There are arthouse movie theaters throughout that play the same movies that you think are only locally shown in LA/NYC. You just need the right context (near a university, for example).
Am I wrong about this? Anything I'm missing?
It’s just a sci fi show set in that universe, that’s the way I see it. Takes the universe seriously, sets down rules for how it could work and it operates within that space.
But it’s better written, acted and art directed than most TV I’ve ever seen.
Id rank it as high or higher than Chernobyl. I’d say it’s must see TV.
But I understand your point— mid-budget studio movies (romcoms especially) have been hit the hardest by the pivot to Marvel mania and cinematic universes. Unfortunately that’s as much because of audience preference as it is studios.
I think the big thing is the financial risk of committing to a series, but it seems like if you take the films one at a time, you get to see how the last one is doing before you get too far along making the next one. Can't be that much worse than making everything a one-off.
They spent probably less than $5M total on the 3 movies (and filmed all at once), and the first two have already brought in $25M at the box office. A pretty good indie success story.
But then theres also the insidious observation. My generation are now senior writers and also the majority of the audience and between us is as much creativity as a fart.
Even movies like Big Trouble in Little Chinatown or Predator, while not necessarily having plots worthy of the next Great American Novel, at least had interesting memorable ideas.
As a discovery mechanism, I'd recommend following Vyce Victus[3], who writes reasonably well about action movies.
[1] https://letterboxd.com/journal/direct-action-scott-adkins-dtv-film-evolution/
[2] https://www.rogerebert.com/features/the-real-vulgar-auteurs-three-great-directors-of-direct-to-video-films
[3] https://letterboxd.com/vycevictus/
You could argue the indie scene is similar to the startup scene in SV. You have investors/producers pretty much funding these films based on team/talent and a pitch alone, with the festival circuit (could be considered an analog to SV demo-days or investor powows) essentially serving as a way to get bought by big studios for potential wide release, limited-release runs (which can still make a lot of money for those involved), or teams hired/screenplays bought and adapted by other studios. You can even make it big right out of college (or in college) [1] with little-to-no connections, though of course even more-so than SV a name and pedigree gets you further faster.
There’s so much in LA (and NYC) that gets released in theaters only locally, and the city is better for it. It’s the wide-release that, almost by definition, must serve lowest common denominator in order to make its 8/9-figure budget back in a span of months (tech companies get years!!). It’s sad that SF and LA, so close geographically, have industries so socially polarized to each other in every way, since there’s really a lot of overlap when you get down to it (and each industry could definitely learn things from the other)
[1] https://variety.com/2022/film/news/apple-cha-cha-real-smooth...