By Ray Pride Pride@moviecitynews.com

SLATE ENTERTAINMENT GROUP BRINGS TRANSPARENCY TO THE FILM INDUSTRY WITH DISRUPTIVE BLOCKCHAIN TECHNOLOGY

[pr] The Company Introduces BINGE, a Blockchain Video-On-Demand Platform; SLATIX, a Blockchain Electronic Ticketing Application; and SLATE, a Digital Token

LOS ANGELES and TORONTO (May 1, 2018) – Slate Entertainment Group (SEG) has announced the development of its new multi-layered entertainment ecosystem powered by advanced blockchain technology. SEG is a highly-skilled amalgamation of entertainment, business and technical expertise and will be led by CEO Michael Moyal. Respected industry banners such as XYZ Films, as well as senior film executives originating from leading companies such as eOne, will serve on the company’s Business Development and Advisory Board. Driven by a cryptocurrency designed for mainstream adoption, the company plans to launch two robust platforms to compete with leaders in the streaming video and electronic ticketing sectors.

Binge™ is a decentralized streaming video on demand platform and will be the first service to provide premium content using distributed ledger technology. The Binge blockchain video on demand (BVODä) network will introduce an industry-first business model of equitable compensation based on complete economic transparency. As a result of blockchain technology, the platform will have the ability to deliver low cost, high-speed, high-definition video globally, as well as transparent real-time payments and view metrics.  Binge will provide equitable sharing of not only the economic waterfall between content provider and creator, but of valuable data that will help creators produce better content. Strategic content acquisition will continue at the Cannes Film Festival next month.

Slatix™ is a tokenized ticket application that will provide forgery resistant event tickets at near-zero fees. The application will provide for the discovery of content through a curated ratings-and-reviews system. Repeat users and contributors will earn loyalty rewards and discounts to entertainment activities such as movies, concerts, plays, and sporting events.

Both platforms will be powered by SEG’s blockchain entertainment utility protocol underpinned by a cryptographically secure multi-layered network. In addition to traditional methods of payment, the platforms will accept Slate™, a digital token of the entertainment economy providing access to cutting-edge entertainment. Built on blockchain technology, its distributed, immutable ledger enables secure payments and structured incentives.

Michael Moyal stated: “to execute on this initiative, we have assembled a talented team of professionals with diverse skill-sets. Our objective is to strategically disrupt the current entertainment ecosystem using blockchain technology and corporate integrity. Our business model of complete transparency is intended to enrich the entertainment experience for consumers by fairly compensating producers for the value they create. The Slate Ecosystem is committed to enhancing an industry that is essential to so many.”

SEG plans to have both platforms operational within the next twelve months and is now aggressively acquiring and producing original content for the Binge platform. The company is also working with early adopters on initiatives that could see event tickets being purchased through the Slatix application, using Slate as payment, as early as Q3 2018.

Nate Bolotin, XYZ Films co-founder and SEG Board Advisor said: “We believe that eliminating corrupt intermediaries and unnecessary barriers in the entertainment industry and creating a more efficient and transparent content delivery system is the future of distribution and consumption. ‘Blockchain’ is a buzzword right now, but when it comes to powering the distribution of premium content, Binge truly has the capability to connect talented storytellers to consumers with unparalleled transparency and access like never before.”

The Binge network will utilize the power of blockchain technology to facilitate the global streaming of content through a sophisticated series of Masternodes which will serve as the platform’s content storage and delivery protocol. Distributed ledger technology will also enable the transparent sharing of behavioral analytics with content creators in order to better identify and satisfy consumer tastes. SEG intends to compete on the basis of premium content with leading centralized streaming service providers such as Netflix, Amazon Prime and Hulu.

# # #

ABOUT SLATE ENTERTAINMENT GROUP

Slate Entertainment Group (SEG) is a highly-skilled amalgamation of entertainment, business, and technical expertise. SEG has developed a multi-layer entertainment ecosystem powered by blockchain technology and driven by cryptocurrency designed for mainstream adoption. SEG has a mission to disrupt the entertainment industry using a blend of technology and integrity through a series of blockchain platforms. BINGE, is a blockchain video on demand platform; SLATIX, a blockchain electronic ticketing application; and SLATE, a blockchain entertainment utility protocol.

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon