Corrected now.
Thanks for the catch!👍🏼
Most of the major review sites have filed at least a ‘first look’ review of Godzilla Minus Zero following the world premiere at the New York Film Festival last weekend.
It’s mostly enthusiastic, with the exception of the odd one that criticizes any focus on ‘boring human characters’ vs Kaiju bashing one another. There’s even early musing that the film is in the hunt for a Best Picture Oscar nomination.
Here’s a round up of the reviews:
The Guardian (previously posted)
Here’s a roundup of positive social media reports from Gizmodo .
Social impressions aren’t reviews, but for those looking forward to the sequel, it sounds like it’ll give you everything you want and then some, as much of the buzz (as seen below) is pretty glowing.
Ooh, the states have gone for a number of conditions that will crystallize into requirements for divestments if Paramount fails to meet its expansive promises.
…Which the states likely believe will happen.
It’s a smart way for both sides to kick the problem downstream a bit until there’s a new administration.
It’s also a way for David Ellison to lock himself legally into doing things he personally wants to do (massive amounts of scripted production) while holding off his father and other investors.
It may be that one won’t be reached at all.
The states may be dragging this out until after the November midterms to see if they may have more leverage in DC later.
This sounds like more of a wishful thinking deal-in-principle.
Ellison is promising to make a vast number of cinematic releases (30 per year) but the states are looking for concrete structural requirements, such as to sell off holdings where there would be excessive concentration.
Here is The Hollywood Reporter’s take.
Ellison, for his part, promised to release a minimum of 30 films per year theatrically, though many in the industry remain skeptical about how long the company can sustain that level of production.
Bonta had maintained he’ll only accept structural remedies, which typically involve companies selling off parts of the combined business. It’s believed a sticking point for the states in any settlement involved Paramount operating the two studios as independent businesses and selling off parts of its cable business. For Ellison, parting ways with CNN was a no-go.
Still, the specifics of a deal are still TBA, including any potential divestitures.
I’m feeling pretty blue about the future if the franchise just now.
The hype around a cinematic feature just feels like recurring sucker-punch. I will only buy in once there’s both a trailer and a release date.
And there’s the complete lack of desire to give Paramount any money.
I thought the 50th anniversary was under promoted but this is just dire — other than a couple of official coffee table books and the Le Creuset pieces.
At least he’ll still watch Trek politely with you. Ours are at the age where shared screen time is very much a negotiation, but it’s nice that there continue to be points of intersection that we enjoy together.
It’s great to be able to geek out together with your kids.
They won’t remain in the packing in our home, but they may help motivate some uptake of cooking skills among the not quite adults.
Some of both. A 1701 grey Dutch oven and a deep bluegreen Klingon braised are available in the ceramic-enameled cast iron. The shuttle is ceramic bakeware. There are also Starfleet and Klingon knobs that can replace the plain ones you may already have.
Here’s the link for the Canadian site.
I balked at Le Creuset for decades due to the price.
Once we got our first Dutch oven, there was no going back. It’s so much less hassle cooking to have pots and braisers that work well. The price is worth it, especially if you shop the online sales and get 30 or 40% off. However, these are full price plus a premium over regular equivalents.
That said, it took my partner less than 2 hours to ask which items we should be ordering…
This is one time the merch will be worth it.
The action sequences in the trailer look great even on a phone. I am so ready for Toho Kaiju in IMAX!
My partner is already aware that they are accompanying me to this in theatre.💃
(They really wanted me to attend a live band show of a group we last saw before we had kids. I think they will get the better end of the deal.
Unfortunately said almost adult kids have not taken on the family heritage of loving monster media onscreen. They do remain interested in Star Trek though so there’s that — even if I had to defend my newly arrived Star Trek 100 props official book from having the shrink wrap removed before I could do that myself.)
Asia Surpasses North America and Europe to Lead in Streaming Scripted Series Orders
(www.hollywoodreporter.com)
cross-posted from: https://startrek.website/post/44201153
As the US financial markets, politicians and entertainment media obsess about mergers and moving production of US scripted shows back to the United States, this seems like an enormous reality check. The United States provides less and less of the scripted entertainment globally.
It squashes the long held beliefs that the world watches/prefers American popular entertainment exports over those made at home or in other countries and regions.
There’s a new global leader in greenlights.
Over the first half of 2026, Asia surpassed both North America and Europe to become the world’s leader in streaming scripted orders, the researchers at Ampere Analysis have found. From January through June, 36 percent of “first-run scripted TV orders from the leading global streamers” (Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+) originated in the APAC (Asia-Pacific, which encompasses countries in East Asia, South Asia, Southeast Asia, and Oceania) region.
What’s unfortunate for members of this instance is that, in this process, it’s science fiction and fantasy that are being crowded out on the major streamers. (Perhaps that’s because English speaking science fiction and fantasy viewers are less willing to give scripted shows in and films in other languages a try…? )
Here’s a chart of the trends :
As a Canadian, who sees many of our Canadian productions obscure that they are set in Canada or even outright pretend to be in the USA even when based on Canadian source material, I hope that this means that we can tell our own stories without having to obscure our identity for distribution to international audiences.
Asia Surpasses North America and Europe to Lead in Streaming Scripted Series Orders
(www.hollywoodreporter.com)
As the US financial markets, politicians and entertainment media obsess about mergers and moving production of US scripted shows back to the United States, this seems like an enormous reality check. The United States provides less and less of the scripted entertainment globally.
It squashes the long held beliefs that the world watches/prefers American popular entertainment exports over those made at home or in other countries and regions.
There’s a new global leader in greenlights.
Over the first half of 2026, Asia surpassed both North America and Europe to become the world’s leader in streaming scripted orders, the researchers at Ampere Analysis have found. From January through June, 36 percent of “first-run scripted TV orders from the leading global streamers” (Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+) originated in the APAC (Asia-Pacific, which encompasses countries in East Asia, South Asia, Southeast Asia, and Oceania) region.
What’s unfortunate for members of this instance is that, in this process, it’s science fiction and fantasy that are being crowded out on the major streamers. (Perhaps that’s because English speaking science fiction and fantasy viewers are less willing to give scripted shows in and films in other languages a try…? )
Here’s a chart of the trends :
As a Canadian, who sees many of our Canadian productions obscure that they are set in Canada or even outright pretend to be in the USA even when based on Canadian source material, I hope that this means that we can tell our own stories without having to obscure our identity for distribution to international audiences.
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