streaming

Many viewers have issued a stark warning for anyone wanting to watch the film

A horrifyingly brutal film that reportedly had fans “fainting” with others issuing a warning is available to stream on Prime Video.

Bones and All was first released back in 2022 starring Timothée Chalamet and Taylor Russell as fans are warned before they watch the “unhinged” film. The R-Rated romance is directed by Oscar nominated filmmaker Luca Guadagnino who gained recognition for his 2017 hit Call Me By Your Name.

The grisly horror romance, based on the novel of the same name by Camille DeAngelis from 2015, follows two cannibals who unexpectedly fall in love, struggling with their uncontrollable urge to eat human flesh.

Maren (played by Taylor Russell) decides to track down her mother when along the way she forms an unlikely alliance with another young cannibal Lee (Timothée Chalamet).

An older eater of human flesh, Sully, develops an obsession with Maren as it has been dubbed a horror version of the classic love story Romeo and Juliet.

Now, the film – which won awards following its world premier at the Venice International Film Festival in 2022 – is available for streaming on Prime Video for anyone who dares press play.

Prime Video teases: “In a world that cannot abide who they truly are, a young woman who is learning how to survive on the margins of society and an intense, disenfranchised drifter embark upon a road trip, searching for identity and chasing beauty in a perilous world.”

With an impressive score of 82% on Rotten Tomatoes, one reviewer said: “This is the most creepy, atmospheric, and yet beautiful movie I have ever seen! It deserved so much more acclaim that it got!”

Another wrote: “A truly twisted Romeo and Juliet story that horrifies you and pulls on the heart strings at the same time.”

A third added: “The perfect balance between horror and romance. The masterpiece I never knew I needed.” A fourth replied: “This was horrifying and beautiful.”

Critic Barry Hertz for the Globe and Mail said: “Bones and All is beautiful and unhinged all in the same bite.”

Over on IMDB, the film scored a slightly lower rating of 6.8/10 stars, but viewers did not hold back on praise.

One movie-goer enthused: “BONES AND ALL is an intense, heart-breaking, and uplifting tale that is sure to leave an impact. It’s a must-watch for anyone who enjoys horror and romance, or simply needs a reminder of the power of love. Be warned though – this movie has lots of blood and gore, so it’s not for the faint of heart.”

Another warned: “Not for the faint-hearted and definitely don’t eat a lot before the movie.”

There were reports at the time of cinemagoers fainting and vomiting during screenings due to its gory details, with director Luca Guadagnino telling the Irish Times back in 2022: “I heard about people fainting and some people also throwing up, some screaming.”

Following its release, Russell won the Best Young Actress award at Venice Film Festival, and the pair’s performances were widely praised by film fanatics. Contrary to its critical success, the film seemingly failed at the box office, grossing $15.2million worldwide on a reported $16-20million budget – though it remains a hit with many viewers.

Bones and All is available to stream on Prime Video

Advertising on streaming services is a big new growth business for marketing and media companies, but consumers are increasingly frustrated by what they see and hear on their screens.

Ads might be too loud, of poor quality or irrelevant, and repeat too often. Sometimes, there’s an ad in a foreign language or a blank screen. As more streaming services launch ad-supported plans, viewers are experiencing these issues in greater numbers, which could come at a cost to the media companies.

“It can lead to them losing subscribers,” said Ruben Schreurs, chief executive officer of Ebiquity Plc, a London-based consultancy that says 75 of the world’s top 100 advertisers are clients.

Better, more-relevant advertising has been one of the recurring mantras of the connected-TV world. As online platforms gathered more data on their users, they were supposed to provide sponsors with targeted opportunities. Consumers would see spots for products they were more likely to want. Instead, those advances have become the source of viewer frustration.

National ad spending on streaming is expected to climb 13% to $12.3 billion this year, while such spots on traditional TV networks fall 4.9% to $33.8 billion, researcher Magna Global estimated in June. Streaming now reaches 96% of U.S. households, according to another researcher, Kantar Group & Affiliates, making the services a big opportunity for advertisers.

“We’ve seen more budget and spend move over,” said Joe Nowak, senior vice president of growth and strategy at Kantar.

Walt Disney Co. and Netflix Inc. have launched advertising-supported plans for their streaming services. At Netflix, ad-supported plans account for more than half of new subscriptions in markets where those plans are offered. They are usually offered at a discount. Disney+ with commercials is $12 a month, for example, while the ad-free version is $19.

Streaming offers advertisers distinct advantages over other media, according to Nowak, including interactive capabilities. On Amazon.com Inc.’s Prime Video service viewers can click into ads to buy the products shown.

In theory, advertisers can also target consumers more closely on streaming services. In traditional TV, all viewers typically see the same ads during a given broadcast. With streaming, commercials can become more personalized through a process called “dynamic ad insertion.” Audiences see commercials tailored to attributes like their location or viewing history.

It’s also easier and cheaper for advertisers, including smaller ones, to purchase streaming spots than it is on broadcast or cable.

Streaming ads are typically sold in online auctions, where spots for shows, sporting events and movies go to the highest bidder. That’s led to “democratization of access,” according to Ebiquity’s Schreurs.

“Instead of actual salespeople from the network negotiating directly with media agencies for big activations, big deals for well-known brands where they can vet the creatives, the process has become real-time,” he said.

Without that vetting, streaming platforms have less control over the ads that appear on their platforms. The smaller brands winning auctions may not have the same resources to produce high-quality commercials, according to Sean Muller, chief executive officer of the ad measurement platform iSpotTV Inc. These businesses sometimes rely on artificial intelligence to produce their ads, he said.

“You absolutely get a lot of that, and they do tend to be lower-quality,” Muller said.

Another common issue centers on ad frequency. With brands able to snap up ad blocks at auction, they sometimes get overzealous, feeding viewers the same spot over and over in a single show.

That’s particularly frustrating for streaming viewers, who are “more of a captive audience” than traditional TV audiences, who can easily change channels.

“Switching apps is a little bit of a pain in the butt,” Muller said.

And unlike the old days when consumers recorded programs to watch later, in the streaming era you can’t skip the commercials.

While streaming ads can pinpoint audiences based on their ZIP code, they sometimes miss wildly. For instance, viewers in a neighborhood with a large Latino audience may get an ad in Spanish even while watching a show in English.

“If it was done the right way, it would be running in Spanish-language content,” said Jim Wilson, CEO of Madhive, an ad platform designed for local advertisers.

There are other problems with streaming ads that seldom pop up on regular TV. For example, a blank screen sometimes appears during commercial breaks.

“They’re either not sold out on their inventory or there’s some sort of technical issue,” Wilson said.

But perhaps the biggest annoyance for streaming viewers happens when ads are ear-splittingly loud — a problem that used to crop up on conventional TV. That happens when streaming services fail to “normalize” the volume on ads before they are inserted.

In October, California passed a law requiring the services to keep the sound level of ads the same as the programming they accompany. It was inspired, according to state Sen. Tom Umberg (D-Orange), by one of his staffers whose sleeping baby was awakened by a loud streaming ad.

“This is a quality-of-life issue,” he said in an interview.

The legislation, which takes effect on July 1, 2026, could inspire changes on a national level and is one of the most well-known bills he’s worked on.

“This struck a chord with anyone who watches any entertainment on a streaming service,” Umberg said.

Miller and Palmeri write for Bloomberg.

Walt Disney Co. is expanding its presence in the Middle East, inking a deal with Saudi media conglomerate MBC Group and UAE firm Anghami to form a streaming bundle.

The bundle will allow customers in Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE to access a trio of streaming services — Disney+; MBC Group’s Shahid, which carries Arabic originals, live sports and events; and Anghami’s OSN+, which carries Arabic productions as well as Hollywood content.

The trio bundle costs AED89.99 per month, which is the price of two of the streaming services.

“This deal reflects a shared ambition between Disney+, Shahid and the MBC Group to shape the future of entertainment in the Middle East, a region that is seeing dynamic growth in the sector,” Karl Holmes, senior vice president and general manager of Disney+ EMEA, said in a statement.

Disney has already indicated it plans to grow in the Middle East.

Earlier this year, the company announced it would be building a new theme park in Abu Dhabi in partnership with local firm Miral, which would provide the capital, construction resources and operational oversight. Under the terms of the agreement, Disney would oversee the parks’ design, license its intellectual property and provide “operational expertise,” as well as collect a royalty.

Disney executives said at the time that the decision to build in the Middle East was a way to reach new audiences who were too far from the company’s current hubs in the U.S., Europe and Asia.

Latinos remain severely underrepresented in the television industry, according to UCLA’s latest Hollywood Diversity Report.

Released Tuesday, the report examined the top 250 series available on streaming, including both library offerings and current titles. Overall, it revealed a steep fall in cultural diversity among 2024’s top comedies and dramas, as well as fewer projects created by people of color and women.

For Latinos, representation on screen and behind the camera is scarce. Only 1.1% of the top streaming scripted shows were created by Latinos. Of the top streaming comedies and dramas, 3.3% had Latino lead actors and 5.2% were co-led by Latino actors. When looking exclusively at current streaming shows (excluding library titles), 1.1% were created by Latinos and 6.2% were led by Latino actors.

UCLA’s Hollywood Diversity Report dates back to 2014. The first iteration of the study used data that had been collected since 2011. Ana-Christina Ramón, UCLA’s director of the Entertainment and Media Research Initiative, says that this level of underrepresentation across all kinds of media is nothing new.

“It’s a consistent finding in our reports. But the numbers are such a stark level of underrepresentation because of the fact that we’re almost 20% of the population,” said Ramón. “Even when the numbers are a little bit better, they’re never close to where they should be.”

This lack of representation isn’t exclusive to the Latino population. The report found that four out of five leads in the most-watched streaming comedies and dramas were white actors, and white men account for nearly 79% of all show creators — leaving nearly every other race and ethnicity severely marginalized.

The downward trend comes at a time when President Trump has consistently targeted and called to end all diversity, equity and inclusion efforts. As a result, much of Hollywood has followed his lead. Paramount Global changed its staffing goals related to gender, race, ethnicity and sex; Warner Bros. Discovery restated its DEI activities as “inclusion”; and Walt Disney Co. got rid of its “diversity and inclusion” performance standard used to calculate executive compensation.

These findings generally defy American audiences’ preference for diverse content. The research shows that “a relatively diverse cast and diverse credited writers often resulted in higher ratings,” especially when these stories from diverse communities are live-action and scripted.

This trend isn’t isolated to television — eight of 2024’s top 10 streaming films and 14 of the top 20 streaming films featured casts with more than 30% people of color, according to previous UCLA research.

Despite the lack of Latino representation, Netflix’s narco-drama starring Sofia Vergara, “Griselda,” was the fifth-most-streamed television of 2024. In Latino households specifically, it reached third place, behind children’s TV shows “Bluey” and “Bebefinn.”

“The silver lining is that [‘Griselda’] was very popular, and though it’s a stereotypical topic, because it was made by the same people that made ‘Narcos,’ it had a prestige factor that gets passed along,” said Ramón.

She finds that the shows that tend to do well have to have a well-known lead actor, be of an interesting topic and be attached to something that is already established or popular. In 2023, the report included Netflix’s “Wednesday” at the fourth-most-streamed show and “The Last of Us” at No. 7, both shows featuring Latino lead actors.

All three titles “have a high production value and are familiar stories” — as “Griselda” was based on a true story, “Wednesday” builds off the IP of “The Addams Family” and “The Last of Us” is based on a video game.

“Regardless of which [ethnic] group you’re talking about, it really has to do with these very specific pieces,” said Ramón. “The very promising finding is the fact that underrepresented stories, which include Latinx stories and other BIPOC stories, tend to do better than shows that don’t, in terms of reviews and ratings.”