As part of his efforts to solve Detroit’s financial crisis, the city’s emergency manager Kevyn Orr has asked for an appraisal of the collection at the Detroit Institute of Arts, sparking fears in artistic and philanthropic circles that he means to auction off the city’s artistic jewels.
Orr was appointed in March by Michigan’s Republican Governor Rick Snyder to tackle the shrinking city’s long-term debt problem, which the emergency manager estimated at $15 billion in a recent report on the state of Detroit.
Orr’s spokesman Bill Nowling insists that the appraisal is not about having an artistic fire sale, but more about being ready when bondholders and their insurers, who will be asked to absorb considerable losses, inquire about the artwork.
Continue @ chicagotribune.com
Netflix has managed to make itself a game-changer for television, not only in the way they offer full seasons and in some cases, full series, on demand for their subscribers, but also in their delve into original programming. They’re making their own rules for how TV shows can be watched and enjoyed, and they’re using interesting methods to collect data to determine what’s popular and in demand. They don’t develop pilots for consideration, they order whole seasons at a time, then debut them all at once. And they aren’t bound to the traditional rules when it comes to episode length and quantity. They also won’t divulge their ratings information, which some people don’t appreciate, but it’s all part of how Netflix has been doing things since they got into the original programming game, and - from a viewers’ standpoint anyway - it seems to be working. I doubt any of us will complain when Arrested Development Season 4 arrives in its entirety on Sunday, rather than just one episode.
Earlier this month, Netflix Chief Content Officer Ted Sarandos had some interesting things to say about Netflix’s original programming and whether or not certain shows stood a chance at being revived by Netflix as the subscription-based service has revived Arrested Development. Sarandos explained that AD was something of a rarity in that “the audience of the show grew larger than the original broadcast audience because people came to discover it years after it was cancelled.” He went on to comment on how that differentiates from the growth of the Firefly fan base. Sure, many of us got on board with Firefly after the show was cancelled, but is that fan base still growing? Netflix would know better than anyone. They’ve carried the show for years and can therefore track viewing habits as related to the show.
Continue @ cinemablend.com