Like, uh, is there not hope in the future that the market is going to reform these production studios into making things that we actually want to see?

Yeah, there absolutely is.

Um, uh, the thing you have to keep in mind is that, like, all of this stuff has, like, a three-year lead time.

So like, you're, you're watching movies now that are coming out in movie theaters, they were commissioned in like 2019.

Because, you know, it takes a long time to make a film obviously [laughs].

Like, you know, you've got a script to, you've got to cast people, you've got to direct the thing, you've got to shoot the thing, uh, then do all your post-production, then get it on a slate, then get it marketed.

So, um, in a sense, what you're seeing in cinemas right now are ideas from like three years ago.

You're kidding me.

What's your insight there?

Well, again, yeah, um, a stoic man is a toxic man in the minds of Hollywood writers.

Whereas, uh, I see it as like a necessary, um, survival skill really [laughs] throughout most of human history.

Like, you, you can't have everyone, uh, be high-strung emotional idiots who just go to pieces the moment, like, things start going wrong.

There needs to be stoic people who can deal with problems, um, logically and don't complain all the time about things.

You know, it's ...

People used to live hard lives.

... what fan baiting is.

Is there not hope in the future that the market is going to reform these production studios into making things that we actually

want to see? Yeah, there absolutely is.

The thing you have to keep in mind is that all of this stuff has a three-year lead time.

So you're watching movies now that are coming out in movie theaters.

They were commissioned in 2019.

Because it takes a long time to make a film, obviously.

Yeah.

they are going to get much more immediate feedback from their fans saying, fuck no, than you can from a cinema, I think.

If Doomsday doesn't work, this is the end of everything.

It was oversaturation, and it started with Disney+.

Particularly when COVID began, obviously, people weren't going to the cinemas.

So what they did instead was we're going to pivot towards TV, and we're going to make lots of Marvel TV shows that are still set in this universe.

You can watch it from home.

And it'll launch our Disney Plus streaming service.

So it's a new streaming platform.

Who is this show made for?

Like, the, uh, is there not hope in the future that the market is going to reform these production studios into making things that we actually want to see?

Yeah, there absolutely is.

Um, uh, the thing you have to keep in mind is that, like, all of this stuff has, like, a three-year lead time.

So, like, you're, you're watching movies now that are coming out in movie theaters, they were commissioned in, like, 2019.

Because, you know, it takes a long time to make a film obviously [laughs].

Like, you know, you've got to script it, you've got to cast people, you've got to direct the thing, you've got to shoot the thing, uh, then do all your post-production, then get it on a slate, then get it marketed.

So, um, in a sense what you're seeing in cinemas right now are ideas from, like, three years ago.

You're kidding me.

What is happening with James Bond? Give me the updates.

It's a bit of a mess at the moment. Um, so in a nutshell, uh, it has now been corporatized. Uh, it... The, um, Broccoli family who have been running James Bond on screen ever since the 1960s... And I can't believe I'm saying the word "broccoli" in relation to James Bond, but there it is. Um, they... It was originally Albert Broccoli, and then his daughter, uh, Barbara took over. Um, and they have, i- in a way, safeguarded it to some degree. Um, it's debatable how good of a job they did in the Daniel Craig era, but, you know, they kept it from becoming too exploited. Um, I think they got, uh, a little bit frustrated with dealing with Amazon, who had bought over MGM, which ultimately owns the rights to Bond. Uh, and so the most recent development is that they have tapped out, essentially, and now Amazon have got full creative control over the Bond franchise, and they are already talking about turning it into the next Marvel cinematic universe. Uh, essentially you're gonna have the Bond cinematic universe, so what they want to do is spin-offs of Moneypenny and, you know, can she shuffle files quickly enough to meet her deadlines, and, you know, Bond the early years when he was a kid and, uh, you know... We're, we're probably gonna have TV shows with all the other 00 agents, you know, with all them getting, like, their own little spin-offs and, uh, and then having big team-up events. Uh, that's what they want to do. It's about exploitation of the IP. Uh, so that's where we're at now, and it's not a good place to be, sadly. There's a reason that Bond has endured, uh, as a franchise and as a character for the past, what, 60 years now. Uh, and it's not because he was milked dry, uh, by a big money-hundy- money-hungry corporation.

And now it feels like if what you're suggesting is correct, that the world of Hollywood and movies are gonna have to suckle at the teat of, uh, the IP from video games. So how the-

They, they will to some extent. And, you know, from their point of view, it's actually a godsend because you've got characters and storylines and entire worlds that have already been created for you. All you need to do is adapt it. And Hollywood, you know, throughout the, say the '90s and the 2000s, they were notoriously bad at this sort of thing. They couldn't find the formula to crack video games. Um, that's why you had godawful films like the Mario Brothers movies and stuff, um, from the '90s. But in the 2000s maybe they started to get it with, like, things like the Tomb Raider films that actually were fairly commercially successful. The, all those Resident Evil movies which were dog shit interpretations of the games, but they, they made money, again. Uh, and now we're into this modern era where we've got things like The Last of Us TV show, which not only is making, uh, a lot of money for HBO, it's getting lots of critical praise as well because the games were very cinematic, uh, in their own right. So, you, you're seeing these conversions where games are getting closer to movies in terms of their maturity, the themes and ideas they present, the characters and, and th- the acting that they, they are able to present to you. Um, and the commercial appeal of crossing that over into actual movies and TV shows because you've got a built-in audience, a built-in fan base, and a pre-made story with pre-made characters. So, the, the, the potential there is enormous.