No cow is being spared from Disney’s serial-milking spree, writes streaming columnist NICK OVERALL.
DISNEY’S formula of turning popular films into TV spin-offs has worked a charm, as evidenced by the continued success of its Marvel superhero shows.
“Loki” has certainly been the hot streaming success of the moment, with Disney+ subscribers having tuned in week in, week out for the “God of Mischief’s” time-travel themed escapades.
That comes on top of the newest Marvel film, the Scarlett Johansson led “Black Widow”, which is also available to be streamed on Disney+ at the same time of its release in cinemas.
However, those wanting to watch “Black Widow” at home will have to fork out an obscene $35, even if they have a Disney+ subscription. The price, considerably more than a standard movie ticket, is marketed as “premier access”. More like premier rip-off!
The film will become available to all Disney+ subscribers for “free” on October 6.
I think the power has gone straight to the corporate mouse’s head, especially when even 20-year-old kids’ movies are starting to get their own spin-offs.
This month, the 2001 classic “Monsters Inc.” also got a television sequel called “Monsters at Work”, a six-episode follow-up to the film that this year turns 20.
That’s on top of the prequel film “Monsters University”, which came out in 2013. Isn’t it time to leave it alone?
Perhaps I’m wrong, perhaps a new generation of kids will enjoy the show the same way I did as a kid, but Disney is a creative company, why not come up with a new concept for kids?
ON the more original side of streaming news, Apple TV+ is finally releasing season two of “Ted Lasso” on July 23, a comedy series about an incompetent American football coach thrown into training one of the English Premier League’s top soccer teams.
The idea of a doofus coaching in the EPL makes itself believable barely by the skin of its teeth, but in the scheme of things it doesn’t really matter. It’s easily overlooked in what’s a pleasantly surprising comedy, one that offers wholesome laughs while not trading out a satirical bite.
Jason Sudeikis plays the lead and brings a “Clark Griswold-esque” energy to the character, but the show also times its emotional beats with finesse.
Fingers crossed season two can keep up the pace.
FOR viewers wanting less happy-clappy in their entertainment, how does a hospital that people never return from sound?
That’s the premise of Stan’s big streaming piece this month: “Dr Death”, which is based on a terrifying true story.
It’s about an American doctor who maimed and even murdered his patients while hiding behind his profession where “things go wrong every day”.
This is another example of a true-crime podcast being brought over to a television series, a trend which has proven wildly successful with how popular true crime remains to be.
AS for Netflix, they’ve got some caper called “Sex/Life” that’s been trending in its number one spot.
The show operates on not much more than the titillation of its previews and its wiseacre title, something most viewers have seemed to realise pretty swiftly into the first episode.
For Netflix subscribers looking for something a little risqué, there’s a good chance of finding more of it in “Too Hot to Handle: Brazil” than there is in “Sex/Life”.
“Too Hot to Handle” is the reality show where contestants are eliminated if they get it on with another contestant.
The twist of this version, could you guess, is that it has contestants from Brazil!
Come on Disney, you’re getting beaten at your own spin-off game here.
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