”

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A Quiet Place: Part II, slated to open March 20, has also been taken off the schedule, with no new date set.

The first big movie to be postponed was the latest James Bond film, No Time to Die, with Daniel Craig in his final turn as the fabled spy. On March 3 MGM, Eon and Universal Pictures announced that the planned April theatrical debut was off and the film, instead would open in the United Kingdom on Nov. 12 and in the United States on Nov. 25.

The companies said the decision came “after careful consideration and thorough evaluation of the global theatrical marketplace.”

Disney also pushed back the theatrical openings of two other movies, the horror film Antlers, original slated for April 17, and Marvel’s New Mutants, which was supposed to hit the big screen on April 3. No new dates have been set. New Mutants has already been delayed for years due to production issues and uncertainties associated with Disney’s buyout of Fox.

In addition to A Quiet Place: Part II, Paramount postponed the theatrical debut of The Lovebirds from April 3 to an unspecified date. The theatrical release of another Paramount film, Mission: Impossible VII, is up in the air after filming in Venice, Italy, was stopped in February due to the coronavirus outbreak there.

Also pulled from its originally scheduled theatrical release date is Sony Pictures’ Peter Rabbit 2: The Runaway, which was supposed to open March 27 in Europe and in the United States on April 3. The film is now slated to open on Aug. 7.

Most recently, Variety on March 13 reported that Disney “for a short time” has halted production and pre-production on The Last Duel, The Little Mermaid, Shang-Chi and The Legend of the Ten Rings, Home Alone, Nightmare Alley, Peter Pan & Wendy and Shrunk.

“While there have been no confirmed cases of COVID-19 on our productions, after considering the current environment and the best interests of our cast and crew, we have made the decision to pause production on some of our live-action films for a short time,” according to a studio statement, the Variety story said. “We will continue to assess the situation and restart as soon as feasible.”

The day before, March 12, various media outlets reported that Skydance Television, producer of “Grace and Frankie,” halted production of the seventh and final season of the comedy, which stars Jane Fonda, 82, and Lily Tomlin, 80.

Two days earlier, USA Today reported that Disney shut down production of “The Falcon and the Winter Soldier” in Prague.

‘Marvel’s The Punisher’ Repeats at No. 1 on Parrot Analytics Digital Originals Chart

Netflix viewership may have taken a hit during the Super Bowl, but the subscription streamer continues to dominate the digital originals chart, locking up seven of the top 10 spots the week ended Feb. 2, according to Parrot Analytics.

“Marvel’s The Punisher” remained in the No. 1 spot, even though the superhero series suffered a 15.8% decline in average daily Demand Expressions from the prior week. Attribute its staying power to the fact that it is the only Marvel series on Netflix that is currently airing new episodes.

“Titans,” from DC Universe, rose to No. 2 from the prior week despite a 5.5% decline in demand.

That’s because last week’s second-place finisher, Netflix’s “Grace and Frankie,” plummeted to No. 8 with a 28.4% drop in demand. The week before its No. 2 debut in the top 10, “Grace and Frankie” – a comedy with Jane Fonda and Lily Tomlin – had been No. 15. Demand for the series spiked after season 5 launched on Netflix on Jan. 18.

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“Titans” and its companion series, “Young Justice,” had topped the charts the week that ended Jan. 19, but both are now going into hiatus. “Young Justice” remained at No. 5, with a 4.4% drop in average daily Demand Expressions.

Demand Expressions is a proprietary metric used by Parrot Analytics to measure global demand for TV content. The metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

A “digital original” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video or Hulu.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

‘Marvel’s The Punisher,’ ‘Grace and Frankie’ Top Digital Originals Chart, Parrot Analytics Says

Netflix took the two top spots on the digital originals chart the week ended Jan. 26, fueled by new season launches, according to Parrot Analytics.

“Marvel’s The Punisher” shot up to No. 1 from No. 8 the prior week with a nearly 56% gain in average daily Demand Expressions, driven by the first full week of availability of season 2.

And “Grace and Frankie,” the comedy series starring Jane Fonda and Lily Tomlin, entered the top 10 at No. 2 from No. 15 the previous week, with an 86% spike in average daily Demand Expressions. Season 5 of the Netflix original, like the second season of “Marvel’s the Punisher,” became available for streaming on Jan. 18.

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Demand Expressions is a proprietary metric used by Parrot Analytics to measure global demand for TV content. The metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

A “digital original” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video or Hulu.

Demand for the previous week’s two chart-toppers, both from DC Universe, remained relatively flat, keeping both shows in the top five.

“Titans” slipped to No.3 from No. 1, while “Young Justice” slid to No. 5 from No. 2.

Netflix’s “Stranger Things” finished the week at No. 4, with a modest decline in demand. The previous week, demand for “Stranger Things” fell 18.6%, pulling the quirky supernatural series down to No. 3 from No. 1.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Netflix Blows Lid Off Hollywood’s Female Age Ceiling

Hollywood’s age cap on conventional female attractiveness has always been unfairly low when compared to male actors. Netflix appears to be disrupting this industry norm as well.

It just launched a 13-episode reboot of Norman Lear’s long-running 70s-80s sitcom, “One Day at a Time,” co-starring 87-year-old Rita Moreno as an “old-school” Cuban-born mom who hardly looks or acts her age.

The SVOD behemoth earlier this month bowed season four of acclaimed comedy, “Grace and Frankie,” co-starring timeless Jane Fonda (who just turned 80) and 79-year-old Lily Tomlin. Both actors shine with their 77-year-old male counterparts, Martin Sheen and Sam Waterston.

But they’re all “teens” compared to Betty White, who at age 96 has inked a deal to reprise her role in a reboot of “The Golden Girls.” The original 80s series co-starred Bea Arthur, Estelle Getty and Rue McClanahan, all of whom have died.

It’s a strong statement in an industry obsessed with youth and millennial indifference toward tradition. A Time magazine study found female actors’ careers peak at age 30 in the number of roles available, compared to age 46 for male actors. The study found that while Sandra Bullock generated more paying roles (14) than George Clooney (2) at age 29 – at age 38, Clooney generated 11 roles compared to six for Bullock.

To watch Moreno guest-star on an episode of “Grace and Frankie” is to watch time stand still. In a career that spans almost 70 years, Moreno held her own among strong personalities Fonda, Tomlin, Marsha Mason (75) and Swoosie Kurtz (73).

Indeed, series creator Marta Kauffmann (“Friends”) has made a point to comedically showcase yesterday’s female (and male) stars coming to grips being seniors in a tech-savvy age — a dilemma no one can escape.

But will Hollywood take note?

Michael Pachter, media analyst at Wedbush Securities in Los Angeles, says that while Netflix is again pushing the envelope, he believes Fonda, Tomlin, Moreno and White are outliers in an industry still preoccupied by youth.

“The biggest appeal of age is relatability to the target audience, so I presume these actors resonate with a demographic that Netflix is trying to capture,” Pachter said.