This! This is why I self-identify as product-obsessed when it comes to making an investment decision. Because there is only your product. The product of your labor speaks volumes more than anything you can ever say or explain.

"That’s the thing. It’s a whole thing, and it’s there and that is it."

This is exactly the way I feel about writing as well. 

Melissa Eddy:

Daimler demonstrated its vision Thursday along a stretch of the A14 autobahn near Magdeburg in eastern Germany, the culmination of years of innovation. It says the vehicle — called the Mercedes-Benz Future Truck 2025, a nod to the year the carmaker hopes it will be introduced — is capable of responding to traffic while driving completely autonomously down a freeway at speeds of up to 85 kilometers per hour, or 52 miles per hour.

I mean, how on Earth did Daimler miss the obvious and perfect promotional summer movie tie-in? This is not the “Mercedes-Benz Future Truck 2025” — that sounds like a name Microsoft would come up with. This is Optimus Prime.

Richard Brody:

Bay has the passionate integrity of a natural cynic. He’s not a sincere sentimentalist like Steven Spielberg; he has a roguish honesty that doesn’t hide behind noble intentions and displays its ravenous appetites and crafty calculations openly. His entire hundred-and-sixty-five-million-dollar budget is there to be seen on the screen, with the price tag showing and the expected return underneath. The two hours and forty-five minutes of “Transformers: Age of Extinction” reveal his attention and concern, with each moment crafted to hold the audience through hysterical and vulgar excess. Bay doesn’t deign to extend his extraordinary control to the images; he substitutes attitude for comprehension and swagger for observation, and, for all his meticulous command over the movie’s elements of action and design, performance and effect, his taste is cheerfully execrable. He’s the Wes Anderson of dreck.

I like this take (having not seen the new movie myself yet). We all know the Transformer movies are garbage. But they’re watchable garbage, which is something. They’re pure mindless guilty pleasure —but that wouldn’t be the case if there wasn’t some element of pleasure in watching them.

And I actually don’t think there are many directors who could pull off the insane scale of these movies. And the box office continues to reward this. So, good for Michael Bay. 

Janko Roettgers:

The new PricewaterhouseCoopers (PwC) Entertainment and Media Outlook 2014-2018 report shows that revenue from online video services is set to overtake box office revenue in 2018. The report actually predicts that box office sales are going to slightly grow this year to $11.4 billion, up from $10.8 billion in 2013, and after being more or less flat since 2009. PwC predicts that box office revenue will keep an annual growth rate of 3.1 percent in the coming years, which means that people will spend $12.5 billion on movie tickets in 2018.

But revenue from subscription video services like Netflix in particular is growing at a much faster rate, from $3.3 billion in 2013 to a projected $10 billion in 2018. Add transactional video services like iTunes and Google Play, where you pay to rent or buy a digital copy of a movie or TV show, and you arrive at a total of $14 billion in revenue in 2018.

This is nothing new — DVDs sales used to outpace box office sales as well. And this will undoubtedly lead Hollywood to pour more resources into supporting these newer services, which is good.

The difference here is that it’s hard to see a world where the box office regains the crown — as it did against DVDs way back when. Hollywood literally cannot raise ticket prices fast enough to offset the mediocre film lineups they continue to pump out.