Hollywood
Emerging technologies create problems for release of new films
NEW DELHI: Over 350 different versions of Captain America: The Winter Soldier was created in just 17 days, in order to play in all its formats in theatres across the United States and internationally.
Those formats include: 2D, 3D, film and digital. Other variants might include 4D, IMAX, and high frame rate. In the near future, laser light projectors, Dolby Atmos, and Barco Auro will require even further versions of feature films. These can include any combination of 2D, 3D (typically at least two versions at different light levels), possibly Imax and in the case of The Hobbit, a high-frame-rate option. If one has a “4D” release, each of the three 4D companies — CJ 4DPlex, MediaMation and D-Box — require their own proprietary version.
With tight turnaround times, and an ever-increasing number of variables to consider, executives are not seeing an end to this problem, though they are hoping that standards will help alleviate at least some of the workflow.
“Standards will help with some of the chaos,” says an executive. “But we can’t afford to stay static. This is the new normal. We get it done, but it’s not easy. We learn, we get more efficient, and then something new comes along. It’s a cycle.”
With more than 95 per cent of the cinema screens in North America now converted to digital, executives find the situation is getting chaotic.
“Controlled chaos” is how one studio exec (who was not involved with The Winter Soldier) describes the situation as. The reason is that the various options afforded by digital technologies means that multiple versions of a movie are needed. “The number has skyrocketed.”
Several sources confirmed that it is not uncommon for a studio to create roughly 15 different versions of a movie for a domestic release — and some recent tentpoles have exceeded 30 different versions just for North America.
Meanwhile, laser light projectors with the promise of offering brighter images will be made available this year — and that may require another version. Barco’s recently unveiled Escape system (which creates a sort of Cinerama experience) would require another.
Film prints are still needed for the remaining theatres, though domestic distribution of a typical tentpole title to 4,000 screens generally means fewer than 100 film prints are being created. “It’s getting harder because all of this takes time,” admitted one studio executive.
Hollywood
Paramount raises bid for Warner Bros Discovery
Higher offer challenges Netflix’s $82.7bn deal; Paramount targets full company at improved terms on 24 February 2026.
MUMBAI: Hollywood’s blockbuster bidding war just got a sequel because when studios are the prize, even the richest players keep upping the ante. Paramount Skydance has submitted a sweetened bid for Warner Bros Discovery (WBD), a source familiar with the matter told Reuters on 24 February 2026, intensifying efforts to derail Netflix’s proposed acquisition of the HBO Max owner. The new offer improves on Paramount’s earlier $108.4 billion ($30 per share) proposal for the entire company, addressing Warner Bros’ concerns over financing certainty.
Netflix’s cash offer of $27.75 per share ($82.7 billion) for the studios and streaming assets allows it to match any superior bid. Warner Bros had rejected Paramount’s previous enhanced proposal, which included covering Netflix’s $2.8 billion termination fee and a 25-cent quarterly “ticking fee” from next year to compensate shareholders for delays. The board gave Paramount until 23 February to submit its “best and final” offer.
MoffettNathanson analysts earlier suggested a Paramount bid around $34 per share could end the contest by settling debates over Discovery Global’s value. Warner Bros plans to spin off cable assets (CNN, HGTV) into Discovery Global, estimated at $1.33 to $6.86 per share, arguing the move gives the remaining company greater flexibility. Netflix claims its offer provides shareholders upside from the spinoff; Paramount has dismissed the cable business as “effectively worthless”.
The saga escalated after activist investor Ancora Capital built a roughly $200 million stake in Warner Bros, accusing the board of failing to engage properly with Paramount and threatening to vote against the Netflix deal at the 20 March shareholder meeting.
Paramount shares rose 1.3 per cent to $10.70 in extended trading. The outcome now hinges on Warner Bros shareholders, antitrust scrutiny in the US, EU, and UK, and bipartisan lawmaker concerns over market dominance. A Paramount win would create a studio larger than Disney and merge two major TV operators, Netflix’s victory would forge the biggest global streamer with nearly half a billion subscribers.
With Ted Sarandos confident in regulatory approval and Paramount claiming a clearer path, this clash isn’t just about price, it’s about who gets to write Hollywood’s next chapter in the streaming era. The popcorn’s ready; the credits haven’t rolled yet.
