D&D Movie/TV DADHAT becomes Netflix Global Hit

[Zardnaar]

@Zardnaar @bedir than

Just some financial number reminders/details-I-have-found:

Production = $150M, Paramount marketing = $61M, Hasbro marketing = unknown
So, total cost was >= $211M

Total box office = ~$208M

Amazon initial digital purchase (for 3 weeks) = $25
Amazon initial rental (again, for 3 weeks) = $20
Next 9 months purchase = $20
Next 9 months rental = $7

Studio share of streaming = 75%

Typical studio share of box office (maybe averaged over time) = ~50%
Maximum studio share reported (for Star Wars 8 iirc) = ~65%

Then there is the impairment of $25M. Honestly, I think it likely that that indicates at least a $25M loss as of that notice, but I haven't seen anyone give examples of other impairments to prove/disprove that thought.

Something like a 100 million loss or close to it minus whatever they got from Netflix and digital sales/rentals (unknown amount).

 

[Paul Farquhar]

one of the earliest examples of that genre).

The genre in ancient. The chronicles of Narnia for example. But stories of real world people trapped in fairyland are thousands of years old, and there are lots of non-English language examples too.

 

[Zardnaar]

Watching it atm after a great Sunday session doing an expanded Stormwrack Isle.

 

[Paul Farquhar]

for new shows that have big season (or multi season) plot arches, it's a problem

This is on the writers. Don’t end seasons on cliffhangers, finish with closure. Always write as if you don’t expect another season.

 

[Paul Farquhar]

Something like a 100 million loss or close to it minus whatever they got from Netflix and digital sales/rentals (unknown amount).

And Red Notice made a $200 million loss by the same metrics, yet Netflix consider it a huge success. You are looking at the wrong metrics.

 

[Zardnaar]

And Red Notice made a $200 million loss by the same metrics, yet Netflix consider it a huge success. You are looking at the wrong metrics.

Limited release streaming movie vs primarily a theatrical release. Apples, oranges.

 

[GrimCo]

This is on the writers. Don’t end seasons on cliffhangers, finish with closure. Always write as if you don’t expect another season.

Yes, but, if you wrap up all plot points in season, you don't have lure for next one if it get's approved. Also, you need to write whole new plot for the season. AHS did this, every season is for itself, but that's exception, not a rule.

 

[Paul Farquhar]

Yes, but, if you wrap up all plot points in season, you don't have lure for next one if it get's approved.

The streamer doesn't care about that.

Also, you need to write whole new plot for the season. AHS did this, every season is for itself, but that's exception, not a rule.

Next season is a sequel, not a continuation. It's not difficult. The way you write these things has to reflect the broadcasting environment they are going to be viewed in. In the days when networks put episodes out in a random order you couldn't write a season-long arc. You work with whatever restrictions the situation requires, not against them.

 

[Zardnaar]

The streamer doesn't care about that.

Next season is a sequel, not a continuation. It's not difficult. The way you write these things has to reflect the broadcasting environment they are going to be viewed in. In the days when networks put episodes out in a random order you couldn't write a season-long arc. You work with whatever restrictions the situation requires, not against them.

Cliffhangers are fine. It's just unfortunate if it gets canceled.

 

[Crimson Longinus]

Unless the show is a total disaster, they should give them one more season after it is decided that the show is cancelled, so that the showrunners can give it a decent ending. As these shows remain on streaming services, knowing that the show didn't end abruptly and stupidly makes it much more likely that people who didn't see it when it was first released will be interested in watching it, so it benefits the streaming service too.