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Warner has arranged a digital-only release for "Scoob!", which was due in theatres on May 15th. Paramount has sold "The Lovebirds" to Netflix.
華納公司已經(jīng)安排發(fā)行數(shù)字版《史酷比狗》，該片本應(yīng)于5月15日在影院上映。派拉蒙影業(yè)將《愛情鳥》賣給了網(wǎng)飛。
Even Disney, which does better at the box office than any other studio, has decided to put "Artemis Fowl" on its Disney+ streaming service, skipping the cinema.
就連票房收入超過其他任何電影公司的迪士尼也決定跳過電影院，讓《阿特米斯的奇幻歷險》登陸其Disney+流媒體服務(wù)。
These decisions were all provoked by the pandemic.
這些決定都是由疫情導(dǎo)致的。
But studios were already under pressure to provide content for the streaming services launched by their parent companies.
但電影公司已經(jīng)承受著為母公司推出的流媒體服務(wù)提供內(nèi)容的壓力。
When Netflix is commissioning hits and putting them online immediately, Disney cannot serve up a diet of months-old films.
當(dāng)網(wǎng)飛公司委托制作熱門影片并立即將其放到網(wǎng)上時，迪士尼公司無法提供大量數(shù)月前的老電影。
Hence features like its remake of "Robin Hood", which in the past might have got an outing at the cinema, are going straight to Disney+.
因此，像翻拍的《羅賓漢》這樣的電影，在過去可能會在影院上映，現(xiàn)在卻直接在Disney+上映。
This year's Oscars will admit streaming-only films, in what the Academy insists is a covid-induced one-off.
今年的奧斯卡獎將允許僅在流媒體上映的電影參加，奧斯卡堅稱這是由新冠病毒引起的一次性事件。
But last year's best-picture nominations included two Netflix films— "The Irishman" and "Marriage Story"—that had minimal theatre runs.
但去年的最佳影片提名包括兩部網(wǎng)飛電影——《愛爾蘭人》和《婚姻故事》——沒幾家電影院上映了這兩部電影。
It isn't yet time for the credits to roll for the cinema. This year's biggest titles, from James Bond to Wonder Woman, have been postponed rather than put online.
現(xiàn)在還不是播放電影演職員表的時候。今年最熱門的電影，如《007》和《神奇女俠》，都被延期上映，而非選擇線上上映。
Universal itself has delayed the latest in its "Fast and Furious" series until next April.
環(huán)球影業(yè)已經(jīng)將《速度與激情》系列的最新一部推遲到明年4月上映。
Given that previous "Furious" films have taken as much as $1.2bn at the worldwide box office, it cannot afford to miss a theatre run.
鑒于之前的《速度與激情8》在全球收獲了12億美元的票房，公司不能錯過院線上映的機(jī)會。
But increasingly, cinematic releases make sense only for the biggest blockbusters.
但越來越多的電影發(fā)行只對最熱門的大片才有意義。
Studios have realised that betting heavily on a few expensive "tentpoles" brings in more money than placing lots of smaller stakes.
電影公司已經(jīng)意識到，在一些昂貴的大片上下重注比大量的小賭注能帶來更多的錢。
Blockbusters' marketing costs are proportionally lower than those of middling movies,
大片的營銷成本比一般的電影要低，
and shelling out for globally famous stars makes it easier to sell a film internationally.
花錢請全球知名的明星出演電影更容易打開國際市場。
With cinema attendance in decline in America, titles must sparkle to be one of the few that people bother going to see.
隨著美國影院上座率下降，這些一定會成為人們不厭其煩去觀看的為數(shù)不多的電影之一。
And so ever-greater rewards are accruing to the biggest hits.
因此，最受歡迎的電影正獲得越來越高的回報。
Last year the five highest-grossing films took a quarter of the domestic box-office, nearly double the top five's share in 2000.
去年票房收入最高的五部電影占據(jù)了國內(nèi)票房的四分之一，幾乎是2000年電影前5名份額的兩倍。
Critics complain that the emphasis on "event movies" is making studios tediously conservative about what they green-light.
評論家抱怨說，對“事件電影”的重視使得電影公司對他們所批準(zhǔn)的電影過于保守。
All of America's ten most successful films last year were part of a series, like "Avengers: Endgame", or remakes, like "The Lion King".
去年美國最成功的10部電影都是像《復(fù)仇者聯(lián)盟4：終局之戰(zhàn)》這樣的系列電影，或者像《獅子王》那樣的翻拍電影。
That was the case for only two of the top ten in 2000. And what Hollywood produces, the rest of the world watches:
在2000年的前十部中，只有兩部是這樣的情況。由好萊塢制作的電影，全世界都在觀看：
last year's global top ten was almost identical to America's. In truth, studios won't stop making lower-budget features;
去年的全球十大電影幾乎就是美國的電影前十名。事實上，電影公司不會停止制作低成本的電影；
apart from anything else, they need to try out new actors and new ideas (it wasn't always obvious that comic-book adaptations would be money-spinners).
不論怎樣，他們還需要嘗試新的演員和新的想法（由漫畫改編的電影并不總是能賺大錢）。
But increasingly, the tiddlers will go straight to streaming.
但越來越多的用戶將直接使用流媒體。
All this is only a continuation of television's century-long siphoning of content away from the cinema.
長達(dá)一個世紀(jì)以來，電視機(jī)從電影院吸走了各種類型的內(nèi)容，而現(xiàn)在的這一切都只是它的延續(xù)。
Movie theatres were once the home of all types of video. From the 1950s TV nabbed news, cartoons and serials, leaving cinemas with only feature films.
電影院曾經(jīng)是所有類型視頻的聚集地。從20世紀(jì)50年代開始，電視上充斥著新聞、卡通片和連續(xù)劇，而影院里只有故事片。
Now streaming is sucking up many of those too, so that the theatre is a place to visit just for event movies.
現(xiàn)在流媒體也吸走了很多這樣的類型，所以影院是一個只看事件電影的地方。
Something is being lost: an evening at home with Netflix isn't quite the same as a night at the Ocala, reflects Mr Watzke.
有些東西正在消失：在家里和Netflix共度的一個晚上和在Ocala度過一晚是不一樣的，Watzke先生反思道。
People may enjoy a film just as much on TV. But "if they see it at the drive-in, it's a memory."
人們在電視上看電影或許也會很享受。但是“如果他們在汽車影院觀看，那就是一種記憶。”
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