Older Samsung Smart TVs to Lose Netflix

Older Samsung Smart TVs will be losing access to Netflix beginning Dec. 1 “due to technical limitations,” according to Samsung.

The affected TVs are 2010 and 2011 models with ‘C’ or ‘D’ after the screen size in the model code.

“If you have one of the affected models, you may see a message on your TV indicating that Netflix will no longer be available on this device,” read a Samsung statement. “You’ll still be able to watch Netflix on your TV by connecting another device with Netflix on it.”

Netflix compatible devices are listed here.

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‘Mr. Selfridge,’ ‘Wolf Hall’ Among Titles Streaming in November on PBS Masterpiece Prime Video

PBS Distribution in November is debuting seven new programs on the PBS Masterpiece Prime Video Channel, including the entire series (all four seasons) of “Mr. Selfridge,” starring Jeremy Piven.

PBS Masterpiece is $5.99 per month with an Amazon Prime or Prime Video subscription.

All four seasons of “Mr. Selfridge” start streaming Nov. 22. Created by Emmy Award-winning writer Andrew Davies (Pride and PrejudiceBridget Jones’ Diary), “Mr. Selfridge” brings to life the story of American entrepreneur Harry Gordon Selfridge (Piven), the colorful and visionary founder of Selfridges, London’s lavish department store. Pioneering, reckless, and with an abundance of charm, Harry Selfridge created a theater of retail for early 1900s Londoners, where the latest topics or trends were showcased and traditions were challenged.

The six-part miniseries adapted from Hilary Mantel’s best-selling novels, “Wolf Hall,” begins streaming Nov. 10. A historical drama for a modern audience, this unromanticized re-telling lifts the veil on the internal struggles England faced on the brink of Reformation. From humble beginnings and with an enigmatic past, Thomas Cromwell (Mark Rylance) is the brilliant consigliere to King Henry VIII (Damian Lewis). Told from Cromwell’s perspective, “Wolf Hall” follows the complex machinations and back room dealings of this pragmatic and accomplished power broker who must serve king and country while dealing with deadly political intrigue, Henry VIII’s tempestuous relationship with Anne Boleyn (Claire Foy, “The Crown”) and the religious upheavals of the Protestant reformation.

The biography What the Durrells Did Next hits screens Nov. 11. Hosted by “The Durrells in Corfu” matriarch Keeley Hawes, it follows the true story behind one of the best-loved families in TV drama. Lifting the lid on every family secret, heartbreak and triumph, the program reveals how Corfu shaped the personalities and ambitions of each family member. It’s an outlandish story of African expeditions, global fame, heartbreak and the establishment of a zoo dedicated to saving endangered species. The film describes how young Gerry Durrell grew up to be a world-famous zoologist whose ideas on conservation revolutionized the roles of zoos forever, how Larry Durrell nearly won the Nobel Prize for literature — but was deemed to have too much sex in his books — and how flirtatious Margo stayed forever young on cruise ships across the world. With exclusive testimony from HRH Princess Anne, family members, experts, and the actors who brought these beloved characters to life, the show is packed with revelations and personal insights.

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Available now for streaming is the Danish drama-mystery “Walter Presents: Seaside Hotel, Season 2.” It’s the next summer at the Seaside Hotel and the residents are back for more shenanigans. After spending the winter helping out at the hotel, chambermaid Fie remains heartbroken from the previous summer. Amanda refuses to tell the truth that could exonerate Morten of Mr. Lindberg’s murder, keeping Morten on the run and leaving Fie with a broken heart. Forced apart from a new fling by her father, Amanda must once again spend the summer in the hotel. Meanwhile, two new young gentlemen have moved in and their contemporary style and attitudes doesn’t settle well with some of the regular guests. And one of them sets his sights on Amanda.

Streaming beginning Nov. 8 is the French series “Walter Presents: Mystery in Paris, Season 1.” A combination of thriller and women’s emancipation, this series is set in the heart of Paris, which was experiencing an industrial and social revolution at the time. Each episode place at an iconic site in the City of Lights, during the late 19th century. Told from the women’s point of view, a ghastly murder occurs in each of the locations: the Moulin Rouge, the Eiffel Tower, the Opera Garnier, the Place Vendôme, the Louvre Museum, The Sorbonne University, and The Elysee Palace, where the main character needs to solve the mystery and the murder.

The Dutch series “Walter Presents: The Neighbors, Season 2” hits screens Nov. 22. The second season of the drama returns to the same suburban streets, one year later; the neighborhood hasn’t changed, yet the dramatic events of the previous year have turned the characters’ lives upside down. Following her recovery from a coma, Eva returns to the neighborhood, while her husband Peter is still locked away in an institution. However, she has been left with amnesia and has no recollection of her past life with Peter. Could this be the fresh start she needs? Steef has been sentenced to four years in prison, but is not planning to stay behind bars for long. After a daring prison escape, he has two priorities — finding his son and taking revenge for the death of his wife, Rebecca. In the meantime, Eva befriends her new neighbors Steffi and Lex and their kids who are completely unaware of last year’s drama and are preoccupied with their own messy web of lies. By presenting herself as a babysitter, Eva finds a way into their lives and soon after starts plotting the fulfillment of her lifelong wish — a family of her own.

The French series “Walter Presents: Bright Eyed Revenge, Season 2” starts streaming Nov. 29. The new season begins with Olivia on a quest to find and save her daughter Lou. Nothing can stop her, not even her arch enemy, Etienne Chevalier, the man who had Lou kidnapped. But her mission takes on a suspenseful twist. Alone and against all odds, she manages to track down Lou’s location. But the new police officer on the case thinks she is nothing but a lawless renegade. Caught in the crossfire, Olivia is forced to give herself up and gets thrown in jail.

She struggles to survive the hostile world of prison and begins to question her own motivations. Has she become so blinded by the need for vengeance that she has done more collateral damage than good to those around her? How can she stop the machine? Faced with Etienne’s new evil schemes, she has only one possible ally left: Alexandre, the father of her child.

Deluxe Appoints Cummins CEO

Deluxe announced the completion of its restructuring and has appointed Eric Cummins as the company’s CEO, expanding his current role as CFO.

Effective immediately, Cummins will succeed Deluxe’s current CEO John Wallace, who is retiring after nearly 35 years in the media and entertainment industry.

As a result of the restructuring and emergence from Chapter 11, Deluxe has shed more than 75% of its debt and obtained $115 million in new financing, according to a company release.

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“With an optimized balance sheet and significantly less debt, Deluxe is well-positioned to carry on its unparalleled legacy, and we are pleased to appoint Eric as CEO,” said Gregg Bresner, member of Deluxe’s board of directors, in a statement. “He has been instrumental in completing the comprehensive refinancing, and we are confident that he is the right person to lead the company forward.”

“I couldn’t be more excited to take on this role, and I look forward to carrying on Deluxe’s reputation of delivering for clients as we continue to build a technology platform that enables media and entertainment companies to create and deliver content globally,” said Cummins in a statement.

Deluxe Entertainment Services is a video creation to distribution company offering global, end-to-end services and technology, serving content creators, broadcasters, OTTs and distributors.

Sandra Bullock to Star in Another Feature for Netflix

Following her role in Netflix’s Bird Box last year, Sandra Bullock is set to star in another feature for the service, which will be directed by Nora Fingscheidt.

Fingscheidt made her directorial debut with her film Systemsprenger, which premiered at the 2019 International Berlin Film Festival, where she won the Silver Bear Alfred Bauer Award for new perspectives in cinema. Since then, the film has won 24 international awards and was selected to represent Germany at the 2020 Academy Awards.

In Bullock’s upcoming movie, she will play Ruth Slater, who, released from prison after serving a sentence for a violent crime, re-enters a society that refuses to forgive her past. Facing severe judgment from the place she once called home, her only hope for redemption is finding the estranged younger sister she was forced to leave behind.

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The writer is Academy Award winner Christopher McQuarrie (The Usual Suspects, Mission: Impossible — Rogue Nation). Producers are Academy Award winner Graham King for GK Films, Bullock for Fortis Films and Veronica Ferres for Construction Film. Executive producers are Nan Morales, Nicola Shindler, Sally Wainwright and Colin Vaines.

Bullock’s latest feature Bird Box remains one of Netflix’s top performing films and was watched by more than 80 million accounts in its first four weeks, according to the service.

Netflix’s ‘Atypical’ Top Binge, New ‘War of the Worlds’ Adaptation Top ‘Show on the Rise’ on TV Time Charts

Netflix’s “Atypical” was the top binge, while Canal+’s contemporary adaptation of “War of the Worlds” led the “Shows on the Rise” on the TV Time charts for the week ended Nov. 3.

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 service. 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 third season of top binge “Atypical” hit screens Nov. 1. The coming-of-age story follows Sam (Keir Gilchrist), a 19-year-old on the autism spectrum as he searches for love and independence. The series also took the bronze on the “Shows on the Rise” chart.

Behind perennial binge favorite “Friends” on the binge chart at No. 3 was Amazon’s “Tom Clancy’s Jack Ryan.” Season two of the series, based on novelist Clancy’s character and starring John Krasinski, hit screens Oct. 31. The series also came in at No. 4 on the “Shows on the Rise Chart.”

“War of the Worlds,” an eight-episode, English-language adaptation of the H.G. Wells story set in contemporary Europe, was the top rising show. It stars Elizabeth McGovern and Gabriel Byrne.

The No. 2 rising show was Netflix’s anime series “Kengan Ashura,” season two of which premiered Oct. 31.

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Top Binge Shows Week Ended Nov. 3 by Share of Binges:

  1. “Atypical” (Netflix) — 10.93%
  2. “Friends” (NBC) — 2.14%
  3. “Tom Clancy’s Jack Ryan” (Amazon) — 2.11%
  4. “Grey’s Anatomy” (ABC) — 1.52%
  5. “Riverdale” (The CW) — 1.50%
  6. “How to Get Away With Murder” (ABC) — 1.25%
  7. “Peaky Blinders” (BBC One) — 1.24%
  8. “BoJack Horseman” (Netflix) — 2.50%
  9. “Daybreak” (Netflix) — 1.24%
  10. “Lucifer” (Netflix) — 1.24%

 

Top Shows on the Rise Week Ended Nov. 3 by Rise Ratio:

  1. “War of the Worlds” (Canal+) — 99.9%
  2. “Kengan Ashura” (Netflix) — 96%
  3. “Atypical” (Netflix) — 95.6%
  4. “Tom Clancy’s Jack Ryan” (Amazon) — 95.4%
  5. “Silicon Valley” (HBO) — 88.4%
  6. “EastEnders” (BBC One) — 86.5%
  7. “Brotherhood” (Netflix) — 84%
  8. “Super Dragon Ball Heroes” (YouTube) — 81.7%
  9. “Prank Encounters” (Netflix) — 79.6%
  10. “Last Week Tonight With John Oliver” (HBO) — 66.4%

James Cameron’s ‘Avatar’ Available on Disney+ at Launch Nov. 12

Director James Cameron’s 2009 box office hit Avatar will be available on Disney+ when the streaming service launches in the United States, Canada and The Netherlands on Nov. 12, followed by Australia and New Zealand on Nov. 19.

Disney+ will be the exclusive subscription streaming home to the film, which will be celebrating the 10th anniversary of its theatrical release on Dec. 18, according to a Disney release.

Disney+ is available now for pre-order in the United States for $6.99 per month or $69.99 per year.

Avatar was the first motion picture of its kind to utilize a new generation of special effects to deliver a fully immersive cinematic experience. The Oscar and Golden Globe-winning epic is the second-highest-grossing film of all time.

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Written by Cameron and produced by Cameron and Jon Landau, Avatar, originally released by Fox, takes place on Pandora, where a man embarks on an epic adventure, ultimately fighting to save both the people he learns to love and the place he now calls home. The film stars Sam Worthington, Zoë Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel David Moore, CCH Pounder, Wes Studi and Laz Alonso.

Cameron recorded a greeting about the Disney+ debut:

Hulu Adds Download Feature for Android, Fire Devices

Hulu announced an added a treat to its features on Halloween.

Hulu subscribers to the ad-free service can now download content for Android and Fire (FireOS) devices for offline viewing. The download feature had previously only been available with iOS devices.

The announcement came just before the streaming wars heat up with the launches of Apple TV+ (Nov. 1) and Disney+ (Nov. 12).

Hulu launched the download feature for iOS devices in early October.

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Ahead of Nov. 1 Launch, Studies Show High Awareness, Demand for Apple TV+ SVOD Service and Shows

Leading up to the highly anticipated debut of Apple TV+ Nov. 1, research firms are tracking high awareness for the SVOD service and original shows.

Parrot Analytics is tracking pre-release demand for the new streamer’s original series, including “See,” “For All Mankind,” “Dickinson” and “The Morning Show.” According to pre-release demand data captured leading Oct. 21-27, the company found that the upcoming Apple TV+ shows are well ahead of the audience demand average across all TV shows in the United States over the same time period.

“See” and “For All Mankind” were already attracting 11.7 and 11.1 times more demand than the average TV show in the United States ahead of launch, respectively, according to Parrot. “Dickinson” registered 3.3 times the demand average while “The Morning Show” managed 1.8 times the average in the United States during that time period.

Parrot also compared the pre-release U.S. and global demand for Apple TV+’s four top series to that of other hit streaming shows. For example, U.S. pre-release demand for the Apple TV+ series tracked well ahead of that of Hulu’s first season of “The Handmaid’s Tale” in the week leading up to their respective premieres. In its analysis, the company compared the average U.S. demand over the period Oct. 21-27, 2019, for the Apple TV+ series to “The Handmaid’s Tale” season one demand over its seven-day pre-premiere period April 17-23, 2017.

Findings include:

  • “See” was 897% ahead of “The Handmaid’s Tale” in the lead-up to its premiere.
  • “For All Mankind” was 842% ahead of “The Handmaid’s Tale” in the lead-up to its premiere.
  • “Dickinson” was 184% ahead of “The Handmaid’s Tale” in the lead-up to its premiere.
  • “The Morning Show” was 54% ahead of “The Handmaid’s Tale”in the lead-up to its premiere.

 

Internationally, the Apple TV+ shows don’t fare as well, according to Parrot research. Pre-release demand for “The Handmaid’s Tale” in most international markets pre-launch was well ahead of the pre-release demand for the Apple TV+ series on a per capita basis.

“Based on the demand that we are seeing, Apple TV+ promotion of the series in the U.S. has put them in a position to succeed domestically,” said Courtney Williams, head of partnerships, Parrot Analytics, in a statement. “However, they have to rapidly accelerate their international marketing if they hope to be a key player in the global streaming wars. The advantage of active and ongoing hardware penetration will be key domestically and should provide the necessary foundation to drive demand globally.”

Parrot also compared the pre-release demand for Apple TV+ originals over the seven-day period Oct. 21-27, 2019, with the pre-release demand for Netflix’s “The Umbrella Academy” (Feb. 5-11, 2019). Parrot found that “For All Mankind’s” pre-release demand is 54% ahead of the pre-release demand for “The Umbrella Academy” for the comparable lead-up period.

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Meanwhile, another study from Ampere Analysis found more than one in three (38%) U.S. respondents said they were aware of the Apple TV+ product, already higher than some peer group services — such as HBO Max — at 30%. Awareness among Apple device owners was 51% versus 25% for non-Apple device owners, and skewed towards a younger demographic. While younger Apple owners said they were the most likely to subscribe, their lack of interest in Apple TV+ original content presents a potential barrier to sign-ups, according to Ampere.

“The core target group for Apple TV+, in the short term at least, will be existing device owners aged 18-34,” said Minal Modha, consumer research lead at Ampere, in a statement. “Given the popularity of Apple devices in households, there’s already a large potential customer pool in the U.S. To sustain subscriber growth for TV+ in the longer term, Apple will want to move beyond its own device universe, and ensure it appeals to those outside its brand ecosystem.”

Apple’s decision to include the TV+ service with new device purchases appeals particularly to the younger consumer. Ampere found that 21% of Apple device owners are likely or highly likely to subscribe (compared to 13% of non-Apple owners). This rose to 29% of the 18-24 age group, and dropped to 14% of those 55-64, and 9% of those over 65.

Indicating a potential boost to Apple’s hardware business, 9% of respondents said they would buy a new Apple device to get a year’s free access to Apple TV+ and a further 9% said it would encourage them to replace their existing Apple device sooner. Ampere estimates that there are 81 million Apple device-owning households and if 10% were to replace their device six months earlier than planned because of TV+, it would generate an additional $400 million in net device margin for Apple. The same analysis for non-Apple customers suggests potential net device margin of nearly $120 million. Even under conservative device purchase and replacement assumptions, Apple will be able to offset significant sums of its U.S. content expenditure, according to Ampere.

The survey found that “The Morning Show,” a comedy drama series starring Jennifer Aniston, Reese Witherspoon and Steve Carell, would appeal to 35% of Apple customers (versus 25% of non-Apple device owners). “See,” a futuristic sci-fi drama starring Jason Mamoa, has a similar and strong appeal.

The survey highlighted lack of interest in Apple TV+ content as the biggest barrier to subscribing, alongside households saying that they already have enough SVOD services to keep them happy. Apple’s competitive price point of $4.99 was not a seen as a barrier.

“Apple has a different business model from the other new platform launches in that it is able to use Apple TV+ to incentivise and accelerate device replacement — and therefore generate larger cash flow through those sales to fund content spend,” Modha said in a statement. “While the research found that the main barrier to uptake of the service is a lack of interest in the content on offer, this is mainly due to Apple being new to the original content space and consumers not knowing what to expect. As Apple TV+ begins to roll, we expect this barrier will be overcome.”

Shudder Renews ‘Creepshow’

Shudder — AMC Networks’ SVOD service for horror, thriller and supernatural content — has renewed its horror anthology series “Creepshow” for a second season.

Executive produced by showrunner Greg Nicotero (​“The Walking Dead”), “Creepshow” is based on the iconic 1982 movie written by Stephen King and directed by George A. Romero and is Shudder’s first hour-long scripted series. More than 50% of Shudder members watched at least one episode of the series, and the show has also helped drive record growth, according to the streaming service.

“‘Creepshow’ has met every expectation we had for Shudder’s first original scripted series and then some, with record numbers across the board,” Shudder GM Craig Engler said in a statement. “Greg Nicotero and his team delivered an amazing show that’s unlike anything else on TV and we’re thrilled and delighted to bring it back for another season.”

“For me, ‘Creepshow’ has been a true labor of love,” Nicotero said in a statement. “To be able to pay tribute to George A. Romero’s visionary project and have the show so embraced by fans everywhere is humbling to this horror kid from Pittsburgh. I couldn’t be more pleased and look forward to continuing the series with more ghoulish delight.”

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“Working with Greg Nicotero and Shudder on ‘Creepshow’ has been a dream come true,” Stan Spry, executive producer for the series and CEO of the Cartel, said in a statement. “We’re thrilled to carry on the ‘Creepshow’ legacy with season two.”

The season one finale airs Oct. 31, both on demand and on the Shudder TV live-stream at 9 p.m. ET/6 p.m. PT.

Season one of ‘Creepshow’ stars David Arquette (“​Scream” franchise), Adrienne Barbeau (​The Fog), Tobin Bell (​Saw), Big Boi (​“​Scream: The TV Series”), Jeffrey Combs (​“​Star Trek,” Re-Animator), Kid Cudi (​Drunk Parents), Bruce Davison (​X-Men), Giancarlo Esposito (“Better Call Saul”), Dana Gould (​“​Stan Against Evil”), Tricia Helfer (“​Battlestar Galactica”) and DJ Qualls (“Supernatural”), and features adaptations of stories by Stephen King, Joe Hill, Joe R. Lansdale, Josh Malerman and others.

Nicotero’s Oscar, BAFTA and Emmy award-winning make-up Effects studio KNB EFX Group will again serve as creature creators.

Plans for the Shudder service start at $4.75 per month.

Ridley Scott Sci-Fi Series ‘Raised by Wolves’ to Premiere on HBO Max

“Raised by Wolves,” a serialized sci-fi series from Ridley Scott, will premiere on WarnerMedia’s SVOD series HBO Max, launching in May 2020 at $14.99 a month.

The serialized sci-fi series is executive produced and directed by Scott (The MartianBlade RunnerAlien: Covenant). Writer Aaron Guzikowski (Prisoners) created the 10-episode series and serves as showrunner and writer for the project, which recently wrapped production in Cape Town, South Africa. The series centers on two androids tasked with raising human children on a mysterious virgin planet. As the burgeoning colony of humans threatens to be torn apart by religious differences, the androids learn that controlling the beliefs of humans is a treacherous and difficult task.

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“As we strive to set a high creative bar for HBO Max, there’s no better person to set that bar than Ridley Scott as he delivers his first season of yet another incredible vision realized,” said Kevin Reilly, chief content officer of HBO Max, and president of TBS, TNT, and truTV.

“The breathtaking worlds, compelling characters and intricate storylines that Ridley, Aaron and team have created for this project are mesmerizing,” added Sarah Aubrey, head of original content at HBO Max.