Simon Kinberg, known for his work as a writer on several X-Men movies, credits “X-Men: Days of Future Past” as a trailblazer in the realm of multiverse films.

This 2014 film, directed by Bryan Singer, has gained increasing recognition in recent years, especially in light of the less successful sequels in the franchise.

The story is set in the 1970s, where mutants, led by Charles Xavier (James McAvoy) and Magneto (Michael Fassbender), must unite to prevent a future war.

In 2023, Sentinels created by Trask Industries hunt and imprison mutants in extermination camps, leading to a complex narrative that spans different timelines.

The film brought together stars from the original X-Men trilogy and the prequel saga, setting a precedent for the integration of multiverse concepts in comic book adaptations.

Kinberg believes that “X-Men: Days of Future Past” laid the groundwork for future multiverse storytelling, including in the Marvel Cinematic Universe (MCU).

In an interview with Polygon, Kinberg noted that while the film doesn’t delve into high science fiction elements, it explores the science fiction trope of time travel, which expanded the possibilities of storytelling beyond linear Earth-based narratives.

The competition for dominance in the African streaming market is heating up, with Netflix leading the way with an estimated 7.4 million subscribers, followed by Showmax (4.4 million subscribers) and Amazon Prime Video (3.14 million viewers). Digital TV Research predicts that by 2029, Africa will see an additional 10 million subscribers, pushing video-on-demand subscriptions to 18 million.

Netflix and Showmax are the key players in this evolving landscape. Netflix is expected to almost double its subscriber base, while Showmax aims to more than triple its numbers, primarily due to a strong focus on rich local content, sports rights, and the addition of content from major studios.

Despite this growth, SVOD penetration in Africa is projected to remain relatively low, with only 7.7% of TV households subscribing to at least one service by 2029.

MultiChoice, the parent company of Showmax, has launched DStv Stream, an enhanced app aimed at improving the viewing experience, particularly for sports enthusiasts, by offering features like localized sports commentary and dedicated sports pages.

Netflix, in addition to reducing subscription fees in some African countries, is actively investing in local content development to attract more subscribers. MultiChoice has also emphasized local content, with 50% of its general entertainment spending allocated to local productions, achieving a library of over 76,000 hours and a 9% annual production increase.

Amazon Prime Video is expanding its library of local originals and acquisitions, with a focus on South Africa and Nigeria. They’ve hired Gideon Khobane, a former MultiChoice executive, to oversee growth in these areas, and have already premiered local comedy and drama originals, along with local acquisitions.

Overall, the African streaming market is growing, and competition among these major players is intensifying as they invest in local content, tap into talent, and enhance the viewer experience.

“Suits” has recently achieved significant success on streaming platforms, but the show’s writers assert that this triumph has not translated into increased compensation. This situation came to light when Ethan Drogin, a writer and producer on “Suits,” authored a comprehensive piece for the Los Angeles Times.

In this article, Drogin disclosed the surprisingly low amount he received in residuals for his work on Episode 8 from Season 1 of “Suits”: a mere $259.71. Although the legal drama premiered over ten years ago, its recent resurgence in popularity on Netflix, with a massive number of subscribers engaging in binge-watching, breathed new life into it.

A Nielsen report highlighted that within a single week, viewers consumed a staggering 3.7 billion minutes of “Suits,” making it the most-watched acquired title on the streaming platform.

For Netflix, this resurgence is highly beneficial as it retains subscribers and keeps them engaged with the platform. This is especially noteworthy when considering that “Suits” aired 134 episodes over its nine-season run.

However, as Drogin points out, the individuals who contributed to the show’s creation, establishing the foundation that enabled its enduring success, are receiving virtually no significant financial compensation for their contributions to a show that has once again become a massive hit.