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On Charlie Rose last night, Time Warner CEO Jeff Bewkes explained his desire to shorten the time between theatrical releases and home entertainment availability. His reason? It’s great for everyone ever. It makes sense that Time Warner (which owns New Line, Warner Bros., HBO, DC Comics, Castle Rock Entertainment, and other media ventures) would want to shorten the window. Bewkes evoked the dreaded P-word in his initial rationale for getting movies to television screens sooner, but he also recognized that there’s an audience beyond pirates that wants to have home-viewing options. “Everyone in the business, including theater owners, has an interest,” said Bewkes. But what exactly is in the theater owners’ best interest? And what will broadband bundled with shorter waiting periods mean for DVD and Blu-ray?

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Culture Warrior

Way back in the summer of 2004, on the heels of the great success of I Love the 80s and (later) I Love the 70s, VH1 tested the bounds and justifications of the nostalgia market by releasing the initial ten-part I Love the 90s. Instead of simply reflecting upon the most memorable and oft-canonized popular culture products and national news events of the 1970s and 1980s (two decades whose iconography had become ever more apparent, stylized, and parodied during its reappropriation in late 90s/early 00s pop culture), VH1 instead attempted (perhaps unsuccessfully) to create a trend rather than merely follow the typical, perhaps “natural” cycle of nostalgia. Because I Love the 90s aired only a few years after the actual 90s ended, VH1 situated the early 21st century – a time that ostensibly marked a major temporal shift but (save for 9/11) had yet to be self-defined – as a time that uniquely necessitated an immediate reflection on how to understand the 20th century, even the years of that century that were not so long ago. The experiment was both engaging and bizarre. By 2004, the early 90s had come into stark, VH1-friendly self-definition. Yes, we could all collectively make fun of Joey Lawrence, Pogs, oversize flannel, and Kevin Costner’s accent in Robin Hood, and share in the memories and irony-light criticisms therein with Michael Ian Black and Wendy the Snapple Lady. However, by the time the show reached 1997-99, I Love the 90s seemed less like a program banking […]

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