Michael Stein

Big congrats to Felix & Paul Studios for embarking on what will undoubtedly be a groundbreaking experience coming to AREA15 next year. “Interstellar Arc” adds a truly AAA experience to Area 15’s offerings, and to the entire landscape of “immersive experiences”. Meow Wolf’s Omega Mart will have a stunning and complimentary neighbor that will help to elevate the entire industry’s quality of standard. As is the case with most emerging industries and emerging forms, there’s always an awkward first phase where low-quality copycats and quick money-grabs can take advantage of a general audience’s rabid appetite and lack of learned discernment. Though such efforts bring some amount of short-term fuel to an industry, it ultimately dilutes the promise of emerging forms, confuses and disappoints consumers, and threatens the long-term success of the entire ecosystem. High-quality matters, and is worth paying for, and that’s why I’m so psyched for what Felix & Paul + A15 are courageously bringing to Vegas. The potential for “Hyper-Reality” aka LBE VR has still only barely been tapped. The opportunity to truly transport people into fully animated and realized worlds that are anchored to physical sculpture is incredibly exciting. Can’t wait to experience Interstellar Arc in 2025! https://lnkd.in/gpNbqSVG

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🗣️ 2024 in audio? Let’s just say it’s been anything but quiet. Innovation shook up the status quo, challenges tested the industry's grit, and evolution became the name of the game. This was the year podcasts redefined political influence, YouTube claimed the podcast throne, and AI took its first cautious steps into content creation. If you think audio is "just audio," you’re missing the bigger picture. It’s video, it’s storytelling, it’s culture—all converging in ways we never imagined. 🚀 From scaling our ElectraCast.com Podcast Networks and emerging record labels at ElectraCastRecords.com to watching platforms like Spotify and YouTube battle for dominance, one thing is clear: audio is alive, evolving, and as unpredictable as ever. The ride is far from over, and the opportunities are endless for those willing to adapt. So, what’s next for this wild world of sound? Let’s find out. 🎧 #Podcasting #AudioInnovation #TheFutureOfSound Peter Rafelson Mark Netter Electracast Media DigiRAMP, LLC

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 12/1/24: A Martian who landed in L.A. Thanksgiving weekend would likely be texting home that theatrical exhibition is an amazing business and he wants to buy some cinemas if he can pay with Bitcoins.   With the five day holiday boxoffice hitting a massive estimated $420M, per Comscore, it's easy to see why the Martian and everyone else knows moviegoing isn't dead. Of course, had our Martian had a faster spaceship and landed in mid-October, he'd have seen empty multiplexes and would be excited about going into streaming.   The real difference between JOKER 2's implosion in October and today's sizzling boxoffice is that the studios are now playing films moviegoers want to see. The resulting ticket sales should be giving Wall Street second thoughts about having pushed Hollywood to abandon exhibition and undertake the crushing costs of streaming.   Driven by MOANA 2, WICKED & GLADIATOR II, this weekend's domestic marketplace totaled $271.1M for three days, per Comscore Senior Media Analyst Paul Dergarabedian, up 32.4% from the prior weekend and up 176% vs. this time last year. Comscore's year to date tally has 2024 at $7.78B, down 6.4% from $8.31B in 2023. The previous weekend in 2024 was down 10.7% vs. 2023.   Meanwhile, back at the multiplexes: Disney's PG animated comedy adventure MOANA 2 sailed into 4,200 theatres with $135.5M for three days ($32,262) and $221M for five days, per Comscore. Hollywood buzz-ards were projecting not so long ago just $100M for three days & $135M for five days! The sequel, which delivered the all-time biggest five day launch, did $165.3M internationally and has a worldwide cume of $388.3M. M2 started out to be a Disney+ series but became a theatrical feature instead when research pointed to boxoffice potential.    M2's tracking best for first choice with under 25 women (21 points over norm) and next best with women over 25 (11 points over norm). Rotten Tomatoes critics don't like it at 65%, but audiences are happier at 87%.   Universal/Marc Platt Productions' PG fantasy musical romance WICKED was #2 in weekend 2 with $80M for three days (29%) at 3,888 theatres ($20,576). The Jon M. Chu film reportedly cost $150M to produce and has done $262.4M domestic and $359.3M worldwide. WICKED 2, also budgeted at $150M, will be in theatres for Thanksgiving 2025.   Paramount/Scott Free Productions' R rated historical action adventure GLADIATOR II was third in weekend two with $30.7M (-44%) for three days at 3,580 theatres ($8,575). The Ridley Scott sequel reportedly cost $250M to produce and has done $111.2M domestic and $320M worldwide.   Next weekend (12/6): No big studio releases are opening, but holdover business for MOANA 2, WICKED & GLADIATOR II should keep the multiplexes humming.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #wicked #gladiator2 #moana2                                    

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Musicians determine success through a blend of qualitative and quantitative factors, tailored to individual goals and industry norms. Financial earnings from album sales, streaming royalties, concert tickets, and merchandise are primary indicators. Chart performance on platforms like Billboard and iTunes reflects popularity, while streaming and sales numbers on Spotify, Apple Music, and YouTube provide measurable success. Critical acclaim from music critics and publications, along with awards and nominations from prestigious bodies like the Grammys, also signal success. A large, engaged fan base and extensive media coverage further validate a musician's impact. Personal fulfillment and artistic satisfaction are crucial, as is the influence and impact their music has on peers and culture. Tour success, measured by attendance and revenue, indicates strong audience connection, while collaboration opportunities with notable artists and brands highlight industry recognition. Ultimately, longevity and sustained relevance mark true success, showing the artist's ability to adapt and thrive over time. Each musician's definition of success varies, reflecting their unique aspirations and career stages.

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/22/24: TRANSFORMERS ONE transformed into TRANSFORMERS #2, losing its very close race with BEETLEJUICE.   Between them, the two films did $51M, making exhibitors the weekend's real winner, especially when you include what moviegoers likely spent on snacks.     After an encouraging $3.4M from Wednesday's fan shows & Thursday's previews, Hollywood handicappers saw Paramount/Hasbro Entertainment's PG animated action adventure TRANSFORMERS ONE opening to a sizzling $35-40M. Instead, it did a fizzling $25M with post-mortem explanations that it's a PG family film not a PG-13 fanboy event.   ONE was tracking best for first choice with over-25 men (four points over norm) and next best with men under 25 (just one point over norm). Women over 25 were only equal to norm. And under 25 women didn't care at all (four points under norm). That's not a winning combination of demos! Rotten Tomatoes critics, however, are happy at 89% and audiences love it at 98%, which should mean great word of mouth.   Fortunately for exhibs, WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE showed holdover strength in  weekend three to finish #1 with $26M, off just 49%, per Comscore.   This weekend's domestic marketplace totaled $82M, per Comscore Senior Media Analyst Paul Dergarabedian, down 16.1% from the prior weekend, but up 51% vs. this time last year. Comscore's year to date tally has 2024 at $6.19B, down 12% from $7.03B in 2023. The previous weekend, 2024 was down also 12% vs. 2023.   Meanwhile, back at the multiplexes: B2's $26M was from 4,172 theatres ($6,232), per Comscore. It reportedly cost $100M to produce and has grossed $226.8M domestic and $329.7M worldwide to date.   TRANSFORMERS ONE's $25M was from 3,978 theatres ($6,285), per Comscore. Produced reportedly for just $75M, it's also done $14M in international theatres for a worldwide cume of $39M.    Universal/Blumhouse Productions' R rated horror thriller SPEAK NO EVIL was a solid #3 in weekend two with $5.9M, down only 48%, at 3,375 theatres ($1,748). It reportedly cost just $15M to produce and has grossed $21.5M domestic and $42.4M worldwide.   Next weekend (9/27) should see lots of available multiplex parking thanks to Lionsgate/American Zoetrope's launch of writer/director Francis Ford Coppola R rated sci-fi drama MEGALOPOLIS. Hollywood BUZZ-ards expect it to do just $5M at about 1,550 theatres. It's tracking below norm for first choice with all demos. Rotten Tomatoes critics hate it at 51%.   Universal/Dreamworks Animation's PG rated sci-fi adventure THE WILD ROBOT, opening at about 3,700 theatres, is tracking below norm for first choice with all demos. Rotten Tomatoes critics are cheering wildly at 100%. ROBOT should give TRANSFORMER ONE's not-so-wild robots some animated competition for family audiences.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #transformers                

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Exciting times in the world of NHL!! 🏒 Disguise is making waves in NHL arenas, transforming game experiences like never before. From stunning visual effects to immersive fan engagements, the fusion of Disguise in arena environments is taking the NHL by storm. Keep your eyes peeled for the latest trends reshaping the game-day experience! #NHL #createtogether

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AFC24 PART 2 — HIGHLIGHT REEL: 📌 Our “Speed Pitching” panel, co-led by industry giant and my dear friend Douglas Vanmeeren — and me — was packed with hopefuls pitching their dreams to top producers and buyers. 📌 The Omni-Channel Panel with industry giant — and my Warner Bro — Griffin Gmelich from Roundtable Entertainment and the legendary Shari Belafonte brought out some of the best insights on the future of cross-platform storytelling. 📌 My personal favorite: The Sales & Distribution Panel featuring Matthew Helderman (BondIt Media Capital & Buffalo8), Alex Nohe (Blood Sweat Honey), and Steven Beer (Lewis Brisbois), offered game-changing advice and real life anecdotes to filmmakers navigating today’s unpredictable landscape. And let’s not forget the Money Market Panels—widely hailed as the most consistent of the convention. Despite the logistical and programming challenges, attendees kept stopping me to rave about the value and — industry connections— they gained. #AFC24 #SpeedPitching #FilmIndustryInsights #CrossPlatformStorytelling #OmniChannelPanel #SalesAndDistribution #FilmFinance #RoundtableEntertainment #BondItMedia #Buffalo8 #HollywoodPanels #PitchToProducers #FilmmakerTips #MediaMoguls #ContentCreators #MoneyMarketPanels #FilmConvention #IndustryLeaders #FilmBusiness #FilmmakersNetworking #StorytellingFuture

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Elevate Team Spirit: Corporate Poker Tournaments in Houston hosted by iHostPoker Casino Parties Welcome to the high-stakes world of corporate poker tournaments in Houston! From team building to networking, these events offer a unique blend of strategy, excitement, and camaraderie. In this article, we'll explore why hosting a poker tournament for your corporate team in Houston can be a winning bet for your company's culture and cohesion. The Rise of Corporate Poker Tournaments in Houston In the heart of Texas, corporate poker tournaments are becoming popular for companies looking to spice up their team-building activities. Here's why: Team Bonding: Nothing brings colleagues together like a friendly game of poker. Whether you're bluffing your way to victory or strategizing with your teammates, these tournaments foster camaraderie beyond the office. Skill Development: Poker isn't just about luck—it requires strategy, critical thinking, and decision-making skills. Hosting a tournament allows employees to hone these skills in a fun and competitive environment. Networking Opportunities: Corporate poker tournaments bring together professionals from various industries, creating valuable networking opportunities. Whether facing off against a rival company or teaming up with potential clients, these events can help forge new connections and strengthen existing relationships. Planning the Perfect Tournament in Houston Now that you're sold on the idea of hosting a corporate poker tournament in Houston, here are some tips for making it a success: Choose the Right Venue: Look for a venue that can accommodate your group size and provide a comfortable and stylish setting for the tournament. Consider factors like location, amenities, and catering options. Set the Stage: Create a professional atmosphere with high-quality poker tables, chips, and cards. Hire iHostPoker Casino Parties with experienced dealers and tournament directors to ensure smooth gameplay and fairness. Prizes and Incentives: Offer enticing prizes for the winners, such as gift cards, company swag, or cash bonuses. Incentives like these will motivate employees to bring their A-game to the tournament. Promote Team Spirit: Encourage teamwork by allowing employees to form teams and compete together. This fosters collaboration and strengthens bonds among colleagues. Corporate poker tournaments in Houston offer companies a unique opportunity to foster team spirit, develop skills, and build valuable connections. By planning the perfect event and embracing the excitement of poker, you can take your corporate culture to the next level. Ready to elevate your team spirit? Start planning your corporate poker tournament in Houston today and experience the thrill of friendly competition and camaraderie! Contact iHostPoker Casino Parties today! https://lnkd.in/gk5gzPvA or call at 713-429-5707

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MARTIN GROVE'S FILM FLASHBACK: STAR WARS EPISODE 1 - THE PHANTOM MENACE - 25TH ANNIVERSARY REISSUE OPENS 5/3/2024 -- If you saw STAR WARS in 1977, you likely were jolted a bit 22 years later when it suddenly became the series' fourth episode. That renumbering came when George Lucas answered fans' calls for more STAR WARS movies. Instead of new sequels, he gave them a prequel trilogy -- starting with STAR WARS: EPISODE I – THE PHANTOM MENACE, which opened May 19, 1999 via 20th Century-Fox and, most recently, had a 25th anniversary reissue May 3, 2024. Written & directed by Lucas, MENACE's stars include Liam Neeson, Ewan McGregor & Natalie Portman. Its story precedes the original trilogy by 32 years. Lucas had realized while writing STAR WARS that he had far more story material than would fit into one movie. After his first episode became a global boxoffice phenomenon with $775.4M in ticket sales, Lucas moved forward with two sequels that he didn't want to direct. THE EMPIRE STRIKES BACK (1980), directed by Irvin Kirschner & written by Leigh Brackett and Lawrence Kasdan, did $538.4M globally. RETURN OF THE JEDI (1983), directed by Richard Marquand & written by Lawrence Kasdan and Lucas, did $475.1M globally. For the next 22 years, that was the entire STAR WARS movie universe. By the 1990s, advances in computer generated imagery (CGI) caught Lucas's attention because now visual effects were possible that he couldn't do for  the earlier episodes. It also helped that Lucas could now spend whatever it took to achieve his vision on screen. His first three episodes' budgets reportedly were $11M, $18M and $32.5M while reports put MENACE's budget at $115M. News of the prequels surfaced in October 1993 as Lucas was writing MENACE. Years earlier he'd developed enough backstories to make prequels work, which accelerated his writing. Lucas hadn't wanted to write or direct the prequels, but he wasn't able to bring others on board. He asked Kasdan to return to write MENACE, but Kasdan said Lucas, himself, should now resume full creative control of his STAR WARS films. Lucas reportedly also failed to get Frank Darabont (THE SHAWSHANK REDEMPTION) to write the script or to hire Carrie Fisher as the project's  script doctor. Lucas also went after directors, including Ron Howard, who recalled  in November 2015 that he, Robert Zemeckis & Steven Spielberg were all offered to direct MENACE. They all told Lucas he should do it, himself. Fortunately for Lucas, he took their good advice. MENACE grossed $1.03B worldwide. STAR WARS: EPISODE II - ATTACK OF THE CLONES (2002), which Lucas directed & co-wrote (with Jonathan Hales), grossed $653.8M globally. And STAR WARS: EPISODE III - REVENGE OF THE SITH (2005), which Lucas directed & wrote, did $868.4M worldwide. #movies #martingrove #starwars  

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