Facebook is to exam “mid-roll” video promotion – in that ads are played after a video has already started – a BBC understands.
The ads would substantially initial seem in Facebook videos by veteran publishers, pronounced one analyst.
To date, a amicable network has resisted permitting “pre-roll” ads that play before a video starts.
Publishers would accept 55% of income from mid-roll ad sales, according to tech site Recode .
Facebook declined to comment.
“Advertisers are super penetrating on video advertising,” pronounced Eleni Marouli, during researcher association IHS Markit.
“If Facebook wants those TV ad dollars, they have to deposit some-more in video.”
Ms Marouli told a BBC she did not consider this form of ad would indispensably be some-more disruptive for users examination video on Facebook, though remarkable that it would be adult to a amicable network to confirm either a extrinsic calm would be kept brief – shorter than standard TV ads, for example.
Either way, she added, she believed Facebook was penetrating to boost a income it could beget from video content.
Last year, a association admitted that some video observation statistics had been overestimated by adult to 80%.

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Colin Farrell is in the middle of a career peak. The collective pop culture zeitgeist just isn’t 100% completely aware of it yet, but by this point next year it will be.
Presently, the Irish born actor, who won a Golden Globe for his performance in “In Bruges,” is celebrating a Globe nomination for “The Lobster,” a film he shot 2½ years ago that finally arrived in American theaters in May after issues with the original distributor. Director Yorgos Lanthimos’ poetic dramedy has had remarkable staying power since its Cannes 2015 debut. The film became a surprise art house hit for A24, which came in to shepherd its release and, among other accolades, took the 2016 screenplay honor from the Los Angeles Film Critics Assn. The fact that the film continues to resonate isn’t lost on Farrell, who currently calls Los Angeles home.
“Films that are as provocative as ‘The Lobster’ and ‘In Bruges,’ when people like them they tend to go deeper because the questions they ask are more existential, they trigger people’s emotions and intellect,” Farrell says. “Potentially, you can carry [those films] with you. That’s one of the things I got from people was, ‘Geez, I couldn’t stop thinking about it. We went and got a drink after and there were four of us and talking about it for two hours.’ And that’s kind of cool.”
Farrell gained 40 pounds to play David, a sheepish, middle-aged man who, after his wife leaves him, is forced to stay at a hotel full of other single people to find another life partner. If he is unsuccessful after 45 days the law says he’ll be turned into an animal of his choice and set free into the wild. The film’s alternative reality purposely leaves more questions than answers, but it’s a stage for Lanthimos to explore the dynamics of modern relationships and social constructs. The transformation Farrell makes is somewhat remarkable, and he’s not sure whether gaining or losing the weight was harder.
“Honestly, when you have to eat 12,000 calories a day and not work out it stops being fun. You feel really gross and then when you start to get fat it becomes less of a challenge because your body is going, ‘Give me more, give me more.’ And taking it off is a nightmare,” Farrell recalls. “It’s just an exercise in discipline both ways. You cut down to 500-800 calories a day and you burn 2,000 and then it comes off. So, it was eight weeks putting it on, eight weeks taking it off. The best thing about taking it off, you know you are heading toward better health.”
This fall, Farrell reunited with Lanthimos for “The Killing of a Sacred Deer,” which also features Nicole Kidman. He says both films share a strain of “awkwardness.”
“The characters are left of center, every single one of them, but they are more recognizable, more contemporary, even if by virtue of being set in a world that we shot in Cincinnati,” Farrell says. “There is a bit of a shorthand with Yorgos. I don’t always know what he wants, but I’ve existed in the realm of his thought and creative experience for a while now.”
Before the holidays, Farrell also wrapped Sofia Coppola ’s adaptation of the Civil War-era thriller “The Beguiled.” Farrell steps into the boots (or should that be boot?) of a character Clint Eastwood originated in the 1971 version. He acted again opposite Kidman, whom he’d never met before filming “Sacred Deer.”
“We literally wrapped ‘Sacred Deer’ and said, ‘I’ll see you in three weeks.’ We have this small, little acting troupe of two, her and I,” Farrell jokes. “It’s hyper-dramatic and it’s gonna be good stuff.”
In between both films Farrell promoted “Fantastic Beasts and Where to Find Them,” a global blockbuster that took 5½ months to shoot. He relished that experience but said the creative experiences on “The Lobster,” “Sacred Deer” and “The Beguiled,” which shot for shorter periods, are more up his alley.
“I love being part of the storytelling process. I’m not a big fan of ‘Break for two hours. Go back to your trailer. We’re gonna re-light.’ It’s a downer. I wanna be on the set,” Farrell says. “So that’s the best thing about being on a film on a smaller budgetary scale or schedule. Your trailer is better on the bigger ones. The food is better, but all those bells and whistles don’t matter. At the end of the day, you’re there to do the same thing, to honor the character and try and tell a story, y’know?”
Casey Affleck talks about the way Kenneth Lonergan uses everyday language to convey deep emotion in „Manchester by the Sea. “
For her role as Jackie Kennedy, Natalie Portman says, „It’s not a fashion story,“ but the clothes do tell a story.
Joel Edgerton talks about staying truthful to the real-life story of „Loving. “
Director Nicolas Winding Refn and composer Cliff Martinez discuss their „Neon Demon“ collaboration.
„Manchester By the Sea“ director Kenneth Lonergan discusses writing a quiet character and working with actor Casey Affleck to bring him to life.
„Manchester By the Sea“ director Kenneth Lonergan discusses writing a quiet character and working with actor Casey Affleck to bring him to life.

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Stephen Colbert has finally given us the “Hidden Fences” trailer that the Internet’s been waiting for.
“The Late Show” mashed up scenes from “Fences” and “Hidden Figures” — two films with primarily African-American casts and storylines — to form one mega-movie. It looks like a flick Jenna Bush and Michael Keaton could really get behind.
“Based on the true story about people who think all movies about black people are the same movie,” a voiceover reads.
Also Read: Michael Keaton Shrugs Off ‚Hidden Fences‘ Snafu: ‚I’m Gonna Sleep Pretty Well‘ (Video)
Both Bush and Keaton made the “Hidden Fences” snafu at Sunday’s Golden Globes. Each has since apologized — sort of, in the “Birdman” star’s case.
The faux “Hidden Fences” stars black actors, black actresses and Kevin Costner. Oh, also, one very brave section of white picket.
“If movies starring black people confuse you, then this is the film you’ve got to see,” Colbert’s cold open concludes. Watch the video above.
Read original story Stephen Colbert Delivers the ‘Hidden Fences’ Movie Trailer We Need (Video) At TheWrap

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In the two months since the election, Trump has taken only limited steps toward disentangling himself from the business. He shuttered his foundation and pledged that the Trump Organization would make „no new deals“ during his term.
But he has given no indication that he will sell his stake in the company. Experts in government ethics say that virtually guarantees a conflict and could allow Trump and his family to profit from the decisions he makes on behalf of the federal government.
Trump owns or has a position in at least 564 businesses and partnerships that have done business in at least 25 foreign countries, according to a CNN analysis.
The company took in $9.5 billion in revenue last year, according to one estimate. By comparison, the steps he has taken to avoid potential conflicts are small.
A Trump Organization attorney has told CNN that the company ended overseas deals in Azerbaijan and Brazil as a „housecleaning measure“ and isn’t moving forward on projects in India.
The company also resolved a battle with workers at a hotel in Las Vegas , and agreed to allow a union organizing vote at a Trump hotel in Washington. Trump will oversee the National Labor Relations Board as president.
And Trump recently said he would dissolve the Trump Foundation „to avoid even the appearance of any conflict“ with his presidency.
A litany of controversies still loom over Trump’s businesses, even before he takes office on Jan. 20.
House Democrats have seized in particular on the luxury Trump hotel in Washington, three blocks from the White House, as an opportunity for foreign governments to curry favor with the new president by booking rooms and holding events there.
Trump’s ownership stake in the property, which he leased from the federal government in 2013, also appears to be a contract violation by itself. The paperwork says no elected official can be party to the lease. And in any case, Trump, the tenant, will oversee the General Services Administration, the landlord.
Trump’s international business partnerships have also been heavily scrutinized. He praised one of his billionaire business partners from Dubai at a New Year’s Eve celebration event at his Mar-a-Lago estate.
Related: Trump Inc. and conflicts: What you need to know
The president isn’t restricted by federal conflict of interest rules that prohibit most executive branch officials from holding assets that interfere with their government jobs.
But numerous experts have raised concerns about whether Trump could act as president without considering how his official decisions would affect his personal bank account.
And the Constitution’s Emoluments Clause prohibits the president from accepting payments from a foreign government. Some ethics experts have said Trump will be in violation the moment he takes office because of the hotel alone.
Trump’s two adult sons will most likely have some role managing the Trump Organization , though experts on both ends of the political spectrum say that’s not enough.
Related: What Trump can learn from Rex Tillerson, his secretary of state pick
Their solution is for Trump to hand his business over to an independent money manager who has no ties to his family, and who can sell the assets and reinvest the proceeds. There is no indication he will do that.
It’s not even clear how much information Trump will divulge at the press conference, scheduled for Wednesday.
He first scheduled it for Dec. 15, but the transition team postponed it. Transition sources told CNN the postponement was in part because of the complexities Trump’s lawyers face as they try to resolve potential conflicts.
Sean Spicer, Trump’s incoming White House press secretary, told reporters last week that while Trump will „obviously“ talk about the business, he will not „limit the discussion. “ Trump tweeted last week that he would have a „general“ press event.
–CNNMoney’s Cristina Alesci and Jon Sarlin and CNN’s Jeremy Diamond, Drew Griffin and Phil Mattingly contributed to this story.

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by Zoe Hewitt
1 day ago
In JACKIE, Natalie Portman ’s Jackie Kennedy consciously controls history’s memory of JFK’s assassination and presidency through her calculated interview with a reporter played by Billy Crudup. The movie also stars Peter Sarsgaard, Greta Gerwig and John Hurt.
There’s a line in JACKIE that stuck with me. It’s when Jackie says “for royalty you need tradition and for tradition you need time”. It perfectly encapsulated the movie and Jackie Kennedy’s ultimate goals for her family. In the midst of the horror of JFK’s assassination and Jackie Kennedy’s own combination of sadness and guilt, she wants her husband—and by extension herself—not to fade into oblivion.
The movie balances showing both sides of the formidable Jackie Kennedy, who is seemingly in control, with the inner turmoil she faces as she struggles to keep herself afloat. The cinematography reflects that struggle through the use of a shaky, hand-held camera during specific scenes. It also felt like Jackie was an outside observer of her own life; she was present physically but still apart.
The use of light also reflects Jackie’s inner turmoil. When she greets the unnamed reporter at her home, she opens her door and sees bright light. In fact, the light is so blown out that it offers a sense of heightened realism, as though Jackie’s looking into the light but cannot get there yet herself. I also interpret it as an unforgiving light, representing how she feels about herself at the time. These interpretations are reinforced during the movie multiple times. For instance, during a flashback when someone tells Jackie that she has her whole life still ahead, she remarks that it’s a cruel comment. As bright as her life might seem having been First Lady or looking back knowing about her subsequent marriage to Aristotle Onassis, at this point she is a young mother who has lost two children, she’s lost a husband, she has no home of her own and fears she will have to start selling off furniture just to feed her children. Her desire to build a legacy for JFK is means for securing a future for herself as well, an inclination that is hard for her to even admit.
Jackie’s internal struggles are also literally reflected back to her during specific scenes with mirrors, which represent multiple facets of a person and personality in traditional film analysis. For more about these scenes and other themes in JACKIE, take a look below:
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Dome Karukoski’s “Tom of Finland” is set to open the 40th edition of Goteborg Film Festival.
Set for a theatrical rollout in Feburary, “Tom of Finland” is a biopic about groundbreaking Finnish artist Touko Laaksonen, a pioneering figure in late 20th-century gay culture. Pekka Strang (“Colorado Avenue”) plays Laaksonen, who succeeded in overcoming oppression and homophobia through art.
“It’s a beautiful, intelligent and deeply moving portrayal of a fascinating life and a unique artistry,’ said the festival’s artistic director Jonas Holmberg. “‘Tom of Finland’ is an artistically powerful film possessing great power to attract international attention, which makes it the perfect opening film for the Göteborg Film Festival.”
Karukoski, whose previous film “Heart of a Lion” addressed racism through the tale of a Finnish Neo-Nazi character, said “Heart of Lion” started out as story about an artist and became “a story about freedom of expression, about our society.” says.
London-based sales company Protagonist represents the film in international markets. Nordic outfit Helsinki Filmi produced.
The 40th edition of Goteborg Film Festival will take place Jan.27 to Feb.6.

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