First Impressions of Beyoncé’s New Album ‘Renaissance’ 

After a six-year wait, Beyoncé’s new album Renaissance is finally here, and it’s made for the dance floor. 

“To all of my fans: I hope you find joy in this music,” Beyoncé wrote in a letter to fans this week. “I hope it inspires you to release the wiggle. And to feel as unique, strong, and sexy as you are.” 

She recorded the 16-track album throughout the pandemic, explaining that it helped her find escape during an extremely difficult time. And now that it’s finally being released into the world, it’s her hope that it will provide release. “My intention was to create a safe place, a place without judgment,” she explained. “A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom. It was a beautiful journey of exploration.” 

So, does it live up to the hype? What’s the best song? Are there any big surprises? Members of the Complex staff came together to share our first-listen thoughts on Beyoncé’s Renaissance. Dive in below. 

Best song? 

Jessica McKinney: “Church Girl” is a perfect mix of soul, gospel, and dance. It’s impossible not to dance to, especially with the way The Clark Sisters’ sample melts into the beat. Plus, there are a bunch of empowering one-liners and quotables from Beyoncé. 

Karla Rodriguez: “Cozy.” It feels like someone is speaking affirmations over you and it makes you feel so damn good about yourself. Listen to it while you’re walking down a busy street, and you’ll see. 

Andre Gee: I feel like I’d be cheating by taking the obvious rap and bounce influence of “Church Girl,” so I’ll say “Plastic Off The Sofa,” which is a tender face caress of a song.  

Alana Yzola: It’s a three-way tie between “Virgo’s Groove,” “Cozy,” and “Thique.” 

Jordan Rose: The sample on “Church Girl” is beautiful, and the duality between the name and the subject matter is so clever.  

Aria Hughes: That’s so hard to say. A lot of the songs feel like they could be two or three different songs. But right now I keep replaying the second half of “Move.” It brings in the afrobeats sound that she tapped into with The Lion King: The Gift soundtrack, but something about this interpretation feels specifically Beyoncé. There’s a groove you get lost in, which I believe was her main goal with this album: for us to get lost in the sonics. The lyrics also resonate. (“Move out the way. I’m with my girls and we all need space. When the queen comes through, part like the Red Sea.”) It’s Beyoncé proclaiming her arrival or return, and I’m here for it. 

Trace Cowen: “All Up In Your Mind.” 

Drea O: “I’m That Girl.” It’s empowering. 

Stefan Breskin: “Cuff It.” I think it could’ve been the lead single. 
Eric Skelton: “Virgo’s Groove,” and I’m not just saying that because I’m a Virgo (OK, maybe a little). I’m dying to hear this song in a room full of people. Those runs! 

Biggest skip? 

Jessica: “Break My Soul,” although the transition from “Energy” to “Break My Soul” was *chef’s kiss*.  

Karla: “Virgo’s Groove” is just fine, but I’m a Scorpio so I simply can’t relate (lol). 

Andre: No skips over here.  

Jordan: There’s no glaring skip for me, but the transition between “Virgo’s Groove” and “Move” was a bit jarring. I would have liked an intermediate track between them, before the tempo jumped like it does. 

Alana: I wouldn’t skip, but gun to my head, “Cuff It.” 

Aria: I think “Break My Soul” sounds better in the context of this album, but it’s still not a favorite. 

Trace: None. 

Drea: “Break My Soul,” only because it’s in constant rotation, literally everywhere. I’m a little tired.  

Stefan: “Plastic Off The Sofa.” 
Eric: I’ll probably come back to the intro (“I’m That Girl”) the least. It’s not bad, but the album gets better as it goes on. 

Best thing about the album? 

Jessica: The transitions are seamless. Every track absorbs the other, and you don’t even realize you’ve listened to half of the album already.  

Karla: The way every song just melts into the next. I’ve been getting a little too used to albums sounding like they were cooked in the microwave in under 10 minutes, but Renaissance feels like it was oven-roasted. 

Andre: The way each track built into the next and created a sonic world. For instance, the way the kicks were added to the end of “Cuff It” so it would smoothly lead into “Energy” is really top-notch work by the producers.  

Jordan: Renaissance is a dance album that’s still able to blend melodic, dance, and bar-centric tracks together in a way that makes sense. It’s something only someone like Beyoncé could do at this high level.   


Aria: Beyonce’s dedication to being the best she can be as a singer, songwriter, and producer. Also, her dedication to looking to the past but bringing it into the future. The songs are layered and varied, with references pulled from so many different places. She has a very academic approach to making music that feels really well-researched and well-executed. And I also just love her range. She uses her voice in so many different ways on this album.  

Trace: Beyoncé has captured a collective mid-pandemic feeling of wanting to dance through the pain, all while championing the importance of dance music at large, including the history of house. 

Drea: The way it was put together, sonically. It’s really an experience—the Beyoncé experience we all love. She delivered.  

Stefan: The transitions. If you’re not paying attention to the elapsed time on each song resetting to 0:00, you’ll lose your spot on the tracklist. Beyoncé is the queen of transitions in her live arrangements, but seeing it done throughout an entire project is more than I could have asked for.  

Eric: It’s fun as hell. Beyoncé is an album artist who throws herself into the specific mission of each project, and this time she wanted to “release the wiggle” in her fans. Well, I haven’t been able to stop moving since I pressed play. Mission accomplished. 

Worst thing about the album? 

Jessica: It was difficult to hear about the drama surrounding the samples on this project (in particular, the Kelis’ grievances over her music being sampled on “Energy”) and not have a sour taste in my mouth.  

Karla: The album loses steam a little bit toward the middle. 

Andre: This isn’t about the album per se, but the Kelis-Neptunes sample drama was a black eye on what had been a dope album rollout. I do agree with Kelis that even if she technically doesn’t own her masters to “Get Along With You,” Beyoncé’s team could have hit her up and told her about it beforehand. 

Jordan: I didn’t have any real issues with Renaissance. The melodies are beautiful, and despite some of the subject matter not really advancing through the album, I don’t think it had to for it to still be good. 

Alana: Given the credits, I was hoping to hear Drake as a surprise on “Heated.” 

Aria: I don’t know if this is a bad thing about the album per se, but I selfishly want to hear Beyoncé speak about her creation process, and it would be a shame if we don’t hear that directly from her. The leak and Kelis drama that preceded the roll out was also unfortunate, but it is what it is.  

Trace: None. 

Drea: The album leak and rollout was not a great look, but Beyoncé can really do no wrong. I love the project so far. 

Stefan: Beyoncé did what she was trying to do: create a place to scream, release, and feel freedom. But when you commit to a sound this much, there becomes a specific time and place you can listen to the album, and I don’t think I’m always going to be in the mood to release the wiggle. 

Eric: Part of me is disappointed to not hear any ballads after six years of waiting for a new Beyoncé album, but it’s a minor complaint. That’s clearly not what Renaissance is for. Maybe we’ll get some songs like that on act ii or iii

Biggest surprise? 

Jessica: I thought there were going to be a lot more features. Aside from Tems and Beam, and voiceovers from Grace Jones and TS Madison, there weren’t a lot of guest appearances. This isn’t necessarily a bad thing, but after seeing the credits, it was shocking to see that most of those names (Drake, Jay-Z, etc) played a background role.  

Karla: I usually prefer when Bey gives us big vocals, but I didn’t mind what she did with this. 

Andre: No big surprises, but I thought there would’ve been a Jay-Z verse on here where he atones for “Ghetto Techno.” 

Jordan: It sounds like Beyoncé has been working on her bars over these last few years. While her melodies and vocal prowess have only gotten better, Bey flexes a new lyrical pocket that is really impressive on some of these songs. 

Alana: “Church Girl” ended up being a twerk anthem?! 

Aria: The transitions. I mean, it wasn’t a huge surprise to me, because she does this so well with her live shows. But to see her integrate it into the album was a welcome surprise. She really wanted us to listen to this as a full body of work, or a project you can play at a party from front to back. And I was surprised by the amount of samples. Beyoncé has always sampled other songs, but the way she infused this many into one song was masterful.  

Trace: This is the most immediately I have been fully immersed in a new Bey album, and I wouldn’t be shocked if this ultimately becomes my favorite era of hers. 

Drea: I’m surprised Beyoncé was rapping so much on the album. She did just as much rapping as she did singing.  

Stefan: No features. Seeing the writing credits had me fantasizing about the potential of a Beyoncé track featuring Drake, while they’re both in their dance music bag.  

Eric: At this point, it’s not really a surprise to hear Beyoncé make a song like “Thique” (she’s been making great rap songs for years) but the first time I heard that raspy whisper flow in the first 30 seconds, my jaw dropped. What a song. 

Overall first impressions? 

Jessica: Renaissance is a cohesive and seamless dance project that gives us what we want and need right now: a good time.  

Karla: I love an album you can play from top to bottom without skips, and Renaissance is now one of them.   

Andre: Beyoncé and her collaborators did an incredible job here. Amid a trend of producers re-working classic samples for singles, Beyoncé is the first one I’ve seen to be intentional about it with a trio of albums devoted to the premise.   

Jordan: One of the most impressive things about Beyoncé is that she’s been in music for over two decades and still finds a way to reinvent herself with every album. Renaissance is nothing like Lemonade, but it creates its own space that makes comparing the two feel unnecessary. From the songwriting to vocals and production, she has managed to somehow hit another pinnacle. 

Alana: It’s an endless party. Given that Beyoncé said she wrote this during the pandemic, I expected it to feel a little more heavy. But it’s so light and free and just what we need right now. The lyrics don’t change the world or anything, but it allows you to just be here, and be present. 

Aria: I’m thankful to be alive while Beyonce is creating. The end.  

Trace: I didn’t realize how much I needed an album like this at this exact moment. Thank you, Beyoncé. 

Drea: I love the album and appreciate Beyoncé for delivering a quality project.  

Stefan: This is one of the best listening experiences I’ve had with a new album this year. The traditional rollout, detailed physical copies, and dozens of press photos helped build a complete world around Renaissance, and I’m looking forward to seeing her expand with act ii and act iii. 

Eric: She did it. She pulled off the challenge of making a fun dance album full of samples that pay homage to the past, while still pushing her own sound forward and experimenting in an enjoyable way. It’s been a rough couple of years and the world deserves an album like this right now. The rest of the summer is going to be fun as hell. 

Naomi Osaka’s Complicated Withdrawal from the French Open

After Naomi Osaka hit a backhand winner on match point to defeat Patricia Maria Țig in the first round of the French Open, on Sunday, she smiled as she lowered her head, and then tugged her gray visor down. These were familiar gestures; I’ve seen her half-hide her smile countless times. The following day, after she announced that she would be withdrawing from the French Open for the sake of “the tournament, the other players and my wellbeing,” five tumultuous days after announcing that she would not be speaking to the press during the tournament, my mind went to that moment, the last time that I had watched her. Then I thought of the first time I’d watched Osaka pull her visor over her eyes.

It happened in 2018, during the U.S. Open trophy presentation, after a match marred by controversy surrounding a confrontation between Serena Williams and the umpire. The crowd, which had been on Williams’s side, booed as Osaka was named the champion. Osaka cried, and tried to hide her face. She was twenty years old then, already launched into a life that everyone could see and that no one could possibly imagine. Over the next three years, Osaka won three more Grand Slams, and the publicity surrounding her career and her life grew even more intense. Her image was on the cover of Vogue and on billboards towering over Los Angeles and Tokyo. She became an icon, and she did iconic things. She helped design sneakers for Nike, a salad for Sweetgreen. In May, Sportico estimated that she had earned more than fifty million dollars during the previous year, which made her the highest-paid female athlete in history, breaking her own record. A recent Times feature about her ran under the headline “How Naomi Osaka Became Everyone’s Favorite Spokesmodel.”

She was famous only partly because she was so good at tennis. It mattered also that she was young, that she was Japanese and American, Black and Asian. It mattered that she spoke about her values and seemed to live by them. It also mattered that she was very good with the press—eloquent about social issues, smart about the game, disarmingly funny about the rest. Most of these exchanges have come in press conferences. (She occasionally gives other interviews, some of them to a Japanese broadcasting company called Wowow, which sponsors her.) Press conferences, as a rule, are tedious and outdated. Nobody really likes them—not reporters, who would prefer to speak to athletes privately and at length, and not players, who are asked the same questions repeatedly, sometimes by people whose main motivation is to encourage controversy. Press conferences can seem particularly pointless to players who don’t need the press to promote themselves or reach their fans, which they can do more efficiently, and perhaps more effectively, through social media. The press, particularly at the Grand Slams, can include people who are not well versed in tennis; tabloid reporters; and, not infrequently, people who ask ham-handed and offensive questions, particularly of Black women. Just the other day, a reporter who wanted to get a quote from the seventeen-year-old star Coco Gauff about the possibility of playing Serena Williams began by saying, “You are often compared to the Williams sisters. Maybe it’s because you’re Black. But I guess it’s because you’re talented and maybe American, too.”

Press conferences also typically offer reporters their only chance to ask players questions on any subject, including difficult ones. Without press conferences, it seems quite possible that Alexander Zverev would not have been asked about the allegations of domestic violence against him. Without press conferences, reporters might get to talk to players only under terms established by the brands that sponsor them, or in exchanges that are heavily mediated by layers of managers and agents. And, for all of their obvious problems and weaknesses, press conferences do sometimes yield original insights into both the technical aspects of matches and the people who play them. That often seemed particularly true when Osaka walked into the room—until she declared that she would stay out.

When Osaka first announced that she would not speak to the press during the French Open, she explained that her experience with press conferences had led her to the conclusion that many people have no regard for the mental health of athletes, and that this needed to change. “If the organizations think that they can just keep saying ‘do press or you’re gonna be fined,’ and continue to ignore the mental health of the athletes that are the centerpiece of their cooperation then I just gotta laugh,” she wrote. She also spoke of wanting to avoid having “doubt” seeded in her mind—“I’m just not going to subject myself to people that doubt me,” she wrote—leading some to wonder whether she was trying to insulate herself from negativity in order to maintain her focus. A bad loss at the Miami Open had snapped a long winning streak, and Osaka had then been upset in both Madrid and Rome; on Reddit, her older sister, Mari, in a post she later deleted, suggested that Osaka simply didn’t want to be distracted or have her self-confidence damaged. Osaka’s statement was fairly general, and people interpreted it according to their own assumptions about what was really going on. To some, Osaka was speaking her truth about an oppressive system. To others, she was refusing to accept the responsibilities that come with a lucrative career. Her fellow-players, almost to a person, took a more nuanced view: when asked about her stance, they said that they respected Osaka but understood the need for exposure, and that talking to the press was part of their job.


After over a decade, NIGO® and Kid Cudi have inspired many of the biggest names in music, fashion, and pop culture. But how did they do it, and what’s next? The two cultural icons get together for the first time since they met 11 years ago and open up about their beginnings, new projects, and legacy.

Kid Cudi was 20 years old when he decided to leave his hometown of Cleveland and move to New York City. He had tried college for a year, but wasn’t feeling it, and even considered joining the Navy, though that didn’t work out, either. Ultimately, he wanted to pursue music, and craved an environment where he could “grow and meet interesting people.” New York, he thought, could be that place.

So one day he bought a one-way ticket to New York, packed up his things—clothes, sneakers, the demo he made in college, and $500 in cash—and left. It wasn’t easy. He still remembers the day his mom dropped him off at the airport. “She was crying,” Cudi recalled during his TEDx talk in 2015. “She was giving me a hug at the airport and leans in and goes, ‘I can always turn back around and we can go back home. You can change your mind. Everything will be fine.’” But Cudi stuck to his guns. “I was on a mission,” he added. “It was bigger than just wanting to be a musician or do movies. It was about finally showing the world what Scott could do.”

Except things didn’t immediately pop off for him. His first few jobs in New York were in retail—at American Apparel, Abercrombie & Fitch, and Dean & DeLuca. He held most of the jobs just to cover his bills and studio time. But there was one that Cudi, to this day, calls a “dream job.”

Shortly after relocating to New York, Cudi learned about A Bathing Ape, the wildly popular and exclusive Japanese brand founded by NIGO® in 1993, and fell in love with its loud graphics and bright colors. At the time, Bape’s two-story, million-dollar flagship in SoHo—the label’s first store outside of Japan, a strategic move by the designer to expand his empire internationally—had just opened in 2004. Cudi desperately wanted to work there, so he applied. And then applied again. And again. Until he finally got hired in 2008.

At the time, Cudi was so broke he didn’t have a bank account (he used his mom’s instead). And for the first few weeks on the job, he wore the same outfit every day or borrowed clothes from co-workers. It didn’t matter, though; he was just happy to be there. “I didn’t own anything [Bape] prior to being hired,” he told Hypebeast. “So it was a dream come true to be able to work at the store I dreamed of shopping in one day.”

But Cudi’s stint at Bape wouldn’t last long. The year before, while he still worked at Abercrombie & Fitch, he met Dot da Genius through a co-worker. They clicked instantly and began making music together, including what wound up being Cudi’s first single, “Day ‘N’ Nite.”

How a Hip-Hop Party Went From a Harlem Basement to Packing Barclays

Inside the rise of D’ussé Palooza.

The party continues to grow and there are plans to go global, with events in Ghana, South Africa, London and Paris.

Kameron McCullough and Nile Ivey were having a rough year.

It was December 2012, and the two friends hatched a plan to simultaneously wash away their troubles and usher in a more buoyant 2013. They settled on hosting a small game night.

Mr. Ivey, a D.J. and music blogger, had been laid off from his job at BET Networks. Mr. McCullough had been fired from his job at Condé Nast just a few months after being evicted from his apartment.

They planned to keep the invite list short, ensure that it included plenty of women and inform attendees that gaining entry required two things: a bottle of Hennessy cognac and a bucket of fried chicken.

“It’s going to be a Henny Palooza,” Mr. McCullough recalls one friend joking.

Seven years later, the event — now known as D’ussé Palooza — has grown from an East Harlem house party attended by barely 50 people to an event that drew 9,000 to Barclays Center in Brooklyn this month, while expanding to more than a dozen United States cities.

The party attracts thousands of fans every year, a group that includes professional athletes like the N.B.A. star Kevin Durant and the New York Giants running back Saquon Barkley, music industry luminaries like the New York radio hosts Charlamagne Tha God and Ebro Darden, sports journalists like Bomani Jones of ESPN and Jemele Hill of The Atlantic, and the hip-hop artist Chance the Rapper.

“It’s the best party in America,” Reginald Ossé, a podcaster and onetime Source magazine editor known as Combat Jack, once declared. (Mr. Ossé died in 2017.)

The event’s new name is the product of a multimillion-dollar deal with Jay-Z, the music star and entrepreneur. Mr. McCullough, 34, and his team have entered into a rare partnership with Jay-Z’s music label, Roc Nation. As a result, the cognac brand D’ussé, which the rapper is an investor in, now sponsors the event.

Although Hennessy figured in the party’s origins and some people who attend still call it Henny Palooza, neither Mr. McCullough nor any of his colleagues has ever had any affiliation with, or the consent of, the cognac’s maker, Moët Hennessy USA corporation. READ MORE:

Jason Momoa, Alfre Woodard and Cast Open Up About Blindness Coaching for Apple TV+ ‘See’

Jason Momoa and Alfre Woodard star in the new Apple TV+ series See, a postapocalyptic drama that takes place in a world where a virus has caused humankind to lose sight. Created by Steven Knight, it is the story of a family in jeopardy after twins are born who can see. In a blind world, the reigning Queen Kane, played by Sylvia Hoeks, is threatened by the twins’ vision and sends her army to capture them. Jason Momoa plays Baba Voss, a fierce warrior and adoptive father of the twins forced to lead his tribe into hiding after news of the twins’ birth spreads.

To ensure the show’s portrayal of blindness was accurate and respectful, cast and crewmembers who are not blind participated in a boot camp. Led by blindness coach Joe Strechay and movement coach Paradox Pollack, Momoa, Woodard and the rest of the cast went through a rigorous program to learn more about life without vision. “I wanted to make sure that the portrayals around blindness in our production were committed to respecting blindness,” explains Strechay. “There have been so many comical portrayals of blindness, and See is not one of them.” In addition to working with the actors, the production team had Apple’s full support to take the measures needed and allocate budgets to ensure every set was fully accessible, even in the heart of rural British Columbia during the dead of winter.

Director Frances Lawrence participated in blindness coaching, spending time wearing sleep shades, developing a basic understanding of echolocation and learning to trust his other four senses to understand what the actors were experiencing. “It was a little bit like learning a language,” he said. “Sight for those of us who can see is such a dominant sense that I think it makes us take for granted the other senses. We don’t feel as in tune with the other senses. I think if you talked to the other actors who went through the training, what ended up happening to them was they felt much more present and much more focused.” Momoa experimented with different techniques to sharpen his focus on his other senses, including limiting his food intake to maintain more awareness of his body. “In order to be a character who is an amazing warrior with no vision, you’ve got to be pretty in touch with your senses, which means those have to be at the highest quality,” said Momoa.

See poses the question of how valuable sight truly is. Alfre Woodard, who plays Paris, a healer and midwife, hopes the show generates deeper questions about how sight orders society. “I hope that people ask, ‘Without how we know sight, what’s the racial dynamic? What’s the sexual dynamic? The gender dynamic?”

THR sat down with Momoa, Woodard, Hoeks, Hera Hilmar, Lawrence, Knight and Strechay to explore how they approached the portrayal of blindness in See, now available on Apple TV+.

Will ‘The Irishman’ Netflix Debut Ding Thanksgiving Box Office?

Martin Scorsese’s high-profile mob pic may have been a boon to movie exhibitors if it had been given a traditional wide theatrical release.

Al Pacino and Robert De Niro star in Netflix’s ‘The Irishman.’ (Courtesy of Netflix)

In late 2013, Martin Scorsese’s The Wolf of Wall Street debuted to $34.2 million at the U.S. box office over the five-day Christmas Day holiday on its way to grossing $392 million globally and landing numerous top Oscar nominations.
Six years later, Scorsese’s The Irishman is bypassing a traditional theatrical release and instead will debut on Netflix on Nov. 27, the start of the lucrative Thanksgiving frame. With its pedigree, will the critically acclaimed mob pic keep consumers otherwise occupied and hurt the overall box office?
It’s a complicated question underscored by the fact that — in addition to Netflix’s continued rise — several new high-profile streamers, including Disney+ and Apple TV+, have both launched this month armed with enough original programming aimed at attracting a large subscriber base.
“You have to look at it holistically. I don’t think The Irishman will specifically cause people to stay home and away from movie theaters, but I do think it’s symbolic of a trend toward great content being available on streaming,” says Wall Street analyst Rich Greenfield of LightShed Partners.
Others disagree. “It’s not an all or nothing proposition,” says box office analyst Paul Dergarabedian of Comscore, noting that families and friends spending Thanksgiving together “need to leave the house” at some point.
“Going to the movies remains a vital part of our entertainment diet,” Dergarabedian notes. “And while a major movie release on a streaming platform will certainly draw loads of viewers, this doesn’t spell doom for movie theaters or, for that matter, any other activity outside the home.”
The National Association of Theater Owners (NATO), the lobbying organization for exhibitors, points to an Ernst & Young study finding that those who stream frequently are also the most frequent moviegoers. Across all demos, the January 2019 survey showed that those who visited a theater once or twice in the preceding 12 months watched an average of seven hours of streaming per week, compared with 11 hours of streaming for those who visited a theater nine or more times.
Netflix is notoriously reticent when it comes to releasing viewership data. Exceptions include El Camino, the streamer’s movie sequel to the TV hit Breaking Bad, which was viewed 25.7 million times in its first week, Oct. 11-18, the company claimed.
And, last year, the Sandra Bullock-starrer Bird Box turned into a water-cooler sensation after debuting on Netflix on Dec. 21. The streamer later reported that 45 million accounts watched the sci-fi thriller over the holidays. Some used that number to suggest that Bird Box could have grossed several hundred million dollars at the global box office.
A Barclays study disputes that assumption, putting the film’s potential box office closer to $98 million. The report stated that the vast majority of the audience “was composed of people who watched it because it was on Netflix and would not have gone to a theater.” Nor did Bird Box seem to ding the 2018 Christmas box office, which turned in strong returns, even without a Star Wars entry.
Netflix also declines to provide box office grosses for those films that get a select run in indie cinemas during awards season, such as The Irishman. Scorsese’s film, similar to the Oscar-nominated Roma last year or this year’s Marriage Story, received an exclusive run in dozens of indie cinemas prior to its debut on the service and by this weekend will be playing in more than 200 locations across the U.S.
The streamer has famously refused to adhere to the theatrical window, focusing instead on making its original programming available to its subscribers as soon as possible. In turn, most cinema chains refuse to carry Netflix titles. Scorsese and Netflix execs tried to reach a compromise with exhibitors, but those talks ultimately broke down.
“The current and growing glut of streaming titles and streaming companies needs to differentiate content for consumers and compete for filmmakers. Theatrical releases with real windows meet both needs,” says Patrick Corcoran, vp NATO.
“Streaming is disrupting the home entertainment market, not theaters,” Corcoran adds. “Transactional home video has declined domestically from $24.7 billion per year in 2004 to $10.3 billion in 2018 — a 58 percent loss of annual revenue.”
Earlier this month, NATO chairman John Fithian said Irishman would have been a boon to theaters had it been given a traditional wide release, judging by the success of Scorsese films such as Wolf of Wall Street.

HARRIET – Official Trailer [HD] – In Theaters November 1st

Based on the thrilling and inspirational life of an iconic American freedom fighter, HARRIET tells the extraordinary tale of Harriet Tubman’s escape from slavery and transformation into one of America’s greatest heroes. Her courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.