MacDirectory Magazine

Mikko Silvennoinen

MacDirectory magazine is the premiere creative lifestyle magazine for Apple enthusiasts featuring interviews, in-depth tech reviews, Apple news, insights, latest Apple patents, apps, market analysis, entertainment and more.

Issue link: https://digital.macdirectory.com/i/1515807

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dictates what projects they greenlight for you. If it’s a costly movie, it will end up in the streamer’s library after they’ve rung all the money out of the theater and Pay TV folks. Netflix, Amazon and Apple get their content from a variety of sources around the globe including licensing stuff from the studios to fill the entertainment needs their folks have. If the studio simply files the project away, they can take a huge tax write-off and we suppose that if they license it for awhile and then “file” it … But in recent years, tech streamers have gotten even smarter about some of the films they buy. Showing them first at theaters makes a few bucks but more importantly, provides valuable pre-stream marketing for the project. And their nod to the big screen also makes the film eligible to be considered for an award, giving subscribers added validation they chose the right service. Original programming has always confused us. If the film/show is a sequel, prequel or part of an over-extended franchise from Marvel or DC, is it “original?” We think that if there’s a film you didn’t catch the first or second time around but finally sit down and watch it, it’s still original … at least to us. And what if you wanted to watch it again? Is it suddenly an imitation or counterfeit? Okay, it might not be an original if you got it from Pirate Bay or another torrent video site, but they do/will give you some original stuff - malware, trojans, viruses … stuff that just keeps on giving. Sorry…we’ll pass! However, thanks to the pandemic, growth ambitions of the tech-driven streamers and the dual WGA/SAG-AFTRA strikes, folks in the Americas learned what people in the EU, Africa, APAC, ME had known all along … they were making some really interesting, exciting high-quality video content. Surprise! With the “overnight” Netflix success with Squid Games (South Korean), Money Heist (Spanish) and the overpowering demand for Japanese Animi’; services suddenly discovered folks in the Americas really did enjoy content from everywhere. Oh sure, the Hollywood crowd sorta knew that because they pumped up their bottom lines by showing their stuff over there.

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