Speaking of JJ Abrams, the long-awaited, long speculated-upon Cloverfield Paradox recently jumped straight from вЂunannounced rumourвЂ™ to вЂStreaming right nowвЂ™ in the time it took a Superbowl advert to play.

And so, the rebel reputation spreads.ДЄnd now, after funding a whole glut of in-house feature films over a remarkably short period of time, Netflix has apparently started to steal externally produced, Hollywood movies directly from under the noses of cinemas. For the long-term film fan, crushed by HollywoodвЂ™s endlessly turning millwheel of sequels, remakes, safe schlock, and ever-spiraling cinema ticket prices, it has been impossible not to feel some degree of glee in watching all of this unfold. Thus, the establishment seems in a constant tension with Netflix, just as it works with it for widespread home distribution. When the mainstream cinema establishment feels threatened by new pretenders, the mainstream establishment gets defensive and pissy in the extreme, as exemplified by the unified response to other streaming initiatives at Cinema Con a few years ago, when only JJ Abrams would speak in favour of a more eclectic, dynamic future for distribution. Some cinemas in OkjaвЂ™s country of origin even refused to screen it as a result of its online benefactor. Okja, the brilliant, South Korean fairy tale of young girl and giant pig friend, received a cavalcade of petty boos when it screened at Cannes, вЂearningвЂ™ the abuse only through the appearance of that big red logo at the movie's start.

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