A few months ago I wrote about how sports fans can save more than 50 percent on their cable and internet bills without missing their favorite teams’ games. Much of the savings came in the form of cutting cable and switching to online streaming services like MLB.TV and NHL.TV -- both operated by BAMTech.
Well, Disney is now the majority owner of BAMTech. So instead of enticing cable-cutting sports fans to re-enter the cable fray, ESPN will rely upon a stand-alone streaming service it intends to launch early in 2018.
The move to streaming is a big one for the “worldwide leader in sports,” as ESPN has long depended on cable subscribers paying $9 per month for its four channels -- ESPN, ESPN2, ESPNU and the SEC Network. But the network has lost 10 million subscribers to cable-cutting since 2010. That’s over $1 billion in lost revenue, which resulted in the termination of around 100 online journalists and television personalities.
ESPN executives hope to maximize revenue by meeting the needs of both cable-subscribing and cable-cutting sports fans, and apparently they know who’s who.
ESPN’s acquisition of majority ownership in BAMTech gives them access to the cable-cutting sports fans it’s lost, who are generally fans of sports not often televised nationally. ESPN will now get 75 percent of revenues from MLB.TV, NHL.TV and MLS Live, the Major League Soccer streaming service.
Also available via the ESPN streaming service will be the typical collegiate games available on the WatchESPN app, but not those televised on cable channels. Grand Slam tennis matches will also be streaming live.
Monday Night Football will still require a cable subscription, though. But if you live in the market of your favorite NFL team, a $25 digital antenna will get you most of their games in HD. Watching the NBA will also require either a cable subscription or NBA League Pass.
So what does this all mean for cable-cutting sports fans? Nothing really. It just means the majority of their money is going to ESPN rather than BAMTech. And while ESPN could roll MLB.TV, NHL.TV and MLS Live into its one streaming service and require customers to pay for all three streaming services, that’s likely a recipe to lose even more subscribers.
The real potential of the streaming services to ESPN is the advertising potential. If you’ve ever watched a game on MLB.TV, NHL.TV or MLS Live, you’re likely familiar with the “Commercial break is in progress” screen. This screen will likely appear less and less given Disney’s fat Rolodex of advertisers.
So not only will ESPN take back some of the 10 million cable-cutting sports fans it’s lost since 2010 via streaming services, it will also profit from filling the plethora of commercial breaks that have gone unfilled since the advent of sports streaming services. It should be a big win for Disney, and shouldn’t cost cable-cutting sports fans a penny more -- unless they see something advertised they just have to have.
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Phil Lord and Chris Miller, the duo directors behind The Lego Movie and the Jump Street film (revival) have been removed from production of the Untitled Star Wars Han Solo film after seventeen weeks of principle photography. Seventeen weeks! With only five weeks left of shooting, production shut down until replacement director, Ron Howard, stepped in to pick up the pieces.
According to the Hollywood Reporter:
“Several sources close to the movie and others close to the directors tell EW that ever since filming began back in February, Lord and Miller, who are known primarily for wry, self-referential comedies like 21 Jump Street and the pilot episodes for Brooklyn Nine-Nine and Last Man on Earth, began steering the Han Solo movie more into the genre of laughs than space fantasy.
According to some sources, the split was a subtle one that became magnified over time: Lucasfilm and producer Kennedy believed Lord and Miller were hired to add a comedic touch; Lord and Miller believed they were hired to make a comedy.”
Okay. Fair enough. I see the potential for disaster there. Another issue was that Lord and Miller have been known to allow significant improvisation on the set of their previous films. Which is precisely what they did on this set, too! Super screenwriter and Star Wars royalty Lawrence Kasdan (writer - Empire Strikes Back, Return of the Jedi, The Force Awakens and the Untitled Han Solo Film), was none too pleased at the dailies coming back from set. The entire story line, it seemed, had been significantly derailed, due to the improvisational direction that Lord and Miller had taken.
Writer / Executive Producer Kasdan stepped in with a, “Stick to the script” note. A note, apparently, the directors thought was just a suggestion. Lord and Miller ignored the note. Finally, Kathleen Kennedy, president of Lucasfilm Ltd., fired Lord and Miller after seventeen weeks of filming. Seventeen weeks!
You keep saying “seventeen weeks” as if that’s significant. What’s up with that?
It is significant! Directors aren’t fired after seventeen weeks. Ever! If they’re fired at all, they’re fired after a week or two. Or three or four. It doesn’t take seventeen weeks to figure out that the movie isn’t working! That can’t be the only reason for the removal of the directors after about 80 percent of principle photography.
Seems suspicious. Or, as Bill and Ted would say, “Strange things are afoot at the Circle-K!”
Strange things indeed. The only other (potential) negative rumor coming out of the Han Solo film camp was that lead actor, Alden Ehrenreich (young Han Solo), didn’t have the acting chops they at first thought. According to the popular online movie news source The Wrap:
"Matters were coming to a head in May as the production moved from London to the Canary Islands. Lucasfilm replaced editor Chris Dickens (Macbeth) with Oscar-winner Pietro Scalia, a veteran of Ridley Scott films including Alien: Covenant and The Martian. And, not entirely satisfied with the performance that the directors were eliciting from Rules Don't Apply star Alden Ehrenreich, Lucasfilm decided to bring in an acting coach. Lord and Miller suggested writer-director Maggie Kiley, who worked with them on 21 Jump Street."
As has been pointed out by many sources, adding an acting coach is not unusual. But acting coaches are usually on set from day one and/or brought on by the actor themselves. Some actors have worked with the same acting coach for years, or decades, and work with them on set. But it’s certainly unusual to bring an acting coach in so late into production.
So, while it appears there were difficulties behind the scenes, even that is nothing new. If you’ve ever worked on set you know that making movies is controlled chaos, at best. There are no mystical properties that a director possesses. Directing is paperwork, organization, collaboration and making choices. In fact, the only solo choice a director adds to the production without collaboration from anyone else is tone. The tone of movie is decided by the director. Unless, of course, you work for Disney. Or Lucasfilm Ltd. In which case they will fire your ass if you change the tone of their films. Just sayin.
And now we have little Ronnie Howard piloting the fate of young Han Solo. How much of the original footage Howard will be able to use is unknown. It would probably be too expensive to reshoot the majority of the film. Besides, these tent pole flagship movies have marketed release dates to keep! It’s true that all huge films like this have time and money budgeted for the inevitable reshoots but this situation is unprecedented.
Unlike the Zack Snyder/Joss Whedon switch up on the Justice League film, Whedon is going in to finish up the film and do his best to match the style and tone of Snyder (because the film was ninety percent done). Whedon was not hired to rethink the entire movie and significantly restructure the picture.
Ron Howard will have to make due with a lot of footage that Lord and Miller produced, and he probably won’t get any extended amount of time to complete the picture. It should make for an interesting challenge. And hopefully, an interesting movie.
So, I'm sorry, Mr. Howard, but you will probably have to make due with what time is left for production. But in Hollywood, much as on Broadway, as they say -- the show must go on.
NOTE: This story is developing and will be updated with new information as it becomes available.