It was a fleeting life, lasting all but 2 years, but the streaming channel known as FilmStruck still left an impact on film fans across the world.  For those of you who were unfamiliar with the FilmStruck channel, it was a Netflix style streaming service that catered to the art house and classic movie crowd.  Created in early 2016 as a joint venture between the Turner Classic Movies cable channel and The Criterion Collection home video label, it was intended to give fans of both of these beloved distributors a chance to have on demand content available on a sleek and easy to navigate platform much like the other big dogs of streaming.  In addition to housing the vast libraries of Criterion and WarnerMedia, FilmStruck also provided exposure for hard to find and obscure films, like documentaries that have been little seen outside of your local library collection, exploitation pictures that have been long archived in mostly defunct theater shelves, and some movies so weird that they can only be discovered by those who just stumble across them on a whim.  The FilmStruck channel also provided original content like profiles on filmmakers and special behind the scenes looks at some of the most prestigious movies available to view.  It was a favorite service for many a film fan, but sadly, it was short-lived.  Like most other subscription based services, FilmStruck’s existence was reliant on seeing the membership base grow over time, and when it was not expanding as quickly as was hoped, parent company WarnerMedia no longer saw any justification for continuing the service any longer as part of their future plans for content streaming.  And just this week, millions of subscribers had to sadly watch as FilmStruck went offline, effectively ending it’s short life and closing access to a library of some of the greatest works of cinematic art in world history.

Now FilmStruck is not the first failed attempt to break into the booming industry of content streaming.  It seems like everybody in the media industry wants to have the next Netflix or the next YouTube, and we are starting to see from the failures of channels like FilmStruck is that it’s easier said than done.  That’s not going to stop the upcoming Disney+ or the Apple Channel from opening in a big way in the next year.  But what makes FilmStruck’s demise stand out is the outcry that followed it’s announced closure.  The subscriber base was very vocal about their outrage over the end of the service, and perhaps more than any other failed channel, the outrage had a very public face.  Many high profile fans of the service, including filmmakers like Guillermo Del Toro, Christopher Nolan, Rian Johnson, Alfonso Cuaron, and Paul Thomas Anderson as well as actors like Leonardo DiCaprio and Barbara Streisand, all voiced their outrage over the channel’s end, and co-signed a letter directly addressed to Warner Brothers’ Chairman Toby Emmerich to convince him towards saving the service.  But it was to no avail.  FilmStruck went silent on schedule this last Friday, and all the movies available on the channel have now quietly been shelved back into their selective libraries.  Of course, it doesn’t mean that all these movies are forever unavailable, since most can still be found on home video in a variety of places, but the convenience of having the library available on demand is gone, and the exclusive content especially lost for good.  The demise of FilmStruck also stands as a valuable reminder about the growing risk of relying too heavily on digital content.  At this moment, we the consumer have little say in what happens to all the media that is made available to watch on most streaming services.  What is available right now may not be available later, and how much of a loss to our culture may we find when a whole chunk of our cinematic output is lost due to a server shutdown, with no backup available.  That is the danger of relying too heavily on a digital only output for our content, and we are learning more and more about the value of physical media.

One of the most important things that the film industry has had to deal with over the years is preservation.  I’ve talked about it before in my article here, but it’s important to stress once again that throughout the years, we have lost many important films to the ravages of time.  The downside to physical media is surely the fact that over time things do decay and rot.  This was certainly the case with most of early cinema, which filmed most early movies on volatile nitrate film stock.  Many films have been lost either through fire, decay, or have just been thrown away due to years of not recognizing the value of preservation.  Hollywood has made a valiant attempt over the years to restore as much as they can of the films of the past, and while many have been saved, a few sadly ended up beyond repair.  Still, even after nearly a century of film-making, a few relics do remain and it gives us an ever crucial window into our past.  With today’s technology, we are able to restore films back to their original glory better than ever before, but it can only be made possible if the original elements are still in the best condition.  Many restoration experts will tell you that the best possible source for their efforts are the original camera negatives, which gives them the closest to the purest image possible.  From there, they are able to strike new prints with the highest image fidelity and have a source that will ensure the film’s survival for years to come.  Nowadays, we archive the source in a digital file as a quick reference for future distribution, but it’s equally important that those original negatives be archived alongside it.  If one is lost or damaged, we can rely on the other to create a backup.  Forgetting to do so may lead to a catastrophic loss that may leave a valuable work of art forgotten to time.

Thankfully, most archivists do just that, ensuring that treasures of the past are well cared for and made available for future generations.  But it’s the content that is produced today that gives cause for worry.  More often today, people are filming on digital camera and presenting their content on digital platforms.  It’s all convenient to use and a valuable tool for those who don’t have the luxury of being able to afford film stock.  But, when using digital content, one runs the risk of losing their material more quickly and not being able to get it back ever again.  You know how frustrated you can be when you’ve been working on a project for hours, like a blog post, a video game, or a film edit and then suddenly the power goes out and you suddenly realize you forgot to save your progress?  Well, relying far too heavily on digital content has the same risks when not properly backed up with either digital or physical copies.  Remember, digital content is encoded in zeroes and ones, and those can be corrupted very easily over time.  Also, with changing technology, we also run the risk of having our only backups becoming unusable on newer platforms.  Imagine an alien race searching our planet long after we are gone and trying to learn about our culture through the content that we created.  If our material was only available to view in a technology that is long gone extinct or has no power source available to make the viewer playable, then that cultural artifact is lost to history and those aliens will have a missing piece to their archaeological reconstruction of our cultural history.  It seems like an extreme example, but it’s happened throughout our history before.  Historians say that we lost a great deal of our understanding of ancient Egyptian history because of burning of the Library in Alexandria during the Roman Empire.  Had that not happened, we may have had more knowledge about the people who built the ancient pyramids and the mysteries they left behind.  Our knowledge of our own history is based on the things that are left behind, and when a whole chunk of our history is lost in a single catastrophe, it leaves a major hole in our understanding of the world, and that hole can easily be filled by speculation, tall tales, and falsehoods.

As of right now, we do have the benefit of two viable options for watching our content.  DVD and Blu-rays present a digitally sourced presentation through a disc based format, and it’s been available for the last 20 years and has been extremely successful as a form of providing home entertainment.  It has, however, been challenged in the last decade by the emergence of streaming content, which allows the consumer to watch movies or television through an online connection without a physical media interface.  Streaming has quickly emerged as a major alternative to distribution, and more and more companies are jumping aboard, making exclusive content only available to stream.  This has become a preferable source for many people, who simply just want to be able to watch something without leaving the comforts of home.  On demand content has already affect many businesses that were reliant on providing supplies of physical media before, such as Blockbuster Video, which dominated the video rental market for decades.  Right now, retail is feeling the pinch of online servicing taking much of their business away, and I have already observed a significant downsizing of the home video sections at stores like Best Buy, Costco, and Target, which used to have large sections devoted just to home video.  The fact that these retailers are rolling back the availability of purchasing physical media is troubling, because it makes us as a culture more reliant on services that are more at risk of disappearing once their value is deemed insufficient to the profitability for their parent companies.  And with that, we may be in for another period of a whole chunk of our film history lost because it was never backed up with something physical.

It also makes it a problem for those of us who enjoy the collecting aspect of physical media.  Some of us out there just like having a shelf full of movies, and in many cases, it’s the attractiveness of the package that makes us take interest in a movie that we’ve never seen before.  This is one thing that I especially like about the Criterion Collection label, because they not only curate this incredible library of movies, but they also take special care to make their packaging look visually pleasing as well; knowing full well that their target consumer takes pride in displaying their Collection as a centerpiece of their own home collection.  That’s certainly the case in my own movie collection, which Criterion now makes up an entire shelf of.  In many ways, there will always be a market for physical media, and there are hopeful signs that some formats that go out of style may have a way to return.  Take for instance the return of vinyl records to prominence in the music industry.  As more and more people chose to adopt mp3 audio as a preferred music listening source, it caused a downturn in the production of the dominant physical media at the time; the CD disc.  But, overtime, collectors began to seek out a physical format that could allow them to still play their music if something happened to their online libraries or their mp3 files becoming corrupted.  But, surprisingly, instead of returning to the CD’s of the past generation, the demand instead started to arise for an even older format; the nearly century old vinyl record.  One of the reasons why vinyls and not CD’s made a return is because they sound better, because of the uncompressed audio playback.  It makes me hopeful that not only will physical media continue to remain a viable source for movies and television, but that even long time traditional formats like 70mm could even come back in a big way.

But, that’s only contingent on what value the industry sees in making those formats available in the future.  The music industry saw the demand for a return to vinyl records, so they catered to it.  For movie and television, the growing trend is still heavily favoring the digital world.  There are sticklers out there like Christopher Nolan and Quentin Tarantino who not only film on physical stock, but also demand that their movies be screened through traditional projection as well, wherever they able to.  But, when you have streaming giants out there like Netflix who are challenging the industry itself to follow their model, the risk of loosing the necessity of a physical format for presenting film to an audience becomes far more likely.  This year especially, Netflix is pushing heavily for a Best Picture Academy Award recognition with their critically acclaimed film Roma, from director Alfonso Cuaron.  Roma already faced resistence from the Cannes Film Festival earlier this year, as the prestigeous fest refused to screen the film due to Netflix’s refusal to release the film in theaters and instead premiere it right on their channel.  There are several within the Academy who also share the same defiant attitude to Netflix’s model, and Netflix has begrudgingly rolled the film into select theaters in order to meet the Academy’s guidelines.  I thankfully live near one of those theaters and gladly paid money to watch Roma on the big screen (perk of living in LA), and honestly I see the point of it.  Roma is a movie that demands a theatrical presentation, and I feel that Netflix is defeating it’s own goals by not showing the movie the way that it’s supposed to be seen.  At the moment, Netflix is in no danger of loosing money nor influence, but to push the industry so heavily towards embracing digital only content is endangering our chances of having movies that stand the test of time.  Netflix may disappear suddenly in the years ahead, and take the only source of movies like Roma with it.  It’s unthinkable now, but not impossible.

That’s why the end of FilmStruck is a wake-up call not just for people in the industry, but for film lovers everywhere.  All the movies we love and cherish could suddenly go away if we are not careful to preserve the treasures of the past and to have a reliable backup for every produced media that we create.  I for one have an extensive digital movie library through all the codes I have redeemed from the digital copies that come with the Blu-rays that I buy.  Because of that, I have the ability to watch all my favorite movies on the go, as well as the ability to pop a movie into my player whenever I have a disruption in my online connection.  The two should exist together just like that, but not exclusive from one another.  The danger of moving too heavily towards online only content is that we are increasingly reliant on seeing these service providers dictating more and more what they choose to make available for viewing.  Clashes between companies like Disney and Netflix has already led to the premature cancellations of beloved shows and a loss of a platform for some movies to be available to the consumer.  And as the number of streaming services grows, the cost of finding the content you want also rises, as you now are forced to subscribe to multiple channels just to be able to see their exclusive content.  Because FilmStruck’s content was so specifically geared towards a certain audience, WarnerMedia no longer saw the value in it, because it didn’t have broad audience appeal.  Thankfully, in the restructuring that has gone on, Criterion has stepped up and picked up the pieces, announcing that they would be launching their own streaming channel in the next year, with lesser but still very valuable support from their Turner Classic Movie partners.  It may not be as extensive a platform that FilmStruck was at it’s height, but Criterion can still provide a service that allows viewers to see those obscure and overlooked movies that they otherwise wouldn’t be able to find elsewhere.  It also gives them a valuable platform to tout their library of movies available to purchase on Blu-ray as well, helping to reinforce the importance of physical media in the broader market.  For us to leave behind a cultural legacy with the  movies that we create, we need to have real, tangible records of those creations and that’s why it’s important to support physical media now more than ever in this increasingly digital world.  Treasures, like those forgotten films rediscovered through FilmStruck, are meant to be found, but it only is possible when there is an actual treasure buried and not just numbers on a server that can easily be erased on purpose or accidentally.

The legacy of the Harry Potter films over the last decade has been a fruitful one for those involved with it’s creation.  Author J.K. Rowling  has further expanded the universe in which she has created into, among other various things, several spinoff books, a whole backstory franchise called Fantastic Beasts, as well as an online community network where fans of the novels can experience a connection to the Potterverse with a uniquely personal touch.  But central to all of that is the seven volume series devoted to the boy wizard himself.  Harry Potter’s journey captivated the world, both on the page and on the screen, and nearly a decade after the conclusion of that journey, audiences have been left with a deep attachment to the Wizarding World.  But the interesting thing is that it isn’t Harry as a character alone that continues to hold a special place in the hearts of all, but really everything in the series as a whole.  Audiences of all kinds talk about everything from the rules of Quidditch, to which house in the school of Hogwarts is the best, to their favorite side characters, and often it’s Harry himself that factors least within their fandom, partially because what more is there to say about him.  It’s the discussions of the characters that inhabit Harry’s world that I find fascinating, because it reveals so much about how people project themselves into the story.  Because Rowling set her story within a classroom setting, we naturally think about the types of people we knew ourselves in school, especially our friends.  Harry’s story is shaped by his friendships, and in particular, those of his closest allies; the resourceful and bright Hermoine Granger and the clumsy but loyal Ron Weasley.  Most fans put more value into Hermoine’s role in the story, but I would argue that Ron’s role in the story has just as much merit, and sadly he far too often is misunderstood as a hero, even by the author herself.

I thought it was a very peculiar stance made by J.K. Rowling when she gave an interview to Wonderland Magazine back in 2014.  In the interview, she stated that she believed that Hermoine should’ve ended up with Harry Potter at the end of the series and not Ron as she did in the books.  The  reason she wrote their budding relationship into the books is because it was something that was always part of her overall draft of the full narrative of the books, and over time as she soured on the idea of bringing them together, she still stuck by the original arc, because it was already too intertwined into the full narrative.  She also made a shocking confession earlier that she even considered killing Ron off before the novel’s finale.  Thankfully, she never utilized these narrative angles, but you have to wonder, why did she feel so negative about such a beloved character.  It perhaps had more to do with the way his character meshed with that of Hermoine.  Their relationship is certainly one of those “opposites attract” types, with the hyper intelligent girl falling for the simple minded boy.  In a way, I feel that Rowling felt ashamed of the point that, by story’s end, Hermoine ends up turning into some kind of reward for Ron because of his good deeds, and she didn’t want her independent minded heroine turned into a trophy.  In addition, it seemed from her statements in the interview that she didn’t view Ron as the ideal kind of man, noting that him and Hermoine were likely to have gone through numerous couples therapy sessions.  That last point feels especially unfair once she states how she would have preferred Harry to have been Hermoine’s instead, as if Harry wouldn’t have had relationship issues himself, especially given his baggage throughout the story.  Regardless of what excuse she gave in her interview, Rowling’s feelings towards Ron I feel stem from a far more problematic issue found within most literature and media overall, which is the dismissive attitude against side characters that sometimes are referred to as “second bananas.”

The “second banana” moniker has come over the years to refer to sidekick characters, particularly those that are intended to get a laugh from the audience.  The term actually originates back to vaudeville, referring to a performer who is the recipient of the punchline from the headlining comic; namely, the one who receives the banana.  A staple of comedy for many years, the second banana served the role of punctuating the gags, but sometimes the role could be less meant for a comedic situation.  Sometimes, the role of the second banana could be filled by an assistant to a titular hero, as a means of reinforcing the good deeds or grand discoveries they have accomplished.  Think of the value that Dr. Watson adds in witnessing the brilliance of Sherlock Holmes’ deductions.  Think of the guidance that Tonto gives to the Lone Ranger as they travel across the Wild West.  Think of the undying assistance the Alfred the butler lends to Batman.  Second bananas have a narrative purpose beyond just being comic reliefs.  But, for the most part, these types of characters continue to be valued less for their actual worth as an individual character and more for what they do to service the story or just the punchline.  Interestingly, sometimes the second banana rises out of the shadow of his or her more famous star companion and actually becomes the star themselves.  When you think of comedy teams like Abbott and Costello, Laurel and Hardy, and Martin and Lewis, the ones that standout is the person who gets the biggest laugh, and it’s usually the wackier of the two that is the recipient of the punchline.  Sometimes the whole direction of the story rests on the actions of the second banana, especially when the main hero is in their darkest point.  And that more than anything, is what makes a second banana character sometimes the most important character in a story overall.

One particular place where you see a lot of emphasis put on characters of this type is in animated films, particularly those made by Disney.  They have especially influenced the growth of sidekick characters over the years, mainly due to the fact that they usually are the ones that end up being the more marketable in the end.  With Snow White and the Seven Dwarves (1937), they found their narrative drive in the comedic potential of the seven little men who give shelter and protection to the ritual heroine.  Down the line, they began to find that the sidekicks were the ones that audiences especially gravitated towards, favoring them in the toy tie-ins that naturally followed once the movie premiered.  Characters like Jiminy Cricket from Pinocchio (1940), Tinker Bell from Peter Pan (1953), Sabastian the crab from The Little Mermaid (1989), Timon and Pumbaa from The Lion King (1994), and Olaf from Frozen (2013) have risen out to be among the most popular characters of all time, even sometimes eclipsing their main stars, and becoming icons themselves.  Some of them get there by being the funniest character to be sure, but the best of them also stand out by having worthwhile arcs themselves.  Jiminy Cricket’s guidance of Pinocchio coincides with his determination to be a certifiable conscious, complete with an official badge.  Sabastian grows from being a hinderance to Ariel’s dreams to being someone intent in letting her be who she wants to be.  A fuller story benefits when the side characters go through as much change as their primary hero will.  One film, I would argue perhaps accidentally made it’s side characters the real heroes; Sleeping Beauty (1959).  In that film, it is the three good fairies who save the day.  They sacrifice their powers to protect Princess Aurora, they sneak into Maleficent’s castle without hesitation, and they are ultimately the ones who put the sword into the prince’s hand in order to slay the dragon.  The titular princess is almost an afterthought in the end.  While sometimes Disney misfires with these kinds of characters (the gargoyles from Hunchback of Notre Dame, for example), they nevertheless know that these characters matter a lot as a part of their on-going legacy.

So, to get back to the subject at hand, why does Ron Weasley not get the love as a character as he should?  The history that we associate with second banana types has something to do with that.  Ron is a character that is far too often played for laughs; more so in the movies than in the books.  He’s a mediocre student, a terrible spell-caster, and lacks a great deal of talent in most things that you would expect from a great wizard.  But, the thing that he makes up for amid all his failings is the moral compass that he provides through his friendship to both Harry and Hermoine.  Ron is Harry’s window into the Wizarding World, and he helps to steer him through all the negative aspects within.  It’s better as part of the narrative for Harry to have befriended someone who is so immersed in the this world that he kind of takes it for granted, never acting as a show off or making Harry feel that he should feel threatened.  This is apparent when Ron and Harry first meet aboard the Hogwarts Express.  Ron’s attitude towards meeting Harry is just the same as chatting with a new friend; no pretension about Harry’s celebrity status or how ill prepared Harry is for the world he’s about to enter.  He finds his value in helping ease his new friend into feeling like he belongs in this world he knows nothing about.  Much more importantly, he teaches Harry the real stakes of the Wizarding World, and who is worth trusting and who they should fight for.  Apart from the things that make Harry and Ron different, they do have one thing in common, which is an outsider perspective.  Ron is lower class and is looked down upon by the wealthy elite at the Hogwarts school, so while he himself is knowledgable about the world of Wizardry, he benefits very little from the fruits of such power.  Harry is born into the world a celebrity, but was raised on the outside, knowing nothing about what he truly represents.  That combination creates a mutually beneficial friendship for both, and combine that with Hermoine’s Muggle (non-magic) background and you’ve got a pairing of friends born through a shared desire to keep the others on  the right path.

If there is one thing that really defines Ron Weasley as more than just a second banana but in actuality a hero in his own right, it’s his position in the story as an ever crucial lifeline.  One thing that especially defines every hero’s journey is an inevitable descent into a dark place.  Famed scholar Joseph Campbell, who crafted the blueprint for the typical hero’s journey in his examination of the narrative, called this moment in the story the Abyss.  In the Abyss, the hero succumbs to either a tragedy or a temptation that shakes the hero’s belief in themselves, leading them to a point where they are on the verge of giving up.  Some heroes climb out of this moment by their own determination, but sometimes it takes a secondary element to help the hero see the light again, and sometimes that comes in the form of the sidekick who has stuck by the heroes side.  Sometimes, that comes from a forceful kick in the pants to bring the hero out of their despair, like you see from characters like Han Solo and Princess Leia in Star Wars (1977), who help a whiny little farm boy named Luke Skywalker believe in himself again after tragic moments like Obi-Wan’s sacrifice or learning the truth about his father.  Ron Weasley, though, owes more of his inspiration to another lifeline character named Samwise Gamgee, the famous companion of Frodo Baggins in J.R.R. Tolkien’s The Lord of the Rings.  Sam, like Ron, has little in the way of talents, which makes him an unlikely guardian, but he more than makes up for that in his determination to never leave Frodo’s side, not even in the darkest of moments.  Over the course of Tolkein’s trilogy, Sam grows into more than just a buffoonish companion; he ultimately becomes the one who carries Frodo on his back to the summit of Mount Doom and pulls him back from the abyss once Frodo succumbs to the Ring’s dark hold.   Had Sam not been there, Frodo would have failed.  Ron fulfills the same role in his story, as Harry grows ever more withdrawn and angry during their many trials.  A particular narrative element in the book is that Harry and his arch-nemesis, Voldemort, have a lot in common, but what ultimately separates them is that Harry has true friendship, which keeps him empathetic and kind, and ultimately a believer that good will win out in the end.

Ron gives that support that ultimately keeps Harry believing in himself, but he does more than just steer Harry the right way.  One of the pleasing aspects of the story that J.K. Rowling crafted is that Ron himself discovers his own strength as the story goes along.  Ron starts off as a squeeling coward in the earliest part of the series, but after facing trolls, giant spiders, a whomping willow, and even menacing classmates and faculty, he ultimately has faith in himself enough to stand his ground against dark wizards by series end.  It’s particularly crucial at one point in the penultimate film, Harry Potter and the Deathly Hallows Part I (2010), when Harry gives the duty of destroying a Horcrux to Ron, knowing that at that point he has more of the aptitude to get it done in that moment, after Harry has been weakened physically and emotionally by the evil device.  With that, Ron overcomes the last bit of weakness in himself and ultimately serves as someone who can change the course of the story himself.  I think that when we look at the character of Ron Weasley, we sometimes get stuck in the image of that comic relief character from the earlier part of the story.  By the end, we almost forget that as Harry has grown into a hero, so has Ron.  By the end, Ron is just as likely to stick his neck out to save the day as Harry is.  The only difference by the end is that Harry is the one for a reason; the villain selected him as his foe.  I think that J.K. Rowling doesn’t in particular think she did a disservice to the story by involving Ron Weasley in it, and rewarding him with the same spoils of victory.  I just think she feels that by linking him with Hermoine that she ultimately didn’t satisfy her own desires for how she would have liked the story to end; that maybe she was just being too cliche with her choice.  But, I think in saying so, she is undermining the effectiveness that she had in making a sidekick like Ron more than just the average second banana in her story.

I for one, in the end, love the fact that he and Hermoine grow closer together throughout the story and by the end have cemented their love for one another.  He’s not perfect, but neither is Harry Potter for that matter, and I don’t see why J.K. thought any different.  Hermoine obviously has a mind of her own, and it’s apparent from the story that what drew her to Ron ultimately is his devotion to doing good even depite his limitations.  That, and I think that some of the push-back she would receive from Ron throughout the series also endeared him to her, as most geniuses want to be challenged.  What I like so much about Ron is that he does overcome that harsh stigma that follows characters of his type.  He becomes more than just the fool in the story on which the punchline is built; he becomes a hero in his own right by the end.  The real genius of J.K. Rowling’s series is that she gives that to just about every character as well.  Even the most absurd characters get their heroic moment, like Dobby’s heroic sacrifice or Neville Longbottom ultimately destroying the final Horcrux which leaves the villain finally vulnerable.  Ron especially gets to standout as a hero because, apart from a brief falling-out in Goblet of Fire, he never leaves Harry’s side.  We like to poke fun at the sidekicks and how worthless they sometimes are, but Ron Weasley is in that rare breed of sidekicks who is just as heroic as the hero he’s there to support.  One thing that especially makes these second bananas so important to a narrative is the fact that they sometimes are more interesting than the main hero.  Though that isn’t exactly the cases for the Potterverse, it is especially true in other media, where the story has to rely upon the supporting characters to add flavor when the main hero proves to be too boring.  I find that even though I do like Harry Potter as a character, I find Ron’s journey more fascinating, because of how undervalued his character type usually is.  The fact that he has a personality helps, which a perfectly cast Rupert Grint wonderfully supplies, and I can’t imagine what the story would have been like without him.  Probably not as good.  So, Ron Weasley shouldn’t be undervalued just because he’s not Harry Potter.  He’s a wizard with worth too, and the Potterverse as a whole might not have the same effect had he not gone above and beyond his second banana role in this story.

When you consider who the greatest icon to come out of Hollywood could be, the answer might surprise you.  It is not an actor, actress nor a movie mogul or filmmaker.  Instead, it is a little cartoon mouse named Mickey.  Sure, you have your Marilyn Monroe, or your James Dean, or your Charlie Chaplin whose images have transcended the work they have done and have inspired legends of their own purely through their existences alone.  But, Mickey Mouse is altogether different.  His impact is felt on all of us earlier on than any other entertainer in the world.  Apart from their mothers and fathers, Mickey Mouse is likely the first face that an infant will recognize due to the fact that for generations the first exposure that all children usually have to the world of entertainment is through watching a Mickey Mouse cartoon.  Though distinctively American in creation and in personification, Mickey is known and beloved the whole world over, making him one of the world’s most effective ambassadors as well.  It’s been said that the only things more recognizable worldwide than Mickey Mouse would be either Jesus or the Coca-Cola bottle.  But, it really makes you wonder, why Mickey Mouse?  He wasn’t the first cartoon character, nor the most prolific.  Some would even argue that he’s the least interesting cartoon character because he’s portrayed so often without flaw or negativity.  But, regardless of personal feelings towards Mickey, the true reason why he is held up in such high regard is because of the of his overall effect on everything, from the legacy and power of the Disney company, to his affect on pop culture, to even the personal affect on our childhoods.  And with the marking of his 90th year in existence, we are left with an even more profound question: what would the world have been if there never was a Mickey Mouse?

The most immediate impact that Mickey Mouse certainly has had is in the creation of the largest media empire in the world.  When Walt Disney first conceived of the character back in the summer of 1928, I don’t think he would have ever had imagined that the company that bears his name would have the kind of reach that it does today.  The Walt Disney Company is an undisputed industry leader, having arms devoted to the business of movies, television, theme parks, consumer products, and even hospitality and cruise lines of all things.  They are just about to overtake one of their competing studios in an unprecedented merger, and will soon add streaming entertainment to their ever growing portfolio of services.  But despite all the growth and the broadening of collective properties that are brought into the Disney company’s fold, there is still one constant, and that’s the presence of Mickey Mouse.  Mickey remains the symbol of the company, embodying the wholesome, reliable face that the Disney company wants the world to recognize them as.  Mickey’s power as a symbol is crucial for a mega-giant corporation like Disney, but he’s also held up in such esteem because of his significance to the company’s survival.  Walt Disney said so himself in one of his many television specials, “I hope we never loose sight of one thing.  That it was all started by a mouse.”  This has become the motto of the company itself, as they recognize that after all the movie premieres, after all the earnings reports, the new attraction openings, the product launches, the ups and downs, the surprises and failures, that everything that makes Disney what it is stems from Mickey.  It’s a statement to say to all those working in the industry and in particular to those at the Disney company, that you should always have eye towards the past while looking forward into the future.

For Walt Disney himself, he fully understood what Mickey Mouse meant to him.  After working his way through early animation studios in Kansas City, Missouri, Walt set out to Los Angeles to embark on creating a studio of his own.  There, he worked closely with another young, ambitious animator named Ub Iwerks, who helped  Walt Disney experiment with groundbreaking techniques like mixing live action and animation together.  With the help of his business savvy brother Roy, Walt soon opened his first animation studio in a back office in the Los Feliz district of LA.  Having put together a robust staff and gained some notoriety for his cutting edge Alice shorts, Walt soon developed a new series devoted to what he hoped would be a cartoon star on the same level as Felix the Cat.  That character would be Oswald, the Lucky Rabbit.  But, after producing a handful of Oswald shorts, Walt soon learned that his distributor, Charles Mintz, had effectively written Walt out of his contract and signed away all his animators (except Iwerks), leaving him with nothing;  not even Oswald.  On the ride home after that fateful meeting, Walt brainstormed what to do next and out of that came the concept for a spunky little mouse.  With Ub’s help, they created the first drawing of their new character and gave him the name of Mickey out of the suggestion from Walt’s wife Lillian.  They now had their character, but what would make him different than Oswald?  The answer was a voice.  After the breakthrough of synchronized sound in the movie The Jazz Singer (1927), Walt made a gamble of adding this technique to the medium of animation, and it not only worked, it made history.  But, what voice would do for a cartoon mouse?  Well, for Walt Disney, the answer was simple: he would perform it himself.  Walt’s falsetto fit the character perfectly, and more important, it gave him personality.   That’s why Walt had such a lasting devotion to the character, because Mickey was such a part of him, and essentially is what saved him in Walt’s darkest moment.

You don’t have to look further than the very hub of Disneyland park to see just how connected those two are to the history of the company and to the industry in general.  The bronze statue, dubbed “Partners” shows Walt and Mickey holding hands as they overlook the worldwide destination that they built together.  You’ll see no more a fitting representation of the bond between creator and creation in art outside of religious iconography.  But true immortality only benefits the creation in the end.  Walt Disney passed away with many of his ambitions left unfinished, and much of what the Disney company is today is quite different than what he would have intended it to be.  But, the Walt Disney Company still has an affinity for it’s past, and that’s no more apparent than in how they’ve maintained their icon for all these years.  Walt didn’t just give Mickey his voice, he gave him an identity.  Mickey Mouse became an icon because of the way that he embodied the every man hero that we all wanted to be.  That’s why he gained so much of his popularity during the height of the Great Depression.  The determination that Walt Disney put into the character to stand up for justice and pull himself up from the depths of despair gave hope to those who had all but lost it in those times.  The same proved true during the War Years as well.  Though Walt stopped short of putting Mickey in uniform (because he didn’t want Mickey to symbolize actions related to killing others as a part of combat), Mickey nevertheless represented the American spirit that helped unite the nation together.  You know Mickey had the right effect when dictators like Adolph Hitler and Joseph Stalin wanted him banned from their countries.  One of the most compelling instances of Mickey’s powerful influence in the culture came when Walt Disney made a goodwill tour of Latin America in the midst of World War II.  Upon visiting Uraguay, Walt brought with him a collection of shorts that the South American nation had rarely seen before then, as well as plenty of Mickey dolls for the children of the country.  Mere days after Walt’s visit, the Uraguanian government told the German ambassador to leave and that they would be cutting diplomatic ties with the Nazi regime.  All that, because of a cartoon mouse.

Naturally, the Walt Disney Company recognizes that Mickey Mouse is a powerful symbol, and they’ve been careful to guard his image over the years.  Apart from the use of the character for wartime propaganda in the 1940’s, Mickey Mouse has never been used for anything more to do with government.   He’s thankfully never endorsed a politician nor any political party.  Individual groups unaffiliated with the Disney company have however adopted the image of Mickey Mouse into their own iconography, and usually depending on the level of objections you hear from the Disney corporate offices will tell you just how much they themselves stand on most issues.  Though Mickey is meant to symbolize neutrality officially from the Disney company, his image has been used among a variety of things like advocating for the environment, for civil rights, and for the welfare of the poor and disenfranchised.  I can tell you having been to the LA Pride festival that I’ve seen many members of the LGBTQ community showing off their pride with among other things shirts and pins with a rainbow flag shaped into that distinctive three-circle silhouette of the mouse himself.  Mickey may not officially be an advocate for all those things, but the effectiveness of his ability to spread a message is certainly not lost on all these groups.  In particular, many advocacy groups like to use the symbol of Mickey Mouse because it helps their message reach younger minds who naturally grow more interested when they recognize a character whose played such a big part of their upbringing.  Mickey Mouse is trusted in ways that most politicians would dream about, and that can be both a blessing and a curse.  The reason why the Disney company chooses to not make Mickey Mouse an official symbol of anything other than their brand is because they don’t want there to be any backlash brought their way when certain positions face fierce opposition.  Mickey is often used as a means of undermining the good aspects of the company and the character, as critics and troublemakers like to break down something that is manufactured to be portrayed so pure.  You see this in stuff as harmless as t-shirts with Mickey covered in tattoos or giving a gang sign to more extreme aspects like showing in some media Mickey committing murder, involved in a sex act, or using hate speech.  Mickey is almost too powerful a symbol, and the best we can hope is that the desire to see him remain a positive influence in our lives wins out over everything else.

Despite Disney closely guarding their the image of their iconic mascot, they still do their best to keep Mickey in tune with the times.  That, more than anything, has kept the character relevant for 90 years and will likely continue to keep him around for another 90.  Mickey has changed little in some ways, but at the same time is also greatly different than how he started.  The whistle-blowing steamboat captain of Mickey’s debut short, Steamboat Willie, set the primary look for the character, but several changes like the addition of pupils in his eyes and a more pear shaped figure that is easier to animate have been added over the years.  There are certainly benchmark moments that cemented new eras for the character; one in particular being the “Sorcerer’s Apprentice” sequence from Fantasia (1940), which is widely regarded as one of the greatest examples of animation of all time.  Not every use of Mickey Mouse has aged well; I’m sure Disco Mickey is something that no one wants to remember fondly, Disney most of all.  But, the fact that Mickey never has fallen out of popularity after all these years is a real indication of the effectiveness that the Disney company has had with adapting the character over the years.  And the interesting thing is that Disney has done that sometimes by even returning to the things that have worked in the past.  Surprisingly, Mickey has returned more recently to a more retro look in recent animated shorts, with the color taken out of his skin and the pupils returned to their original black dots.  And when you look at most Mickey related merchandise, what ends up selling the most are the things that have sold well generation after generation.  I don’t think that it’s any mistake that one of the face options available on a newly purchased Apple Watch is one of Mickey Mouse designed to look like all the classic watches made throughout the years, with Mickey’s arms moving across the dial.  In some ways Mickey moves with the times, and then sometimes the times move to meet up with him.  That’s the power of a character who transcends all the rules and manages to endure no matter what else happens in the culture at large.

For me, Mickey Mouse has had a profound impact.  My journey into the world of cinema was, to say the least, all started by a mouse.  I had my first Mickey Mouse doll before I could even walk, and the first things that I likely ever saw on television were the Mickey Mouse cartoons that my parents let me watch on the then newly launched Disney Channel.  Since then, I spent many of summers in California, often visiting Disneyland, and some of the oldest pictures I have of myself are in the embrace of a Mickey Mouse walk around character from the park.  I have only worn watches with a Mickey Mouse face on it, and have numerous shirts in my wardrobe with some Mickey design on it.  Though my movie tastes have largely moved beyond just Disney related materials, I still hold a special place in my heart for the studio and their mascot, because they were the gateway to everything else.  And I’m sure that it’s the same for a great many other people out there, especially in the film industry.  Many people learned how to portray heroism through Mickey; because he embodied everything that made a hero great.  He’s also an embodiment of the every man ideal, much in the same way that the likes of Henry Fonda or Jimmy Stewart often represented on film.  Though not always used perfectly, Mickey Mouse stands as an ideal for good-natured civility in a world that desperately needs it.  One of the most profound moments ever on the big screen related to Mickey Mouse came not in a Disney film at all, but in a sharp satirical comedy from Preston Sturges called Sullivan’s Travels (1941).  In that movie, a jaded filmmaker embarks on a soul-searching mission to go out into the country and find a sense of the real human condition in America, warts and all.  He casts aside his wealth and influence and lives life as a hobo, becoming more cynical and frustrated with how Hollywood seems to overlook the real plights of the average person.  At the end of the movie, he ends up in  a chain gang of prisoners and all of them are brought into a room and treated to a film after a long days work.  And it happens to be a Mickey Mouse cartoon.  The director, played by Joel McCrea, is stunned to find these downtrodden souls suddenly filled with joy and laughter when watching the cartoon, and for a moment, he too forgets his sorrows and laughs along with them.  From then on, he realizes the real effect that cinema has on uplifting the hearts of everyone and has faith renewed in his art-form once again.  The fact that it took Mickey Mouse to make that profound change is a real testament to how impactful he can be on one’s personal journey.

Like most influential things in our culture, Mickey Mouse is many different things to many different people; a symbol, a corporate logo, an ideal, a nuisance, a role model, a teacher, a celebrity, an icon, a relic, a revelation, and for many people, a friend.  90 years has made the character so monumental across the world mainly due to the fact that he is passed on through the generations.  Our parents and even some grandparents have known only a world with Mickey Mouse as a part of it, and for most of us, he was an essential part of our upbringing.  Most parents even intentionally bring their fondness for Mickey Mouse into the rearing of their own children, keeping that tradition going in the hopes that they can have that as something that helps to bond their family together.  Few other characters become a part of our lives the same way that Mickey does.  Walt Disney may not have realized it at the time, but he had stumbled upon one of the greatest assets to humanity that the 20th century likely ever produced.  The fact that Mickey has gone on to symbolize goodwill across the world is one of the greatest accomplishments that he’s ever had the privilege of being a part of.  Imagine a world where Mickey Mouse never came into being.  Would Walt Disney had found success with something else, or would he have faded into obscurity having given up on his dreams?  Would another cartoon character have excelled in his place?  Would the power and influence that the Disney company now yields have been scattered differently throughout the film industry?  Would America and Western democracy have battled back tyranny had they not had as powerful a goodwill symbol as Mickey Mouse?  The world would have likely been very different.  Historically and culturally, Mickey Mouse is an indispensable part of our lives.  That’s why, as the Mouse hits that monumental 90 year mark this month, we all are reminded of the personal effect that he had on our own lives and for most of us, it’s filled with fond memories.  Whether you are putting on your mouse ears, or watching “The Sorcerer’s Apprentice” for the hundredth time, or getting that ever crucial picture at Disneyland, it’s a celebration worth rejoicing over as that little Mouse named Mickey is still going strong.  Come along, sing the song, and join the jamboree; M-I-C-K-E-Y-M-O-U-S-E.

It’s hard to think of it now, but there was a time when it looked like the Horror film genre had lost any and all credibility in Hollywood.  For much of the late 90’s and through the 2000’s, the horror genre was plagued by a number of mediocre films that were neither scary nor entertaining.  More telling, the complete disdain that the industry had for horror films could be seen in the way that the studios were simply just making films for a target audience, namely young adults 18-25, and no one else.  This led to the dreaded notion of PG-13 rated horror movies, that were far more reliant on jump scares rather than actual violence and gore.  And this wasn’t always the case with Hollywood horror.  There had been decades of noteworthy horror flicks that had left a major impact on the industry.  Starting from the Universal monster movies of the 30’s, all the way through B-movie horror of the 50’s and 60’s like George A. Romero’s Night of the Living Dead (1968), to the slasher movies of the 70’s and 80’s like John Carpenter’s Halloween (1978) and Friday the 13th (1980).  The genre even became so admired in Hollywood that it won the coveted Best Picture Oscar with Jonathan Demme’s The Silence of the Lambs (1991).  But, like most other genres, Horror saw a decline when studios tried to interfere too much in the direction of where the genre was headed.  Soon it became less important creating memorable monsters and spooky atmosphere and more about hitting those cheap scares, or trying to one up themselves in the over the top gore.  Mostly, the horror films of the 2000’s fell flat because they pretty much all look and felt the same.  Sure there were exceptions like The Blair Witch Project (1999), The Ring (2001), and Saw (2004), but even those were undermined by lackluster, play-it-safe sequels.  Towards the end of the decade, the consensus was that horror was just not as effective at being scary like it used to be.  But, that would change once someone came along and changed the industry standard.

In walks Jason Blum, and his newly formed production outlet, Blumhouse.  Blum, probably without intention, has become the most valuable name in the Horror genre today, and has brought back a bit of prestige to this long neglected genre.  Though there are a lot of factors that have led to Blumhouse’s success, none is more key than the business model that the company has set out to identify itself with.  The Blumhouse model simply involves producing films on a controlled small budget with complete creative freedom for the directors and releasing them wide through the studio system.  By doing this, Blumhouse is able to have an output that is artistically unique without carrying a whole lot of financial risks, making them easier to sell to the major studios as well as to theaters across the country.  Because of this, the cost to profit margin has been extremely beneficial to the production company, with each film grossing significantly more than what they cost to make.  And with the huge profit margin, they have been able to build a great deal of personal capital which has allowed them to grow their business and increase their output.  Today, Blumhouse is not only putting out quality horror films, but are venturing into genres of all kinds; comedy, romance, family, even Christian drama.  They even recently announced a joint production with Dreamworks Animation (tentatively titled Spooky Jack) which will be their first venture into cartoons.  They also have also delivered several documentaries and TV movies, mostly for HBO so far, which has shown that they are not just a one trick pony within the film industry.  Even with all the continued success, the stated business model still drives the output of the company.  They don’t spend more than they need to, and they are keenly interested in discovering new talent and giving them the tools they need to make a mark in Hollywood.  That’s the key to making a difference in Hollywood; showing a commitment to a working strategy.

It wasn’t an overnight change for Blumhouse and the industry as a whole, however.  Blumhouse was launched in the year 2000, but it didn’t see it’s first theatrical release for 6 years.  It wasn’t even the intention of the company to take a look at horror, but that changed when a little project named Paranormal Activity (2009) dropped into their lap.  The found footage style film was not a novelty at the time, since Blair Witch pioneered the technique nearly a decade earlier, but under the guidance of the Blumhouse model, this little haunted house flick would prove to have a significant impact on the industry.  The movie cost a paltry $15,000 to make, utilizing unknown at the time talent, a single location, and cheap digital cameras.  The movie’s stripped down, cheap look actually proved to be it’s biggest blessing because it made the movie stick out greatly among all the other “polished” horror movies.  The jump scares didn’t feel cheap because they appeared more natural through the limitations of the presentation, and the lack of CGI manipulation helped to give it that ever crucial element of authenticity.  In the end, Paranormal Activity actually became even more monumental than Blair Witch, because it cost less and made even more, which only emboldened it’s creators to trust their instincts going forward.  Hollywood soon took notice once they saw how much return Blumhouse got on it’s investment.  Naturally, the sequels followed, but the quality of the finished films didn’t matter as the business model continued to ensure positive dividends on their side.  They were certainly continuing to figure things out from a creative standpoint, but ensuring that they weren’t making any rising financial decisions early on really helped to set up the foundation that would carry them forward over the next decade.

Since Paranormal Activity, the continued focus of Blumhouse has been less on building their capital, which has been steadily flowing for them for years, but instead to procure and propel top tier talent to and from their company.  Their goal has been to convince the industry that they are an artist friendly outfit, and that directors, actors and producers will have more creative freedom under their tent than they would anywhere else.  This became especially beneficial for the horror genre as one of the first directors to make the jump over to Blumhouse was James Wan, the creator of the Saw franchise.  After leaving his series behind, Wan was ready to explore a different side of the genre with the more subdued and eerier project, Insidious (2010).  Insidious was a very antithetical style horror film compared to everything else at the time, because it was a quiet, low key film which used silence and atmosphere as more effective ways to build tension and chills for it’s audience.  It was also a movie that calls for a lot of patience on the viewers part, which is a risk, but one that pays off well if it works.  Thankfully it did, and James Wan was able to carve out a new trend in the horror genre that he otherwise wouldn’t have had if he shopped his idea anywhere other than to Blumhouse.  Since then, other directors have sought out Blumhouse as the place to get their unique ideas off the ground.  You wouldn’t have had horror flicks with a noir sensibility like Sinister (2012) nor another with political commentary like The Purge series had Blumhouse not embraced new concepts through their model.  The most interesting aspect of their artist friendly ideal is that they’ve attracted filmmakers who feel they have been compromised too much elsewhere.  You can say that Blumhouse has single-handedly resurrected the career of M. Night Shaymalan, with his recent hits like The Visit (2015) and Split (2017), and that’s only because it seems like he’s finally getting back to the movies that he wants to make again, with their support.  The financial model has helped Blumhouse to build significant capital, but in attracting the talent they have, they’ve ensured a treasured reputation amongst filmmakers that will greatly help them in years ahead.

Perhaps the thing that is especially noteworthy about Blumhouse’s intent on attracting new artists into their fold is that it’s also opened the door for voices within the horror genre that we’ve never been able to see before.  This was very evident with the production of comedian Jordan Peele’s directorial debut, Get Out (2017).  Not only did the movie manage to become a hit with horror fans, but critics and industry insiders took notice as well, mainly because of the film’s content.  Unlike most other horror films, this was a movie that tackled it’s subject with a clear intention to provoke discussion and take very clear shots; in this case, with the very touchy issue of race relations in America.  Peele used the horror genre as a clever mirror held up to society, and framed the tropes of the genre in a way to make the cutting commentary even more insightful.  More than anything else, this opened up a very crucial door for the genre as a whole because it introduced a distinctly African American voice into a genre that has largely ignored it.  It’s surprising that it has taken this long for a horror movie from a black perspective to have been made, or at the very least become mainstream.  African-American audiences are some of the most reliable consumers of the horror genre, so it seems like a no-brainer that there should be one made that speaks with their own voice, tackling issues important to their community.  Hollywood took notice of this breakthrough and honored the movie with several Oscar nominations, including a Best Picture nod.  Peele won the Oscar for his original screenplay, a first for a black writer, and for the first time since Silence of the Lambs, horror had been recognized by the industry as prestige entertainment.  The most positive aspect of Get Out’s success is that it has convinced places like Blumhouse to look into other disenfranchised communities to find new voices to add to their every diversifying body of work.  Blumhouse, maybe unintentionally, might have broken the glass ceiling that has kept the horror genre a predominantly white, male centric world and shown that it can indeed be a genre that can carry a million voices within it.

But, when your business model involves taking creative risks rather than financial risks, an open production company like Blumhouse still needs to be moved in the right direction before it can fully make a significant change happen.  Jason Blum recently put himself into hot water recently with a not very well thought out statement that he would like to “make a female centric horror movie,” but there just aren’t enough women directors in horror right now to make that happen.  This rightfully sparked outrage from female critics and horror movie aficionados alike, who felt that Blum showed a very narrow-minded outlook on the relationship between women and the genre at large.  He’s not opposed to the idea of more female-centric horror movies, but his words showed how little effort he’s put into changing that situation.  First of all, he clearly hasn’t been looking hard enough, as there are plenty of aspiring and budding female filmmakers who are huge fans of the horror genre.  Secondly, you don’t have to look just for women who work exclusively in the horror genre; there are filmmakers out there who would gladly make the jump into horror if it allowed them to bring their own unique voice into the genre.  Apparently, Jason Blum did make the attempt to court director Jennifer Kent, who made the cult horror hit The Babadook (2014), over to Blumhouse, but she refused and this seemed to convince him that women directors were just not interested to a great extent in horror.  He thankfully went back on his statement and reassured that he’ll try harder to bring a female voice into Blumhouse’s future output.  But this is something that’s indicative of an overall problem with the genre, which has sadly objectified women throughout the course of it’s history.  Women are not opposed to horror as a genre, but they have clearly lacked control over their own representation in the genre and it’s more important than ever that they be given that opportunity.  With the kind of clout that Blumhouse has right now, they can make that change happen, but they also need to realize that they need to look harder than they already do.

Despite their recent hiccups, the overall direction that Blumhouse has moved Hollywood in is a positive one.  Not only have they opened the door for more diversity in the creative talent behind their movies, but the industry is taking strong notice of their successful financial model.  More and more film companies are seeing that more modest budgets for movies with unique character is the best way to generate profit in the long run.  Also, allowing artists creative freedom helps to manage the high costs of the movies because actors and directors are more likely to take a smaller salary if they are allowed to do whatever they want instead of asking for 7 or 8 figure paydays for movies that they know full well are going to be garbage and are just using their name recognition to boost box office numbers.   Blumhouse has already made a name for themselves as a likely place for actors who want to make their first directorial effort, like the already mentioned Jordan Peele as well as Joel Edgerton with his horror thriller The Gift (2015).  Their model has already clearly had an influence on their nearest competing rival, the Michael Bay created Platinum Dunes production company.  Platinum Dunes spent much of it’s early years following the already uninspired horror film formula of the mid-2000’s, largely being responsible for critically panned remakes of horror classics like The Texas Chainsaw Massacre (2003), Amityville Horror (2005), Friday the 13th (2009) and A Nightmare on Elm Street (2010).  But, thanks to the Blumhouse influence, who they co-produced The Purge (2013) with, they have changed their focus to reflect the new direction that horror has been moving towards.  Their recent hit, A Quiet Place (2018) reflects that, with a modest budgeted production built on atmosphere and crafted as a pet project from an already established star, John Krasinski; written, directed, and starring him and his real life wife, Emily Blunt.  Whether or not Krasinski would have made his movie there or somewhere else, it’s clear that Platinum Dunes wouldn’t have taken on the risk had they not seen Blumhouse’s success with like-minded films before.  As a result, you can see the way that more and more of the industry is seeing the benefits of Blumhouse’s model as a way of maximizing their output with all the future movies they have in production currently.

So, where does that leave Blumhouse in the future.  It’s clear that even though they have certainly become synonymous with the horror genre, they don’t intend on relying just on that alone.  They are already venturing out into other genres and while at the same time continuing to leave their mark with horror movies.  Their more long term goal is to make their business model the ideal for all Hollywood, especially when it comes to finding new talent.  They already have reinvigorated the careers of already established directors, like James Wan and M. Night Shaymalan, and have propelled the likely all star filmmakers of tomorrow too.  They are responsible for discovering director Damien Chazelle with his debut film Whiplash (2014) which was one of Blumhouse’s first non-horror theatrical releases and their first Best Picture nominee.  Chazelle of course went on to become the youngest Best Director winner in history, so you can see just how well a launching off point Blumhouse can be for fresh new talent.    But most horror film fans are grateful to Blumhouse for bringing the genre back to it’s basics.  Relying less on visual effects and more on atmosphere, Blumhouse horror seems much more in line with the roots of the genre, which always were more effective when dealing with the constraints of a modest budget.  That’s not to say that Blumhouse is making horror feel old-fashioned, but rather using the idea of not spoiling a good idea with too much film-making.  They are also revolutionizing the genre with fresh concepts never seen in the genre before like pointed social commentary directly from the minds of oppressed minority groups.  It’s also telling just how much trust they’ve earned within the industry when they are being trusted with carrying established genres into the next decade like Halloween and Spawn.  Both as a creative factory and as a role model for the industry at large, Blumhouse has managed to accomplish a lot over the last decade and it looks like their success will continue for many years to come.  More than anything else, they are beloved by horror fans around the world for helping to bring prestige back into the genre and show that these are films that are much more than scary movies, but worthwhile and provocative entertainment just like with any other genre.