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If you’re in the entertainment industry, failure is a constant. For every “Avengers: Endgame” there is a “Howard the Duck.” It’s just the nature of the business.

As Yoda put it to Luke Skywalker in “Last Jedi,” though, failure can be a good thing. “The greatest teacher, failure is.” After all, sometimes it takes finding out what doesn’t work in order to have success later down the road.

As we end the 2010s, lets look at those who we sure hope learned some good hard lessons this decade:

1. Netflix tries to launch Qwikster — which gets compared to “New Coke”

Netflix did a lot of things right this decade (which you read about here), but the streaming powerhouse did have one misstep, albeit briefly.

Back in 2011, when Netflix was still primarily known as the DVD-by-mail company, the company was just branching out into streaming. In a bid to separate the two businesses, Netflix announced that it would spin-off its DVD side into a new product called “Qwikster,” requiring customers to pay a separate fee and set up separate profiles.

The only thing that was “quick” about it was the reaction, which was swift and harsh, with many comparing it to Coke’s failed launch of “New Coke” in the 1980s. Netflix gets credit for quickly realizing its mistake, and just three short months after it announced it,” Qwikster” was dead. “It is clear that for many of our members two websites would make things more difficult, so we are going to keep Netflix as one place to go for streaming and DVDs,” wrote CEO Reed Hastings, when announcing the decision to kill Qwikster.

Also Read: 6 Major Lessons Hollywood Learned in the 2010s, From Binging to #MeToo

2. Tom Cruise fails to launch Universal’s Dark Universe

In 2012, Marvel Studios assembled The Avengers, bringing together characters from four separate film franchises into one mega-franchise. That kick-started the era of the Shared Universe, with rival studios like Warner Bros and Sony attempting to mimic Marvel’s successful formula.

The results were mostly uninspiring, but nothing face-planted worse than Universal’s attempt at a “Dark Universe” filled with its famous monsters like Frankenstein, Dracula and The Invisible Man.

It began with “The Mummy” which featured both Tom Cruise and Russell Crowe. It also ended with it, because the box office performance was so bad, and the film was clearly more interested in setting up future plotlines than its own (this would be a recurring theme in other misfires). And then there was that photo.

While Universal wasn’t the only studio to have trouble in building its own cinematic universe, it’ the one that failed the most spectacularly at it.

3. “Fantastic 4” (sorry, “Fan4stic”) is anything but

But Fox gave them a run for their money. Even Josh Trank would agree that his version of “Fantastic 4” was a disaster of world-ending proportions.

Nobody saw this coming. Trank, fresh off the indie-superhero film “Chronicle” was set to direct an intriguing new take of the classic Marvel comic with an all-star cast that featured Michael B. Jordan, Miles Teller and Kate Mara. But the production was beset by numerous behind-the-scenes troubles and interference from Fox. All too often, the stories about production troubles were more interesting than the movie itself.

It was so bad that Trank, just ahead of the film’s release, slammed his own movie. That followed stories about his behavior on set, which effectively stalled his career — he was supposed to direct a “Star Wars” spinoff, but he and Disney/Lucasfilm ended up parting ways — just as it was getting started.

Also Read: State of the Movie Franchises: 5 Lessons Hollywood Learned in 2019

4. MoviePass thinks its crazy like a fox… ends up just being crazy

MoviePass redefined the phrase “in over its head” this decade. The subscription movie-going service told the industry to hold its beer in 2017 when it slashed the monthly price of the service to $10 from as much as $50 for access to unlimited movies a month in theaters. The business plan was essentially: Attract as many subscribers as possible for $10 a month, subsidize their movie going, try to leverage their data, and hope most of them don’t use the service more than once a month.

Shocker, it didn’t work, at least not for MoviePass. It was a tumultuous year and change for MoviePass and ultimately a slow death. The company burned through millions of dollars, suffered from what it said was a significant fraud problem, continually frustrated customers and struggled to keep its head above water. And in September 2019 the service shut down with no plans to relaunch?. MoviePass did, however, usher in a change in how people go to the movies. All of the biggest cinema chains in the U.S. either launched or solidified subscription services in the aftermath of MoviePass’s initial rise.?

5. Yahoo’s Tumblr acquisition flames out

That didn’t go according to plan. Verizon bought Tumblr in 2013 for $1.1 billion, thinking it had just acquired a trendy, go-to digital spot that was especially popular among Millennials. But instead of working out like Facebook’s $1 billion buyout of Instagram, it went in the complete opposite direction.

Tumblr’s active users peaked in early 2014 at about 100 million people. It’s decline was later exacerbated in late 2018, when Tumblr’s decision to ban porn contributed to a 33% drop in first-time mobile users. The user exodus, coupled with an inability to earn revenue from the platform, ultimately spelled doom for Yahoo, and later Verizon, after it purchased most of Yahoo’s media assets.

Verizon ended up selling off Tumblr for $20 million — or about 2% of its 2013 purchase price.

6. Oscars most popular category gets a very un-popular response

Faced with declining TV ratings, the Film Academy attempted to overhaul the Oscars for its 2019 edition, which was already having issues in getting a host (it would eventually go host-less, kicking off a potentially new trend for the 2020s). These included keeping the show to three-hours tops — which mostly succeeded — moving some awards to the commercial breaks (this didn’t), and the introduction of a new, Most Popular Film award (this really didn’t).

The new category was made in an attempt to get more popular blockbuster films, which are routinely snubbed for any major awards consideration, into the show. But it was so confusingly ham-fisted in there it received nearly universal pushback. It was believed the move was done so Marvel Studios’ “Black Panther,” among the biggest cultural touchstones of 2018, could get an Oscar. But the detractors of the award argued that the “popular” award would be seen as a way to give the film an Oscar while shutting it out of other categories.

Less than a month after announcing the new category, the Academy pulled it back. “Black Panther” still managed to snag a Best Picture nomination.

Also Read: TV in the 2010s: How the New Golden Age Turned Into the 'Peak TV' Era

7. Tribune gets “Tronc’d” over its new name

In 2016, in a bid to stay relevant to millennials, Tribune Publishing gave itself a new name. Three years later, we’re still not sure what “Tronc” was supposed to mean.

It was apparently supposed to be a mashup of the wordsTribune Online Content”. But, as The Verge put it, it sounded instead like “a millennial falling down the stairs.” Tronc, according to its leaders, would serve as a “content curation and monetization engine,” which is exactly the kind of nonsensical mumbo jumbo you would expect from out-of-touch newspaper executives.

The name change also came during a particularly turbulent time for the company, including its disastrous last few years running the LA Times and the departure of chairman Michael Ferro following sexual harassment accusations.

The name “Tronc” was eventually scrapped in 2018, after Tribune Publishing sold the Los Angeles Times to Patrick Soon-Shiong. But some things will never be forgotten, even if we’d all like to.

8. Fox’s “Utopia” experiment was more of a dystopia

The broadcast TV season is littered every year with failed shows (the less said about ABC’s “Work It” the better), but none of them cost as much as Fox’s pricey misfire on “Utopia.” The reality series featured a cast of 15 men and women who were placed in isolation and filmed 24-hours a day for a planned one year, was scrapped after two months.

From day one, the show suffered from internal bickering at the network’s highest levels and a heavy-handed execution by producers and Fox’s then-alternative chief Simon Andreae.

Andreae bought the Dutch format from producer John de Mol’s Talpa Media, which is also behind hits like “Big Brother” and “The Voice.” Then Fox’s alternative programming chief, Andreae made the bold buy just three months after being announced to the position , to avoid a bidding war on the show that was performing well in The Netherlands.

But as the price of the show soared to a $50 million price tag, some executives within Fox began to wonder if the series was worth it. It turns out, it wasn’t.

9. “Megyn Kelly Today”…. but gone tomorrow

Megyn Kelly’s move from Fox News to NBC was a big risk for both parties. Could Kelly — who was known just as much for being the moderate presence on the heavily-conservative channel as she was for proclaiming that “Santa Claus is white” — appeal to NBC’s more liberal viewers?

That answer was a resounding no. It got off to a bad start when Kelly interviewed Infowars leader Alex Jones on her short-lived newsmagazine. Then she took over the 9 a.m. hour of “Today,” which led Tamron Hall seeking greener pastures elsewhere.

The ratings weren’t good. From September 2017 to September 2018, Kelly’s 9 a.m. ET show fell 13% from its predecessor, which was just a third hour of the “Today” show. But that was just the beginning.

In October 2018, Kelly defended using “Blackface” for Halloween costumes during a segment on her show. “What is racist?” she asked. “You get in trouble if you’re a white person who puts on blackface on Halloween or a black person who puts on whiteface for Halloween. When I was a kid that was OK as long as you were dressing up as a character.”

Obviously, that did not go over well. She was quickly yanked from the timeslot, and finalized her exit from NBC a few weeks into 2019. Kelly barely made it halfway through her $69 million contract. It not only hurt NBC’s ratings and image, but also its wallet.

10. Sony gets hacked over a James Franco-Seth Rogen comedy

Blame James Franco and Seth Rogen?

In 2014, Sony was target of a coordinated attack by a hacker group “The Guardians of Peace.” Millions of confidential data, including emails to and from studio executives (most notably former Sony Pictures chief Amy Pascal), were leaked.

It ended as an international incident, with the White House accusing North Korea of perpetrating the hack and unleashing the embarrassing leaks of confidential studio emails because of Kim Jong-un’s displeasure with being ridiculed in the Sony comedy “The Interview.” The film was a frequent target by the hackers, who demanded it get pulled. It was eventually shelved in theaters but released online instead.

Pascal, in particular, was targeted, and it led to her eventual ouster from the studio. Her reputation took a damaging hit, which included making racist jokes about Barack Obama (joking that he only liked African-American films) and slamming Angelina Jolie as “a minimally talented spoiled brat.”

But the hack also included emails that showed that Sony, fresh off the disappointment of the two Andrew Garfield-led “Spider-Man” films, was considering doing the one thing every Marvel fan wanted: Bring the web-crawler in the MCU. That’s worked out quite well for Sony.

Related stories from TheWrap:

8 Ways Netflix and the Streaming Revolution Upended Hollywood This Decade

State of the Movie Franchises: 5 Lessons Hollywood Learned in 2019

6 Major Lessons Hollywood Learned in the 2010s, From Binging to #MeToo

www.thewrap.com | 12/26/19

Developments in the telecommunications industry and the broader digital economy have opened up many new markets over the last few decades. Telecoms has changed from a more or less standalone, horizontally-organized industry to one that has become a key facilitator in a range of vertical markets.

The keyword that is used to indicate that change is "smart." We are talking about smart transport, smart energy, smart cities and so on. Essentially what this means is that internet and communication technology (ICT) technologies are increasingly being strategically added on and embedded in these industries.

The technological developments have been mindboggling: broadband, mobile communications, cloud computing, data management, storage, AI and analytics. Combined, these have created the ideal environment for the development of technology platforms on which social and economic transformations can be developed. These platforms are often called "labs" — places where innovation, sharing, collaboration and piloting can take place.

The telecoms industry was right at the forefront of the digital explosion, but for a long time, telcos concentrated on protecting their very lucrative incumbent voice businesses.

And so companies such as Google, Apple, Facebook, Amazon, and many others in the internet market had free rein to develop over-the-top (OTT) business models, using the existing telecoms infrastructure to build their own platforms from which to distribute their own services to end-users.

Despite what could be called "missed opportunities" for telcos, they were able to maintain a strong market position in the basic telecoms market (connectivity). The massive increase in OTT services also stimulated a far greater use of the telecoms network. In most cases, telcos remain strong and healthy players in the connectivity market. However, it has become a low-margin utility service. Within their current business models, there is little room for them to develop more value-added products with opportunities for premium-based revenue models.

There are various obvious scenarios for the telcos to pursue:

  • Current model of an integrated telco: a strong focus on technology and engineering, combined with good customer relationships;
  • The wholesale model: full control over the network, intermediaries between vendors and OTT retail providers; and
  • Platform: a more virtual telco model based on first-class infrastructure with a strong focus on innovation and new services and strong relationships with customers, partners and developers.

I would like to concentrate on the third option.

The nature of the telecoms business, its culture, and its business models is not very well-suited to a more vertical approach that can be provided through platform-based models.

For example, let's look at the massive transformations that are taking place in transport, cities and energy. What is needed is a holistic approach to these developments. Telcos could take control of such a platform, rather than just being a supplier to some of the underlying elements of new smart models.

Looking around the globe, we see the car industry, cities and energy companies trying to take charge of the platform. As they often lack in-house ICT skills, the success of these platforms is a hit-and-miss situation. In other cases, IT companies are taking charge (such as Cisco, IBM and Huawei) or companies such as PWC and Accenture. The problem with these latter organizations is that their clients have become increasingly wary of proprietary solutions.

So far, very few telcos have taken a leading position in such developments. Key reasons are that their financial, technology and business models are not well-suited to starting a platform and taking risks involved in setting them up. Instead, we see IT companies taking the lead, like Google (Alphabet), for example, in Smart City Toronto.

Their business models are much better suited to such opportunities, and they are prepared to take risks and accept that several investments may fail. However, this allows them to learn on the job. They know that the total value of the platform markets that will be developed over the next 10-20 years will be in the trillions of dollars.

Perhaps Spain's Telefonica has gone the furthest of all the telcos. While still not adopting the full platform approach, they are taking the lead in a range of international smart city projects. KPN in the Netherlands is another example of a leading participant, but again not a full platform operator.

Of course, telcos quickly become partners in such projects, but most of the time, they are relegated to providing basic telecoms services. Often, these services are tendered for by the project leader, and competition makes sure that the margins for the telcos remain rather subdued.

Looking at the very upbeat messages that the telcos are sending out regarding 5G, the situation will become even more complex. In order to deliver the applications that the technology promotes, such as Internet of Things (IoT) and the much-promoted connected car business, platforms will require cooperation between telcos. Such applications can't rely on one supplier alone. You cannot have a driverless solution that only uses the Telstra network or the Optus one.

Telcos are not used to partnering with competitors. Often the message is "let's partner, but you have to do it my way." Car manufacturers in Europe have already indicated that they are not going to build the roadside IoT platforms and are looking at the telcos to collaborate. So who will develop the "build it and they will come" business model?

If the telcos do want to monetize their network better, they will have to move up the value chain, and this will require a totally different business model. Most likely, this will require setting up structurally separated new companies, each individually specialized, based on the markets they are selecting. The platform would largely be built around a virtual "telco" model, mainly operating in the cloud. They should be open to external developers and partners, securing an ongoing development of new and innovative offerings.

In such a model, the telcos' unique skill sets allow them to take a greater controlling role. Rather than being asked to be a partner, they should set up the ecosystem for the platform, select the partners, develop the financial models around the platform, and be in control. Their independent position also allows them to scale this business model and replicate it where opportunities arise.

There is no doubt that such an approach holds significant risks. Some initiatives will fail. Of course, such a model should be thoroughly assessed through scenario design, but that shouldn't lead to procrastination. If done well, the rewards will be substantial.

The telcos arguably have the deepest insight into customers' behavior, but if they are to move up the value chain, they will need to use this insight to move out of partnerships and establish themselves in a controlling position.

Written by Paul Budde, Managing Director of Paul Budde Communication

www.circleid.com | 10/31/19

Rutger Hauer, the Dutch actor best known for portraying the tragic villain Roy Batty in Ridley Scott’s sci-fi classic “Blade Runner,” died following a short illness. He was 75.

His website, the Rutger Hauer Starfish Association, announced the news Wednesday. Hauer’s managers, as well as his agent Steve Kenis, also confirmed his passing to TheWrap and added that a funeral was held for Hauer on Wednesday morning.

Hauer starred opposite Harrison Ford as the ruthless replicant Roy Batty in “Blade Runner” in 1982 after making his American film debut in 1981 with Sylvester Stallone in “Nighthawks.” The actor subsequently appeared in several ’80s action and adventure hits like “Ladyhawke,” “Flesh+Blood,” “The Hitcher” and “Wanted: Dead or Alive.” He also won a Golden Globe for his work in the TV movie “Escape from Sobibor,” about a commandant at a death camp in World War II.

Also Read: Terry Rawlings, British Film Editor of 'Alien,' 'Chariots of Fire,' Dies

However he first came to fame in his native country after working with Dutch director Paul Verhoeven on the 1969 medieval TV series “Floris.” Verhoeven cast him again in 1973’s “Turkish Delight,” which was nominated for Best Foreign Language Film for the Netherlands at the Oscars. He would work again with Verhoeven twice more on “Soldier of Orange” and “Spetters.”

In the ’90s, Hauer appeared in a series of surreal and then humorous ads for the beer Guinness along with the tagline “Pure Genius.” And more recently, he starred in films such as “Sin City,” “Batman Begins” and “Hobo With a Shotgun.” He also had a knack for the supernatural, portraying both Dracula and Van Helsing in a pair of projects, and he had a short arc on the HBO series “True Blood” as Niall Brigant.

Hauer also had an unexpected connection to one of the biggest pop culture sensations of the late 20th century. Novelist Anne Rice has consistently said her personal conception of the appearance of the vampire Lestat, the main character of her “Vampire Chronicles,” is inspired by Hauer.

“You want to know what Lestat looks like to me? Look at this photograph,” Rice said in a 2015 Facebook post on Hauer’s 71st birthday. “I didn’t base Lestat’s description on Hauer. I didn’t encounter him till after I’d written “Interview with the Vampire” in which Lestat sprang to life pretty much on his own. But this is surely how I see my beloved Brat Prince hero.”

Most recently, Hauer provided the voice for the villain Master Xehanort in the 2019 video game “Kingdom Hearts III,” replacing the late Leonard Nimoy.

He’s survived by his wife Ineke, to whom he was married for 50 years.

Related stories from TheWrap:

Reed Farrell, Former AFTRA President, Dies at 89

David Hedison, Star of 'Live and Let Die' and 'Voyage to the Bottom of the Sea,' Dies at 92

Stephen Verona, Writer/Director of 'The Lords of Flatbush,' Dies at 78

www.thewrap.com | 7/24/19

Dutch culture, or the culture of the Netherlands, is diverse, reflecting regional differences as well as the foreign influences thanks to the merchant and exploring spirit of the Dutch and the influx of immigrants. The Netherlands and Dutch people have played an important role for centuries as a culturally liberal and tolerant centre, with the Dutch Golden Age regarded as the zenith.


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