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Can the superhero movie survive the Covid-era switch to streaming? | Film

Wonder Woman’s origin myth is well known: Princess Diana of Themyscira quits her beloved fantasy island of Amazonian warrior women and sets out into the human world to help save us from our worst instincts, like a sort of kick-ass female Jesus in red, blue and gold. You might think Gal Gadot’s battling goddess would be better off heading home, given we’re in the middle of a pandemic, otherwise it probably won’t be long until she needs a little saving herself, along with all the other superhero movies out there.

Covid 19’s ability to shutter cinemas worldwide could fundamentally alter the way these big-budget productions are put together in future. It was reported this week that forthcoming sequel Wonder Woman 1984 will be the first film screened in 4K Ultra HD on the new US streaming service HBO Max, from Christmas Day. It’s also heading to cinemas at the

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Inside The Covid-Era Creation Of The World’s Largest Independent TV Producer

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EXCLUSIVE: It was October 2019 and, in this different world, French millionaire Stéphane Courbit had just realized a years-long ambition in seizing control of Endemol Shine Group. His plan was simple: combine his company Banijay with his new $2.2BN asset to create a globe-straddling super producer. Sources at the time described it to us as a “patient pursuit,” but Banijay chairman Courbit would be forced to wait just a little bit longer to finally get his deal over the line.

A six-month regulatory process was stretched out to eight months as the coronavirus pandemic exploded across the world, with every one of Banijay/Endemol Shine’s 200 business units caught within the blast radius. As competition officials deliberated over the new entity’s potential market dominance, the two groups had to work through unprecedented times while remaining in something of a limbo.

There were crisis

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