Elizabeth Berkley stars as Las Vegas showgirl Nomi Malone

In a world where online porn is available 24/7, it’s hard to believe that erotic movies like SHOWGIRLS once drew audiences to theatres.

Years earlier, X-rated films like 1972’s DEEP THROAT were made on shoestring budgets and did well theatrically because that was the only way to see such movies. By the time SHOWGIRLS opened on Sept. 22, 1995, from United Artists & Carolco Pictures, the goal was to take NC-17-rated sex to new artistic levels.

Director Paul Verhoeven & screenwriter Joe Eszterhas scored big with their 1992 erotic thriller BASIC INSTINCT. Made for about $49M, BASIC did $117.7M domestic & $352.9M worldwide. They hoped boxoffice lightning would strike again with SHOWGIRLS, which cost about $45M. It opened, however, to $8.1M at just 1,388 theatres and wound up with $20.4M. A key problem was not being able to book enough theatres since multiplexes in shopping malls had leasing contracts that prohibited them from showing X, NC-17, or even unrated movies.

Eszterhas came up with the idea for SHOWGIRLS while vacationing at his home in Maui. In classic Hollywood style, he scribbled it on a napkin. He had no trouble getting a $2M advance to write the screenplay and got another $1.7M when the project was green-lighted.

Verhoeven had passed on SHOWGIRLS because he didn’t like Eszterhas’s script and wanted to do an action-adventure about the Crusades, starring Arnold Schwarzenegger. That project was scrapped because Carolco couldn’t afford to finance both CRUSADE & the action-adventure CUTTHROAT ISLAND, from director Renny Harlin (CLIFFHANGER).

Carolco had already put $10 million into developing CRUSADE & Eszterhas had been given nearly $4M for SHOWGIRLS. Verhoeven knew Carolco, with whom he’d made BASIC INSTINCT, was now facing bankruptcy. By agreeing to direct SHOWGIRLS, he saved the day.

Verhoeven’s deal let him deliver a movie that would start out as an NC-17.  That rating had previously only resulted after screenings for the MPAA made it unavoidable. In exchange for creative control, Verhoeven gave up 70% of his $6M fee and would only get his remaining 30% if the film succeeded.

Fortunately for Verhoeven, despite tanking theatrically, SHOWGIRLS became a huge hit thanks to home video, where NC-17 was a big selling point. It did over $100M in VHS rentals, making it one of MGM/UA Home Entertainment’s all-time video bestsellers. Ironically, that wouldn’t have happened if Warner Home Video, then the distributor for MGM/UA’s tapes, hadn’t passed on the controversial SHOWGIRLS. That left video distribution — and later DVD & Blu-ray — with MGM/UA, which happily raked in all those unexpected riches.

“People love seeing violence and horrible things. The human being is bad and can’t stand more than five minutes of happiness. Put him in a dark theater and ask him to look at two hours of happiness, and he’d walk out or fall asleep.” ― Paul Verhoeven

Consolidation among streaming providers is expected to continue as more entertainment companies adjust to a crowded and competitive market with a high cost of operations.  The pace of growth in streaming overall has slowed, with consumers demonstrating a limit to their spending on at-home entertainment channels.  Currently, the average household subscribes to three or four services.

Many analysts predict that a handful of mega-streaming providers will come out on top by offering consumers bigger bundles of programming.  As a result of the Warner Bros. Discovery merger, HBO Max and Discovery+ are being combined to create a single service that will be launched by the end of the year.  Paramount Global has also begun a process to merge Paramount+ and Showtime+, offering a combined service sometime in 2023.

With consolidation at the high end, some wonder how much room will remain for smaller streaming providers.  As one example, even though AMC+ is very well-regarded for offering critically acclaimed series such as THE WALKING DEAD and BETTER CALL SAUL, it remains a niche service with only 12 million subscribers.  All streaming services are under intense pressure to invest in producing eye-catching new content, even while the growth in streaming is slowing.  In the end, smaller streaming providers may be forced to find a safe harbor inside the industry giants.

See also: From zombies to vampires, can AMC Networks still go it alone? (LA Times)

Deadline reported on an agreement between Cinemark and CJ 4DPLEX to install the ScreenX premium exhibition format at six Cinemark theatres in California and Texas.  These new installs will be up and running by the end of 2022, with additional locations being considered for 2023 and beyond.

The ScreenX system is already widely available at theatres in South Korea, the home market of CJ Group, the parent company of CJ 4DPLEX.  ScreenX technology uses multiple projectors to produce a wider screen, delivering images with a 270-degree field of view.

Many large U.S.-based exhibitors are investing to offer premium moviegoing experiences that customers feel are worthy of paying premium prices to enjoy.  This is especially important since the annual number of new Hollywood titles released to theatres is trending down.  When customers do come out to the cinema, theatres want to provide a big-screen experience that cannot be duplicated at home.

Regal has invested in its own take on premium moviegoing, offering the Regal 4DX Movie Experience at premium locations.  Unlike Cinemark’s ScreenX which is focused on projection, Regal’s 4DX delivers a multi-sensory experience that is akin to a theme park ride.  4DX auditoriums use lurching seats, wind turbines, and misting technology at key points in the movie.  Customer feedback on 4DX has been mixed, with many reporting the physical sensations are thrilling while others say that the wind and rain can be uncomfortable.

NBC’s bringing the Golden Globes back, but not necessarily back to life.

The network’s decision to telecast the 80th Globes next 1/10 is great news for the HFPA & its new management, but it also raises questions because NBC hasn’t said what happens after 2023. It’s also unclear if NBC’s paying the same $60M fee for the ’23 Globes that it reportedly did in the past.

What NBC doesn’t control is whether the 100+ publicity firms that originally knocked the HFPA for a loop with complaints about poor diversification, bad behavior by members & allegations of past financial improprieties will now play ball. Some reports say there are firms willing to cooperate because they can get bonus payments from clients they help win Globes.

We don’t know yet how many PR shops will return or how much star power they represent. The HFPA needs robust support from publicists & studios to get enough bold-face names to fill a red-hot carpet & to make the Beverly Hilton’s ballroom glitter. Without those familiar faces, it’s just the Golden Ghosts!

The show needs an A-List host willing to work for the HFPA and reportedly may be close to announcing one. The timetable for nominations is really tight. The deadline is 11/7 for motion picture & TV submissions. Noms will be announced on 12/12 — perfect timing for studios to market holiday films as Globes nominees.