Editorials
2016: The Year Netflix Embraced Horror!
5 Pretty Good Horror Movies You Might’ve Missed in 2016
[Poll Results] The Bloody Disgusting Readers Chose the 10 Best Horror Movies of 2016
10 Biggest Horror Stories of 2016
Let’s Play Pretend and Give Academy Awards to 2016’s Best Horror Movies
2016 has been a banner year for horror fans, both in theaters and on television. Looking back however, it’s also the year that Netflix embraced our favorite genre in a few very interesting and important ways for the marketplace. And, it should be noted, to great success.
There have always been horror movies on Netflix and there always will be. But 2016 saw the streaming service’s first aggressive move to acquire titles for exclusive distribution on their platform. No doubt spurred by new competition from Amazon and Shudder moving into the space and nabbing some high profile films like The Neon Demon and Rob Zombie’s 31 respectively, Netflix made their own moves to ensure they were not left in the dust.

The first film they pounced on was Mike Flanagan’s Hush (review), which was released on Netflix in April of this year. Netflix acquired Hush before it had premiered publicly, announcing the April release date the week of the film’s world premier at SXSW.
To any producers and filmmakers watching this could only have signaled a change in how Netflix played into the distribution market. In the past, Netflix only negotiated licenses with traditional horror distributors like Lionsgate or IFC, rarely, if ever, dealing directly with production companies.
Buying Hush was like an open invitation, and new distribution deals with upstart production houses like XYZ have emerged in 2016, resulting in the exclusive release of the sci-fi thriller ARQ, Chris Sparling’s latest horror outing, Mercy (pictured below), with even more horror titles on the way.

Following a similar pattern, Netflix announced, just prior to Halloween, that it would distribute Osgood Perkins’s I Am the Pretty Thing that Lives in the House following that film’s premier at the Toronto International Film Festival. Had they acquired it prior to the screening? Likely.
2016 was also the year that Netflix took a chance on two young brothers and a project that had reportedly been turned down by every studio – a little show called “Stranger Things”.
I doubt Netflix could have predicted that “Stranger Things” would become the it-show of summer 2016. Released at the end of August and crammed elegantly with Easter eggs and 80’s nostalgia, it quickly became a cultural touch point, spawning more memes and fan theories than any other show in recent memory.

The “Stranger Things” soundtrack has even gone on to crash the billboard charts at No. 24 upon its debut, beat out only by Suicide Squad‘s OST.
On April 6, 2016, Netflix also announced they had bought the rights to adapt the Manga, Death Note, from Warner Bros. who had lost their nerve with the project. Adam Wingard (The Guest, Blair Witch) came attached, along with a $50 million budget, and on June 30, 2016, production on the film officially began in British Columbia, Canada.
I think with the Death Note deal particularly, Netflix sent a strong message to genre creators in 2016: “If our algorithms tell us there’s an appetite for a project, we won’t stick a creator in development hell, but get filmmakers making films.”

2016 is also the year that Netflix introduced the world to Charlier Brooker’s “Black Mirror”, the UK anthology series that explores the dark side of how media and technology shape our lives and cause us considerable hardship.
Prior to Netflix acquiring the rights to the show’s first two seasons, “Black Mirror” was virtually unavailable outside of the UK where it was produced. Proving once again that Netflix has taste, they moved on the show’s word of mouth, announcing that they would produce and premier a 3rd season of the show with Brooker at the helm and a host of new directors including 10 Cloverfield Lane‘s Dan Trachtenberg and Joe Wright among others.
And lastly, how can we forget Nic Mathieu’s Spectral, Legendary’s big budget, supernatural/sci-fi actioner about a special-ops team dispatched to fight supernatural beings. Yet another big horror acquisition nabbed by the service in 2016 and released world-wide the same, December 9.

Looking back on 2016, it seems clear that Netflix has made a considerable effort to not only produce prestige Emmy bait like “House of Cards” or “Orange is the New Black”, but be a destination for genre fans looking for high quality content as well. No surprise that horror has emerged as the way in for them.
Out of the park hits like “Stranger Things” should only bolster programming and acquisitions over the coming years and, I don’t know about you, but 2016 made me feel like every dollar I pay for Netflix is worth it.
Bring on 2017!
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.

For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
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For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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