BAD EDUCATION - Potential SPOILERS

[jo]

Details released on the screening days/times at the Toronto International Film Festival.

Premiere ( "Premium") showing on Sunday, September 8, 2019, at 6:15 pm at the Princess of Wales Theatre!

Three other screenings scheduled during the week.

Details on the plot included in the TIFF summary (SPOILER ALERT***SPOILER ALERT)


www.tiff.net/events/bad-education-finley


Hugh's last show before his break from his music tour is for a matinee ( 2:00 pm) on Saturday, September 7. If he flies eastward from Auckland ( he gains a day as he passes the International Date Line on the Pacific Ocean - meaning he will likely arrive in Toronto on the same date, Sept 7), there is a good chance he will be there for the world premiere.

If I recall right, didn't he do his Back on Broadway tryout at the Princess of Wales Theatre 8 years ago. It has a present seating capacity of 2,000.

And the last screening will be at the Winter Garden Theatre ( will the Broadway house bearing the same name be the home for The Music Man)?

Hope the movie is well-received by the public and the movie press!


Jo

[jo]

Tickets will be available for sale via Ticketmaster --

am.ticketmaster.com/tiff2/#/

*August 31 - TIFF member
*September 2 - Single ticket




TIFF 2019 --

2019 Toronto International Film Festival will begin on
Thursday, 5 September

and ends on
Sunday, 15 September

The Saturday 6:15 pm Premium screening for BAD EDUCATION looks like an excellent time for its premiere!


Jo

[jo]

Mike Makowsky, the screenwriter, had two of his scripts voted as part of he 2016 BLACK LIST, one of which is BAD EDUCATION!


nofilmschool.com/2016/12/black-list-2016-screenplays

[mamaleh]

I hope this one gets critical and audience acclaim. It's a shame what happened to THE FRONT RUNNER.

Ellen

[jo]

SPOILER ALERT*****SPOILER ALERT*****SPOILER ALERT

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[jo]

I stumbled onto this link on REDDIT --

A very long exchange ( 420 comments) in one day based on the released photo clip from the movie!

https://www.reddit.com/r/movies/comments/cyw353/first_image_from_comedydrama_bad_education/

Generally, some fair comments and observations about possible interest in the movie. If they also knew that there is a story behind the school scandal involving funds misappropriation - I am sure the discussions would be even livelier!

Hope the reaction to the TIFF screening is very positive!


Jo

[jo]

May 14, 2019 9:12:55 GMT -5 jo said:

Sounds like a test screening?

How will they handle any reshoots, if any...as Hugh is away in Europe till early June?


Jo

Maybe this was where this REDDIT poster saw it, assuming he's on the level --

]shhphoenix 1 point 3 days ago
I saw an advance screening of this movie, it's one of the best movies I've ever seen

[jo]

[jo]

Bad Education Soundtrack



Bad Education Soundtrack
Michael Abels
2019


Review
Original Motion Picture Soundtrack from the movie Bad Education (2019). The score music by Michael Abels who composed music for Us and Get Out.
Source: Bad Education Movie
Genre: Original Motion Picture Soundtrack
Music by Michael Abels
Label:
Format: Digital
Release Date: 2019

Bad Education is a 2019 comedy drama film based on Mike Makowsky’s real-life events that happened in high school. The film is written by Mike Makowsky, directed by Cory Finley, stars Hugh Jackman, Allison Janney, Ray Romano, Geraldine Viswanathan, Alex Wolff, Kayli Carter, Rafael Casal.

Tracklisting
Coming soon…

Bad Education Official Trailer | 2019
Coming soon

[jo]

Vanity Fair is giving BAD EDUCATION an extensive writeup!



SPOILER ALERT*****SPOILER ALERT*****SPOILER ALERT*****SPOILER ALERT

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Info coming mostly from actual facts and interview with the screenwriter who was an alumnus of the school ( Mike Makowsky).


www.vanityfair.com/hollywood/2019/09/hugh-jackman-movie-bad-education-scandal

TORONTO FILM FESTIVAL
The Unbelievable New York School Scandal That Inspired Hugh Jackman’s New Movie


Jackman plays Frank Tassone—a former superintendent who admitted to stealing millions from his school district—in Bad Education, which premieres at the Toronto International Film Festival this weekend.

By Julie Miller
September 8, 2019

Left, Frank Tassone in 2004; right, Hugh Jackman in Bad Education.
Left, by Willie Anderson/NY Daily News Archive/Getty Images; right, courtesy of TIFF.


Frank Tassone was a mythic figure in New York’s Roslyn school district, where he served as superintendent. The charismatic administrator allegedly insisted on personally meeting each and every new student. He made a point of regularly lunching with high school pupils. He even led a book club for the district’s parents.


But there were details about Tassone—played by Hugh Jackman in Bad Education, a drama premiering this weekend at the Toronto International Film Festival—that didn’t add up. Details that might have worried the district’s parents and staff members, had Tassone not been so charming and seemingly devoted to his students. He drove a Mercedes, for example. He wore sharp suits and served lobster tails at a luncheon. And puzzlingly, in spite of increasing budget requests, which seemed to always be met, the school roof continued to leak.


Tassone was eventually arrested in an $11.2 million larceny scandal, shocking Roslyn. In the aftermath, details about Tassone’s surprising double life began leaking out into the press. Though Tassone claimed to have been a widower to a woman—reportedly keeping an old wedding photo in his office—he was in a domestic partnership with a man. (“Many Roslynites” reportedly suspected Tassone could be gay.) While playing the role of devoted superintendent, he was also siphoning off $2.2 million on vacations to the Caribbean, gambling trips, rent on an Upper East Side apartment, weight-loss treatment, and dry cleaning. The once proud Long Island school district soon became the subject of tabloid interest. And this weekend, 15 years after the arrest, a big-screen adaptation of this painful chapter of Roslyn’s history will make its way to the Toronto Film Festival.


Making the premiere even more surreal for the Long Island town, however, is the fact that Bad Education was written by one of Tassone’s former charges: Mike Makowsky, who was a Roslyn middle school student when Tassone was arrested in 2004 for first-degree larceny.

“Frank Tassone was the first person I met in Roslyn,” Makowsky told Vanity Fair last month, recalling his introduction, at age six, to the man who would become the subject of his screenplay decades later. After working on a couple independent films, explained Makowsky, “I wanted to write something more personal about my hometown...and this story was ostensibly the biggest thing that has ever happened in it.”


Tassone held a unique place in the Roslyn ecosystem, said Makowsky. “He had been in the Roslyn school district for 10 or 12 years—and in that time, he had grown the school district to this point of national prominence...which meant that the town itself was doing well because the regard of a school district is directly tethered to things like property values.”

But with greater prosperity came greater pressure. “The administrators were asking for more and more money, and, because they were doing an incredible job, the tax payers were happy to oblige,” he continued. “All their kids were getting into amazing schools and doing great on their SATs, and property values in the town were going up. So it was a really sort of complicated, awful thing: This very affable, charismatic person who placed a real emphasis on the quality of education and helping students, then at the same time, you hear that he’s been taking money from the coffer and was part of this $11.2 million [larceny] scheme. It really shocked everyone in my community, and there were these really deep-seated feelings of betrayal.”




Tassone was not acting alone; the Roslyn schools’ former business administrator, Pam Gluckin (played in the film by Allison Janney), admitted to stealing $4.3 million herself. She and Tassone also reportedly withdrew over $1 million from ATMs. “The school district was paying for the renovations to her home in the Hamptons,” said Makowsky. “Her son had a district credit card that he was using to buy construction materials from home-supply stores. She bought Jet Skis, dog food...meanwhile Frank was going to Vegas like two or three times a year on the school district’s dime.”

Tassone was released from prison in 2010, after serving roughly 3 years of a 4-to-12-year prison sentence. But Makowsky opted not to reach out to his former superintendent when writing his screenplay, instead speaking to teachers, PTA members, and other tax payers who had interacted with Tassone, and were still trying to grapple with the complexities of his actions over a decade later.



“I know the film is called Bad Education,” said Makowsky. “But it’s a bit of a misnomer in that regard.... I had an incredible education there. And I think it’s in large part, strangely, due to this man, Frank Tassone, who recruited most of the teachers I had. We were one of the top-ranked schools in the country when Tassone was arrested.”

Bizarrely, Bad Education’s premiere happens to conflict with Makowsky’s 10-year high school reunion. But the screenwriter is hopeful—if cautious—about bringing his film back to Roslyn during his next homecoming. “I’m sure that there’s a segment of the community that would rather this thing just disappeared. But it feels like a story—to me, at least—that’s eminently worth telling.”

“It’s a strange thing,” Makowsky continued. “How can you care so deeply about the students, education, and devote your whole life and career to this very noble profession...but at the same time, take in such an egregious way from the students, from the community, from the tax payers?.... I’m still kind of hopeful for a greater dialogue.”

[jo]

Link to above VF article put on social media (Twitter) -- hope it can draw much interest!

[jo]

Also on this tweet -- there is a photo of the man whose life as school superintendend is the basis for the Hugh Jackman movie BAD EDUCATION:

He looks very different from Hugh... But then so did Barnum not look like Jackman either


Jo

[jo]

[jo]

With the future of BAD EDUCATION moving away from theatrical distribution and to the emerging streaming platforms, may I repost the article from INDIEWIRE looking into the business viewpoint for the future of movies that become the product line of such an emerging viewing platform. TIFF has ended, so there is the potential publicity that will continue through another medium.

No more Oscar conversation...the EMMYs become the platform for competition for awards recognition.

Will film festivals become the main marketplace for deciding the future of movies without film distribution?

One disadvantage of theatrical distribution is the expensive campaign to establish awareness of the movie ( TV ads/media tours/billboards and standees, etc...while streamers only have to allocate time to publicize coming attractions).

Also, the changing lifestyle which is very much technology-driven and has introduced so much convenience to the public, will make it easier to persuade people to convert to how they may want to view the film entertainment offerings ( no need to go to a cinema, no need to pay for individual tickets, no need to spend on popcorn/drinks because the ref is handy nearby, no need to find a baby-sitter, easy to take bathroom breaks of other kinds of interruptions, etc)?


I wonder -- will the AMPAS/Oscars eventually adapt to the emerging film distribution format? Will they become more receptive to new platforms to exhibit films? After all, it is the content they are supposed to be interested in!

Sept 20, 2019 17:42:49 GMT -5 jo said:

A spokeswoman for HBO has made it official that there will be NO theatrical release for BAD EDUCATION.

As streaming services become more and more important as a competitive platform for watching movies, how is success measured for providers of the service?

Indiewire tackles the issue on the emerging marketplace for film distribution --


www.indiewire.com/2019/09/hbo-bad-education-tiff-purchase-theatrical-streaming-1202174626/

HBO’s $20 Million ‘Bad Education’ Buy Shows Success Metrics in Streaming Era Are Growing Murkier

The film, among the most expensive festival buys ever, can't win any Oscars and won't be shown in theaters. So how will HBO know if it's a success?

Chris Lindahl
5 hours ago

“Bad Education”
TIFF


The highest-profile acquisition out of the Toronto International Film Festival won’t be shown in theaters despite it’s record-breaking price tag, won’t be eligible for Oscars despite its acclaimed cast, and it’s performance definitely can’t be judged using the old measurements of success.

“Bad Education,” the fact-based dark comedy starring Hugh Jackman and Allison Janney, has found a home alongside prestige content like “Game of Thrones” and “Succession” on HBO, which reportedly spent nearly $20 million for worldwide rights of the Cory Finley-helmed film.


The movie will get no theatrical release and HBO’s awards push will include Emmy campaigns, a spokeswoman confirmed.


It’s believed to be among the most — if not the most — expensive festival acquisitions ever. For what essentially is a streaming service to spend such an enormous sum on a film, winning a bidding war against traditional theatrical distributors, HBO’s “Bad Education” pickup casts a recent wave of head-scratching sales activity in a new light.



Take, for instance, the box-office performance of titles Amazon bought during its Sundance spending spree: “Late Night” (acquired for $13 million, grossed $15.49 million in wide release) and “Brittany Runs a Marathon” (acquired for $14 million, has grossed $2.85 million so far in limited release).

The obvious analysis (and the lens most frequently applied to those two titles) is that the films bombed. But sales agents say in dealing with Amazon, the company always knows its price ceiling — however high that may seem to the outside observer.

While box office grosses remain the most publicly accessible way to judge a movie’s success, the fact is very few understand the increasingly important barometers the likes of Amazon, Netflix, and HBO use when crunching the numbers. For streamers, theatrical returns on investment are either a piece of a much larger subscription-driven pie or, in the case of this HBO acquisition, irrelevant.


The HBO-Amazon comparison isn’t apples to apples — theatrical marketing costs for the latter surely raised the box office stakes — but it speaks to an important theme taking hold as streaming competition heats up: Exclusive content is key and it better be damn good, or at least in demand, factors that often require a lot of money.

“It’s going to turn into a war,” said Jimmy Schaeffler, CEO of media consultancy the Carmel Group. “It’s going to turn into a battle of who’s going to spend the most.”

The fighting is already taking shape on the TV side. Just this week, WarnerMedia picked up the rights for “The Big Bang Theory” for streaming on the soon-to-launch HBO Max and traditional syndication on TBS for $600 million, while Netflix spent $500 million for “Seinfeld.”

While HBO Films was the division that picked up “Bad Education,” the film will surely be hawked on HBO Max and on cable when it’s released next year, just one of several planned streaming services vying to take subscribers away from Netflix.


The deal was an evolution of HBO’s 2018 purchase of Jennifer Fox’s breakout Sundance drama “The Tale,” for which there was early Oscar buzz for star Laura Dern. But with no theatrical release, Dern’s lauded performance was instead honored with an Emmy nod.


Unlike traditional film releases, where a cushy profit margin after production and marketing costs is the measure of success, streamers are playing for something different. Just as the peak TV era has blurred the line between TV and cinema, a move deeper into the era of streaming means success can no longer be judged based on ratings or box office grosses.

The new goal? “Get as much data, as many subscribers as you possibly can,” Schaeffler said.

Smart analysis of viewers’ preferences and habits will help executives make good decisions about which content — whether made in-house or bought at festivals — will land on the platform to an eager audience, he said.

What remains unclear is whether streamers will cultivate a big enough appetite to prop up future festival markets, should theatrical distributors retreat.


“Bad Education” topped IndieWire’s list of hottest sales titles ahead of TIFF. Other acquisitions of that stature included Fox Searchlight picking up North American rights to Armando Iannuci’s “The Personal History of David Copperfield” two weeks ahead of its TIFF premiere and Sony Pictures Classics’s acquisition of “The Burnt Orange Heresy,” starring Claes Bang, Elizabeth Debicki, Mick Jagger, and Donald Sutherland.

That means there won’t be many mid-range films out of TIFF feeding theaters. Amazon picked up Darius Marder’s hearing-loss drama “Sound of Metal,” but that’s set only for a limited theatrical release. The Bryce Dallas Howard documentary “Dads,” which offers a lighthearted look at modern fatherhood, is heading to Apple TV+ after the tech company acquired it at TIFF. (Apple requires worldwide rights.)


Netflix has retreated from the festival market as it ramps up original production. It bought the Spanish-language “The Platform,” a TIFF Midnight Madness sci-fi title.


With plenty of original, high-quality content being the mandate for any successful streaming platform, the question that remains is what role theatrical releases will play in achieving that primary goal.

If the goal for HBO MAX is to drive new subscriptions as the metric of success --

*Will Hugh Jackman et al be asked to be part of the pubicity drive to raise the public profile of BAD EDUCATION? His film contract usually includes the obligatory media tour. How will this work out?

*Will he be asked to participate in any EMMY Awards campaign, just as potential Oscar candidates go the rounds of awards discussion panels?


Also, as the viewing platforms for films expand -- how will organizations devoted to recognizing film quality and preserving the film's legacy, such as the AMERICAN FILM INSTITUTE, expand its definition of film and now include films either originally made by streamers's studios or made elsewhere but made available to the public not through the usual route of theatrical distribution?

How does this translate to the strategy for foreign markets? Will comparable streaming services also be formed for this kind of exposure to movies?


Will home videos (BluRay/DVD), as post-exhibition products, be still be made available?



Jo

[jo]

On the other hand -- will the legitimate stage, the theatre become more popular eventually as the source of special type of entertainment that can only be viewed live? Will the new trend encourage more regional or even overseas stagings?

Although it seems filmed productions of musicals/plays for theatrical distribution are now emerging as an additional platform to show an original live staging? Or will this also go the way of movies now being streamed?

Jo

[jo]

[jo]

Originally posted under UNDERSTANDING THE FILM BUSINESS --

Oct 17, 2019 14:50:01 GMT -5 jo said:

HBO-MAX strategy for its opening of streaming service...but is this a good sign for movies originally slated for wide screen release?

deadline.com/2019/10/melissa-mccarthy-ben-falcone-superintelligence-hbo-max-premiere-warner-bros-christmas-release-canceled-1202762417/#comments

Excerpts --

In a move that could become more common as major studios lean in heavily toward their streaming launches, the Ben Falcone-directed Melissa McCarthy-starrer Superintelligence has exited its December 20 theatrical release date to instead become the first Warner Bros Pictures Group film to premiere on HBO Max.

This comes before an HBO Max presentation on October 29 where it is expected that other projects might become part of a streamer launch slate that now will have Superintelligence; the Steven Soderbergh-directed Meryl Streep-starrer Let Them All Talk; the Greg Berlanti-produced YA novel adaptation Unpregnant; and sooner or later Bad Education, the Hugh Jackman/Allison Janney-starrer bought at Toronto for north of $17 million to bow on HBO. The original programming will be part of a service that launches with WarnerMedia’s own library titles including Friends and The Big Bang Theory and third-party acquisitions including Sesame Street.

Amid the high-stakes battle for subscription streaming service launches by WarnerMedia, Disney, Comcast and Apple to go along with Netflix and Amazon, it isn’t hard to see how the prospect of being among the first marquee titles on HBO Max is enticing. Especially when mid-budget comedies and dramas are plagued by the optics of eight-figure P&A spends and heavy scrutiny on opening-weekend box office grosses. That doesn’t exist if you are launching on an OTT to a wide audience.

What does the " sooner or later" tag for Bad Education mean?

Does this send the signal that the movie prospects for box office success is not very positive and therefore this route is chosen?

But why pay something like north of $ 17 million for a movie? Or is there something they plan to do with it as the lynchpin of a major push?


Jo

Is the movie going to be released at HBO ( cable) or HBO-MAX ( streaming)? Does HBO/WarnerMedia know what to do with it?

Or have the very good reviews ( and fan reactions from the Toronto and London Festivals) become a strong point to consider on how to release the film? Is there a very remote chance that they may opt to release it via Warner Bros for a regular theatrical run as there seems to be a good indicator of success at the box office? Or would they want to release it for the AMPAS qualifying limited run to encourage Oscar talk and push publicity for the eventual release via HBO or HBO-MAX??

Jo

[jo]

In a move that could become more common as major studios lean in heavily toward their streaming launches, the Ben Falcone-directed Melissa McCarthy-starrer Superintelligence has exited its December 20 theatrical release date to instead become the first Warner Bros Pictures Group film to premiere on HBO Max.

What if...

They give that release date/screens to Bad Education instead?? So it can be shown as a regular movie. That might not be a farfetched idea if the movie has already proven its success with critics ( now 87% at Rotten Tomatoes and should increase should more London Film Festival reviews come in at RT...and more importantly, it is enjoying a rare 77% rating at the more rigid and more respected Metacritic review summary)!!

I am not sure if Warner Bros has any prestige movie being set up for Oscar competition this awards season... but if they don't, this could be a golden opportunity for the film studio to take advantage of the opportunity. (EDIT: Of their 2019 to-date releases, only JOKER and Joaquin Phoenix have been in the Oscar conversation, but the movie has also received some backlash despite the box office performance...there seems to be nothing else that has been talked about for possible awards for the rest of the 2019 releases).

Also, Reminiscence has been bought by Warner Bros for film distribution when it is likely released in 2020 - so, I wonder if they might want to invest more and more in the professional links with Hugh Jackman??


Jo ( doing some wishful thinking at the moment )

[jo]

HBO shows the lineup of some shows expected for 2020. No mention yet of HBO-MAX ( maybe because HBO subscribers with At&T facilities will also be able to see it on their channel.

At 1'19"-1'20" -- a brief glimpse of Frank Tassone ( Hugh Jackman) and his assistant ( Allison Janney) from the movie!


www.youtube.com/watch?v=rtXH_sP6RGM&feature=youtu.be

[jo]

Info for UK fans --


www.hollywoodreporter.com/amp/news/hbo-sky-renew-output-deal-will-produce-hbo-max-series-1250682

[jo]

I was on a Twitter exchange with someone who informed me about a tweet from the film screenwriter Mike Makowsky --

From MMakowsky --

Which eventually led me to this tweet --

She's probably referring to Felice Makowsky who has been actively posting on Twitter re Bad Education. I once had a Twitter exchange with her.

[jo]

http://instagram.com/p/B2fiaSDlyxg

[jo]

I wonder if the earlier screening date mentioned in the tweet above has anything to do with the calendar to qualify and submit entries for the incoming EMMY Awards ( covering period June 1, 2019 to May 31, 2020 )?


www.emmys.com/news/emmys-calendar/emmy-awards-industry-calendar

Primetime Emmys Calendar

November 14, 2019

Emmy Awards Calendar - 2020


Eligibility
June 1, 2019 - May 31, 2020


Eligibility period for Emmy entries (please refer to the "hanging episodes" rule)
All dates below are subject to change.


February
February 13
Online entry process begins.


March
March 10
Deadline to apply for membership to guarantee voting eligibility for both rounds of the 72nd Emmy competition and for members to
secure member entry fee discount. This date also applies to former members. Application must be completed and paid in order to qualify.


April
April 7
Deadline for current voting members to apply for hyphenate voting status


May
May 11, 6:00 PM
Entry deadline for ALL entries that were originally presented 6:00 PM - 2:00 AM,
June 1, 2019 - May 31, 2020 (including hanging episodes)


May 11, 6:00 PM
Upload deadline for all entry materials
June
June 15
Nominations-round voting begins


June 29, 10:00 PM
Nominations-round voting ends
July
Tuesday, July 14
Nominations announced


July 28
Deadline for errors and omissions to the nominations
August
Week of August 10
Final-round videos available for viewing


August 17
Final-round voting begins
August 31, 10:00 PM
Final-round voting ends


September
September TBD
Creative Arts Awards and Governors Ball Events


September TBD
ABC Telecast and Governors Ball
All dates are subject to change.
updated 11.21.19

Not sure about the rules for the EMMY Awards on how the entries qualify and how the voters qualify as well. Will have to look that up?


Jo

[jo]

This site gives what seems to be a fairly simple explanation of the voting process --

www.backstage.com/magazine/article/emmy-voters-13720/



Excerpts --

Jaunt on over to the official site for the Emmys, and it will tell you in plain English how nominees are determined: “The Emmy award is a symbol of peer recognition. The Academy has over 15,000 members, divided into 28 peer groups of specialized fields. The members of each peer group vote on the nominees and winners for categories pertaining to their area of specialty. If you are a professional in the television industry you be eligible for membership, and those voting.”

OK, I’ll try to translate that. The Academy of Television Arts and Sciences (ATAS) is in charge of the Primetime Emmy Awards. As opposed to the National Academy of Television Arts and Sciences (NATAS), which handles what is more commonly referred to as the “Daytime Emmys”—i.e., the awards for soap operas, even though they include news and documentary programs. But let's just focus on Primetime here. To be a member of ATAS, you apply and pay a fee. You have to be endorsed by two members of the peer group you’re asking to be put into (makeup, acting, directing, etc.) Unless you’ve received an Emmy nomination in the last four years, in which case the recommendation requirement is waived. But not the fee.

The first step to getting a nomination is being submitted. If your show is eligible (aired between June 1 – May 31 of the previous year and was seen in markets representing at least 51 percent of the TV viewers in the US) you can submit yourself—and pay another fee. Each peer group determines who the initial nominees will be in their category—actors vote on actors, writers on writers, and so on.

Then things get serious. Judges are chosen from each peer group to cast the final vote on who wins. Just who are these judges? No one will tell you. The Academy selects them in a secret process, and they are only allowed to serve two consecutive years as a judge in a category. The acting categories have between 50 and 75 judges. Acting nominees get to choose one episode from the season to submit to judges for consideration, and we take it on faith that they watch them. They rank their top choices in each category, with the actor they think is “best” getting a “1” vote. The second best gets a “2,” and so on. Every actor has their number tallied, and the one with the lowest final number wins. The series category works similarly, though there are three different judging committees, each made up of between 250 to 300 voters. Series get to submit two episodes for consideration.

So in the end, it really comes down to a small percentage of the Academy's 15,000+ members to determine who the winners are. And we have no idea who this mysterious cabal is. I've asked around and never met anyone who admits to voting in the acting categories--apparently, Emmy judges are like leprechauns. I'm not entirely convinced they exist.

Jocular comments aside, maybe a key requirement lies in " If your show is eligible (aired between June 1 – May 31 of the previous year and was seen in markets representing at least 51 percent of the TV viewers in the US)"

How can this be measured for streaming services? What happens if the movie is allowed for streaming only sometime in May and may not have accumulated the required qualifying number?

Maybe that is why there is the possibility of HBO itself releasing the movie in March ( according to this tweet)?

Jo

[jo]

Of course I am not sure how individual film projects, unlike TV series or documentaries or other events, are judged. Maybe the requirement of having been seen by at least 51 % of the TV viewers does not apply here?

Maybe the primary requirement is the screening via the approved platform ( such as regular TV in this case, not via streamed services)?

Jo