The Matrix at Cosm in LA opened on June 6th, 2025, which leverages Cosm’s 87-foot, 12K+ LED immersive dome to show this classic film within a 16×9 frame while the additional space beyond the frame was filled with over 50 different scenes thereby expanding the worldbuilding beyond the frame. I finally had a chance to see it last month, and was really impressed with how much this additional space was able to increase the level of immersion, to amplify key emotional beats within the film, and create some truly awe-inspiring moments.
I had a chance to speak with Alexis Scalice, Cosm’s vice president of business development and entertainment, about Cosm’s collaboration with Little Cinema, MakeMake, and Warner Brothers to launch their inaugural “Cinematic Shared Reality” immersive experience. The Matrix has a few more weeks of screenings before their second film Willy Wonka and the Chocolate Factory (1971) opens on November 21, 2025.
You can also hear more context from in Noah Nelson’s No Proscencium podcast interview with Little Cinema’s Jay Rinsky conducted ahead of the world premiere. And I also share some impressions of the two enhanced cinema productions of The Black Phone and M3GAN within Blumhouse Enhanced Cinema Quest App. These films have some similarities to what The Matrix at Cosm is doing, but at a much smaller scale and not nearly as effective as the expanded immersive worldbuilding in one of the greatest science fiction films of all time. The Matrix at Cosm is setting a quality high bar for this type of format that is going to be difficult to match. You can see more context in the rough transcript below.
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Rough Transcript
[00:00:05.458] Kent Bye: The Voices of VR Podcast. Hello, my name is Kent Bye, and welcome to the Voices of VR Podcast. It's a podcast that looks at the structures and forms of immersive storytelling and the future of special computing. You can support the podcast at patreon.com slash voicesofvr. So when I was in Los Angeles for the Snap Lens Fest, I had a chance to drop by Cosm again for the third time to see the fifth experience that I've had a chance to see there, which was the Matrix at Cosm. And so... This is like an extended cinema version of the Matrix where you're in the context of the Cosm Dome. It's like an 87 foot dome LED screen, 12K resolution. And it's really quite magical to see a number of different experiences there. For me, I think sports is the sweet spot for what they've been able to find in terms of things that really resonate with audiences to make it feel like you're actually at the event, but to have this kind of shared reality experience, but also to have many different cameras and perspectives as they have their high-resolution cameras that are able to beam in live sports events. So I think that's a real sweet spot for what Cosm is doing. But they've also been expanding out into other arts and entertainment. They're a lot smaller than the Sphere, so they can be a little bit more experimental to see what kind of formats are working and what's going to resonate with audiences. And they decided to show The Matrix. And so they had a translation of The Matrix where They have the same frame, it's like a 16 by nine frame in the middle of this huge dome. And so what that allows them to do is to add all sorts of like world building elements that are showing you different scenes. So it makes you feel a lot more immersed into the scene. Also different moments where they're extending past the frame. So there's different matrix code moments that are kind of zooming in and then it'll expand past the frame and then makes you feel even more immersed into the experience. So there's probably like 50 different scenes that they had where it makes you feel like you're even more immersed into the world. So I was just really blown away with not only just to see The Matrix again, which is a masterpiece of a film, of sci-fi, it's a classic, and also very present in talking around the different dynamics around artificial intelligence, which just kind of hits differently as you watch it again today. They're also using the extended space beyond the frame to just make you feel immersed into these different worlds. And I just found that super effective 10 out of 10. And it's going to be there for two or three more weeks until like November 21st. And so if you happen to be in the L.A. area, you should definitely go check it out. It's worth seeing what they've been able to do. If you are not in the LA area and you are interested in seeing some approximation for this kind of new enhanced cinema or expanded cinema, I'd recommend checking out the Blumhouse. Although, whereas I think the Matrix is like 10 out of 10, I think the Blumhouse experiences with the Black Phone is probably a 2 or 3 out of 10 in terms of the way that they're using that expanded cinema space. And then Megan is probably like a six or seven where they're able to use it a little bit more effectively, I think, than what I was able to see in the Black Phone. The Black Phone, they only really show you two or three different scenes, whereas the Matrix, they're putting you through like 50 different scenes. And so it's just a lot more larger scope and scale. And also like in the Black Phone, it's like set in like this 19th. 70s like small town and so it's not like you're going into these new magical worlds and so there's limited impact when you're just looking at a horror genre and there's different things you can start to do in the horror genre that there's a few moments where it feels like they're really able to amplify what's happening on the screen but with the matrix i think they were able to have a lot more consistent ways that they're using that expanded space always make you feel more present to modulate your emotions in a different way or to use color or lighting and it was just like super effective and impactful especially after seeing what others are doing in this space megan was a little bit more expansive and in ways that they're using that expanded cinema space but i also found that within the context of megan they were actually more tying those worlds more tightly coupled to the editing and i feel like within the matrix that they're showing there they kind of linger in those worlds And they're cutting back and forth between different scenes, but they're not necessarily cutting it every time there's a context switch, which is also going to be up to whatever film that you're watching. With Megan, they would do some fun things with doing a first-person perspective of Megan, and then it would change all of your surrounding environments into this object detection thing, which was somewhat... interesting and creepy where it was like oh wow i guess meta is actually being able to detect what's the wall art or where these couches or what are these tables and so i was kind of labeling the additional metadata to your room scan but also doing some like shader effects and a few moments that were able to really amplify these action sequences that are happening in megan but i For the most part, I'd say it was just mostly taking the external frame of the screen and kind of expanding it out by having this kind of radial blur effects that were more one-to-one matching what was being shown on the screen. And I don't think that was as effective as a type of film where it feels like you're actually being transported into other places. So anyway, the Matrix at Cosm is absolutely incredible. If you do have a chance to go see it, definitely go check it out. And they're going to be opening up the Willy Wonka and the Chocolate Factory, a 50-year anniversary celebration of that film. It's going to be opening up here on November 21st, 2025. And by the time that opens, they're going to stop showing the Matrix. I'd also recommend checking out episode 487 of the No Presidium podcast, where Noah Nelson had a chance to talk to Little Cinema's Jay Rinsky to have a discussion that was before it was released and launched on June 2nd of 2025. But it's a great conversation just to get a little bit more context for what Little Cinema has been able to do with taking existing films and adding other immersive things around it so that when they're watching the film, they're able to give you much more of an immersive experience. And with Cosm, I think it's a great use of what they're calling the cinematic shared reality. With films being shown there, they're calling it the cinematic shared reality. So I think it's a really powerful and compelling use of the medium of the dome, but also to see how you can show films there in a way that gives a much more immersive experience. So I had a chance to sit down with Cosm's vice president of business development and entertainment, Alexis Scalise, who was in charge of helping to coordinate this collaboration between the Cosm team, Little Cinema, and MakeMake to put together this cinematic reality version of The Matrix. So we'll be covering all that and more on today's episode of the Voices of VR podcast. So this interview with Alexis happened on Tuesday, October 21st, 2025. So with that, let's go ahead and dive right in.
[00:06:35.083] Alexis Scalice: I'm Alexis Scalise. I'm vice president of business development with Cosm on the entertainment side. So I oversee all the licensed partnerships and deliverables, especially when it comes to our new area cinematic shared reality, which we launched. The Matrix and shared reality is our first film into this new experience.
[00:06:54.242] Kent Bye: Great. And maybe you could give a bit more context as to your background and your journey into this space.
[00:06:58.956] Alexis Scalice: Yeah, absolutely. I came from Universal, NBC Universal. I was there for close to 10 years and prior to that at DreamWorks Animation. So I've been a lot in the experiential side of the business with thematic and global premier IP. A lot of it with location-based entertainment, working closely with theatrical teams and franchise to build brands in a completely new way. But a lot of it when it comes to like the experiential aspect, which has been just a really popular emerging market between location-based entertainment, and even new ideas within cinematic distribution.
[00:07:31.917] Kent Bye: Awesome. And maybe you could give a bit more context for how this Matrix movie came about.
[00:07:37.898] Alexis Scalice: Absolutely. Yeah. So obviously our Cosm really got its foundation in sports and the things that we kind of share as a root pillar is the fandom aspect. So the idea of like shared reality is fans alike coming together in a completely new and immersive way to watch and deliver content. And that has been a massive success for us. with our foundation in sports and we knew that that same type of fandom would cross-pollinate with people that are fans of cinema and incredible ips and legacy movies so taking that same approach of it reinventing how you watch a movie and really taking a 25 year old film and kind of giving it new life within our cinematic dome and propriety technology structure has been not only an incredible honor to work with, but just an incredible delight to see fans come together and feel like they've seen the movie for the first time. And that was really a huge piece is pulling fans together like a mini con and then giving them a completely new way to experience the film.
[00:08:38.123] Kent Bye: Yeah, maybe you could talk a bit about the partner, Little Cinema.
[00:08:42.335] Alexis Scalice: So we had two different partners with this. Our creative concept development partner was Little Cinema. It was widely known, especially in the premier business. And Little Cinema knew of Cosm and actually had this idea of pulling together. They've done a lot of things with theatrical and learning different ways of how to take movie IPs and make it experiential. saw the amazing things that Cosm was doing from a technological perspective. And so it was a really kind of perfect kind of fit together. And then we use Make Make Entertainment when it comes to like the special visual effects of the expansion of the backgrounds that we're doing. All of this through our proprietary technology and our Cosm Studios team creatively. But most importantly, we keep the film the hero. So we really don't touch the original film. We work in massive collaboration with Warner Brothers, which we were so thrilled and honored. to have as our first major partner. And working with their team and franchise along with our creative partners has been a huge win to give fans what we are excited that they're enjoying.
[00:09:44.414] Kent Bye: Yeah, I was really quite surprised to see how effective it was to extend out the frame into the full dome and some of the feedback that was coming from what's happening with the sphere because they're taking the Wizard of Oz and they're using AI to change the frame and actually edit out 20 to 30 minutes worth of content. So to have the integrity of the film in the 2D frame, but all the ways that you could start to expand that out, adding... additional things from the sets, the context, the lighting. It was sometimes very subtle and sometimes kind of an extension of the frame. I'm just curious how you start to think around what are you afforded with to be able to set these scenes and to be placed within the world and to kind of extend the frame as it were?
[00:10:29.522] Alexis Scalice: Absolutely. It's a great question. Really, we wanted to invite fans to step back inside the Matrix for like the 20th anniversary. So how do you make them feel like they're part of that scene? A lot of that was also just decoding the fan. There are major super fans of this movie that we knew we were immediately going to attract. And so making sure that those scenes are epitomized, you know, those moments, like when he becomes the one, you know, or the bullet scene together, that we really took that and we basically expanded that background to make you feel like you're in the scene, but then we'd add additional visual effects that almost feels interactive. You almost feel like you're moving with Neo in how the dome is designed and how our technology works. And that was really something that took it to the next level for a fan. The other side of it too is the movie is incredible. We can pull scenes out like the farm and make it become aesthetically, but also just creatively a completely new feeling than what you saw in the original film. So we really would work closely with, again, with the studio and look at those scenes where aesthetically it would look amazing on the dome and where we can add an effect where you feel like you're on the helicopter with them or you're flipping with Trinity, those are the special surprise and delights moments that kind of have people on the edge of your seat. We're following the story. We're keeping the film and its original content because we don't want to take away from the actual film story. We want people to watch and get into a movie like everybody loves but really have these enhancements that give you that extra type of kinesthetic response and i think it was that emotional arc balance that we really paid attention to
[00:12:11.018] Kent Bye: One of the things that in the tradition of cinematic 360 VR films that they found was that, you know, Felix and Paul in particular were really noticing how there isn't like as many edits as there are in the film. So the grammar of the language between what's happening in the cinematic tradition versus what's happening in let's say world building or 360 video, 180 video, you tend to linger a little bit longer and the different scenes because you're setting a context and it's a little bit disorienting if you were to change that context as quickly as the editing. It seems like you had independently came to that similar conclusion that the changing of that pacing of that world is happening a lot slower. So just curious to hear a little bit around if you experimented with trying to change the scene as quickly as the film or if this is something that just came out of the testing that it would be better to go at a slower pace of changing that world context.
[00:13:08.331] Alexis Scalice: It's a great question. It's kind of a hybrid response answer. I mean, a lot of what our roots are is when you really define shared reality and when you come back to like the roots of what we've done in our cause and venues, like when you're watching a game at sports, like everyone knows what's going on in the game, but you have this emotional and exciting energetic response when there's a goal or when there's a touchdown or like a play that you can't believe. And if you take that same mentality with scenes or, what we're doing is we don't want them to lose track of the story or the game, but we're making conscientious decisions by emotional response as to what seemed to elevate in a different way. Like, what would you feel? And because it's shared reality, when you watch people watching The Matrix in shared reality, you can see them turn to each other and be like, can you believe that just happened? And so that's what we were looking for as like what we're going into and where would the story cater to that? But we really wanted to make sure we stayed true to the original format and worked closely, like I said, with Warner Brothers and the stakeholders teams, even from the original producers, so that we gave tribute to an incredibly legacy IP in film. But at the same time, like, what are we doing for those fans that are coming back to see it? Or how do we attract new fans to that?
[00:14:24.195] Kent Bye: One of the things I was surprised by was the degree to which that even subtle changes in lighting in the external periphery or color had disproportionate effects of just seeing the emotional response of that moment. And it's very subtle, just the lighting effects, but also the color. But I'm just curious if you could elaborate on using lighting and color as a way of changing that world and also modulating the emotions of the audience in that way.
[00:14:52.383] Alexis Scalice: Yeah, I know. I love that you caught that detail. You know, when you're in an 87-foot diameter dome, something as different as a lighting technique on the right or the left side or how you can go from night to day transition is a lot more impactful just based on how you're watching it and then the design of the dome. So we would definitely use those during moments that it didn't really need something ridiculously intense. It just needed that moment, right? Sometimes when Morpheus was talking to him about the matrix, the entire screen goes white. And while that's not a major effect, it was a big reaction when you're going from like a dark there to all of a sudden very light and watching people around you. So we'd find those moments where we could do a lighting effect that could trigger a different physical or or others that was really just respectful to that scene. Like when he's talking about, you know, you took the red pill or the blue pill, that's an iconic scene in the movie. So something like just having lightning and thunder happen while that moment is happening is giving the respect that that scene deserves, but also gives us this extra element that really makes you feel like you're in the movie with them.
[00:16:00.387] Kent Bye: And thematically, the Matrix is all around these different layers of reality. There's the Matrix, and then there's the base reality. And what I found interesting was to see how you may start a scene in one of the realities, and you're flipping back and forth in the film, but finding ways of what that grammar would be to subtly indicate, either through slightly... changing the color or the tone or even having the digits matrix effect appear in a side object to give you additional emphasis that you're in the matrix reality. So just curious to hear ways that you're cuing to the audience, which level of reality you're in, whether you're in the matrix or in the base reality.
[00:16:41.906] Alexis Scalice: I mean, we did play with this a lot as people are coming in, like, you know, are you questioning your own reality and how are you bending reality? And so we would still really follow the cadence of like the story, the narrative and the IP. But I think between our Cosm Studios team, Little Cinema and Make Make, we really did the best that we could to hear the fan chatter and the reactions. And we start that early on, right? We decode the fan from the moment we pick the IP. What are the fans like? What are they looking at? What's been going on in that franchise? And we kind of developed that general concept piece. We knew that there were so many cult fans for The Matrix that we had to do some Easter eggs for them too. And we had to do nods like follow the white rabbit, you know, or different moments that you would see happening on the right side of the screen. But something that was hidden because you actually develop a different behavior when you watch cinematic shared reality. After about the first 10 minutes, your eye is kind of trained to look around, but not too much where you're missing the story. And we were really specific about that. Like, what are those pieces that will make it fun for the super fan, but also for maybe the sidekick fan that wasn't really a great Matrix fan or maybe wasn't alive when the Matrix came out? What is exciting for them? The story was so culturally relevant today, which we thought was amazing. It was a great story. And the way they're talking about AI. So again, that was one of the reasons we kept the film The Hero because it was culturally relevant today. It really leans into shared reality. It was a perfect choice for us to really get into this industry in a way that only caused this proprietary technology of what we can do. And it was one of the reasons why the extension of the backgrounds and making you feel like you're in the scene was really important to us.
[00:18:24.690] Kent Bye: Yeah, I definitely think that the topics of AI were hitting a lot differently now in 2025 than when The Matrix first came out in 1999. So just marveling at the themes we're tapping into current cultural zeitgeist. So that felt very appropriate for not only this to be the first film, but also a lot of the themes that were being covered seemed to be like a perfect fit to be able to explore this. To show it on a screen, like you said, it came out in 1999. There are probably a lot of people that this may be either their first time seeing it on a big screen or seeing the film at all. I don't know if you had any of the reactions of people experiencing The Matrix for the first time in this context.
[00:19:02.181] Alexis Scalice: Oh, a lot. Yeah. We had a ton of cult fans and a lot of parents bringing in their teenage kids or a number of people that were in college that were like, I've never heard of it, but I've heard it was great. people really, I mean, look, we're in an experiential society, right? It's not necessarily what we have. It's what we've experienced and really being able to share that. So we know what fandom looks like and cause them, you know, from being open for close to a year. So we wanted to set up, you know, different moments as a journey, even prior to seeing the film. So, you know, I never thought I'd see people actually tailgate for a movie, but we were Having people show up 25 to 30 minutes ahead of time, part of it, like they've seen this up on Cosm. So we really create the vibe. You know, you get in there, it's full of matrix code in our hall. Everything's dimmed and like, you know, green and black, like lighting. There's areas in our lobby where you can step inside the matrix and your body becomes code. We did a replica of the phone booth. It was one of the hottest like photo ops that we had. We had a Sentinel coming out. And of course, you know, prior to going into the show, are you going to get a red or a blue pill drink? And we had a full tasting menu that was synchronized to scenes. And going back to one of your other questions, you know, if we felt like that scene didn't necessarily need another special effect advancement or even a background, we would compliment it by having like themed food come out if you got that package. So like, When the ignorance is bliss steak moment, you have steak in front of you. Or when the Oracle is giving a cookie, all of a sudden you have a cookie too. Sometimes we'll supplement in real life moments through our consumer experience piece outside of the technological. Because for us, it's all about the fan experience and where we can enhance that in every way of a cause and venue.
[00:20:44.653] Kent Bye: Yeah, in terms of the themed food, I had heard from some of the other Cosmo employees that you were doing that. I didn't know that was an option. Or is that actually on every screening that you're offering that? Or is that a special package, a special screening?
[00:20:56.638] Alexis Scalice: So we have different, we have special packages that have the bundled tasting menu. It's obviously a higher price. It's all bundled together. And then we have without. So that way we can offer fans, you know, two different price categories, right? There's with and without. And it gave us a really good idea. And we found that a lot of people loved it bundled, but we also loved that because we show it at different times. You know, we might have a 1030 show or a 10 p.m. show. They may not be there. feeling like steak. So we have different options for that, but you always can order it all a cart. It's either bundled or you can order it all a cart. What we did find is almost everybody that came in wanted a red or blue pill drink. Like that was just something to get them in the vibe. And so, you know, again, it's all about making you feel like you're part of that experience. And so we have definite things like cocktails prior to hand, and then we will have those special nights that have an elevated service level if you choose.
[00:21:48.499] Kent Bye: One other moment in the film that really stuck out to me was when they're cutting back and forth and the Sentals are attacking the main ship and you still have a persistent reminder that one side is in danger of their physical threat by having a persistence of that scene, even though you're cutting back and forth. I found it really interesting as a reminder that added something different to the film that increased the amount of pressure that they were under because you're put into a context where you're also feeling that real threat that's coming in that was also really quite interesting that I wasn't expecting.
[00:22:27.180] Alexis Scalice: It's definitely, we had to make some decisions like that as we were kind of getting into it. And we found that keeping people in an environment during those more intense and action-packed scenes, we had more of like a response or quite frankly, an attention span of people. You know, when you watch, and we did a number of times between our internal or, you know, working with the studio from like an insights of like what made the most sense as we were making decisions on final shots. But we have a lot of people that are, The goal was to make you feel like you're with me or you're with Trinity or you're having that same type of emotional response. And you actually hear it with people. I mean, I think people laugh at different movies, but you actually hear people go like, oh my gosh. And I think for us, the best part of this experience has been seeing the consumer response. Like to watch people clap in the middle, that first moment when you realize, I'm not watching a movie in a typical theater is our favorite thing to see is, you know, within the first five minutes when Trinity, when the whole dome flips with her, like that's what everyone goes. Or when code is coming down right at the beginning, we look at those, whether it's like lighting or whether it's exactly what you're saying. Like, do we keep this scene up longer? Like, what do we want the fan to feel at that moment? And like, what follows the IP and the brand experience the best are constantly questions we're asking.
[00:23:44.804] Kent Bye: Yeah, there's certainly a number of times at the film that are kind of like these mic drop moments that give the whole audience like a gasp of awe and wonder. A lot of times I'm extending the frame or explosions or there's certain key thematic moments in the film where you're able to really give that extra punch. And what I noticed is that, you know, generally Cosm has a very open policy in terms of people engaging. taking out their phone and recording a moment. Typically in a film, you don't do that, but this is kind of like a cult classic. So there's a little bit less pressure to not take out your phone and record things. But just curious how Cosm treads this line of protecting the IP in some ways and trying to protect certain aspects of things that you want to keep, but also realizing that it's way different when you're actually there. And even if people see a bit, it's way different if you're actually there seeing it. So there's a kind of like a viral media benefit from having that happen. So just curious. I'm curious to hear that.
[00:24:37.382] Alexis Scalice: I mean, we look, we encourage guests to share their experiences. You know, I think that's the whole foundation of shared reality. In fact, we get a lot of our business comes from abandoned consumer response and just referral of like, you have to see this. And, you know, we knew that this was a really good opportunity to bring back a truly beloved classic film of a legacy but at the same time no one really ever saw a movie like this before so we were really dealing with two first like a really great relaunch and excitement and anniversary and the same time like our first approach to this type of business so we love that people and a lot of times people you know i think my favorite thing was people being like you know, I can't even explain and put this into words. You have to come see it. And sometimes it just wouldn't do it justice, but we encourage that shareability because that's the idea of the shared reality is like having those emotions together or, and then being able to talk about it or talk about before you come. And we watch that constantly. We definitely do our own, you know, great marketing and testimonial marketing piece, but we think some of the best things are reviews that will come about of nowhere that people have seen and sharing with fans alike. And we really do listen to that. Like we look and we're like, okay, what have we done right? What are areas that we want to hear what they're talking about? What movies they want us to do next? And so we've taken a lot of that fan chatter. And as we look to scale this business and our venues, fans give us great ideas.
[00:26:05.714] Kent Bye: Nice. What can you say around the next film of the Willy Wonka and the Chocolate Factory, which seems like the original that's going to be coming out next?
[00:26:12.242] Alexis Scalice: Yes, we have heard from a lot of our fans that they love the fact that we're going into movies and they love classics. So this is a 50 year old film that we are kind of giving new life to. So same proprietary technology, completely different way of using it. One of our strategies is obviously we just started with like live action, you know, impact like performance and really cross pollinated well with our sports demo with Willy Wonka and the Chocolate Factory. And we're really reaching that family demo. you know, having kids come in and family experiences, perfect timing during the holidays. So that's exciting to us. It's a busy time for us because it's also NFL season. But what we love is that we can offer like an amazing game experience and then a really awesome family experience. So this is different. With The Matrix, we had about 75 to 78. The film that had extended backgrounds for Willy Wonka, almost the entire film has an extended background, but done differently because the pace of the film is much different than The Matrix. So there's definitely those wow moments. But our goal was really to you have this like warm, fuzzy feeling and your inner child is brought out. with Willy Wonka and the Chocolate Factory. Whereas with Matrix, sometimes you feel like you're on the edge of your seat. So completely different emotions, but still a really exciting experience for families to come and see a classic.
[00:27:31.189] Kent Bye: Awesome. And finally, what do you think the ultimate potential for these types of extended reality, shared reality experiences might be and what it might be able to enable?
[00:27:41.221] Alexis Scalice: I mean, look, I think we're just getting started. I think the exciting part is that, you know, the world loves watching movies. You know, it is a classic and beloved pastime. I mean, I've been in the industry for years and, you know, fans, their lifestyles. And quite frankly, it becomes like a love brand for a lot of people with these like legacy IPs or films. So I think having an opportunity to reinvigorate classic films or, you films that have not been out for a while and to relaunch them to not only like new audiences but existing fans is not only an honor but so much fun and we are we are really going to continue to look at that classic opportunity and celebrate anniversaries with films to be really great partners to studios but we're definitely looking at different ways that we can elevate through our technology and i think we're going to find those ways through different genres of film whether it's action, family, could be horror. I mean, there's so many films out there. It's the right story that leans into shared reality. And so we're getting really excited about extending that as an offering that we'll have at Cosm.
[00:28:45.350] Kent Bye: Awesome. And for listeners listening to this, when is the last time they're able to see The Matrix? I understand it might be coming to a close here in November.
[00:28:53.379] Alexis Scalice: We are, it's definitely going to be sunsetting as we get into Willy Wonka and the Chocolate Factory. So we would definitely say, get your tickets now, perfect time during, you know, get your best cosplay out for the Halloween season. But you'll definitely see it before we start sunsetting it. Willy Wonka comes out on November 21st and we are already close to sold out for a lot of our, you know, first couple of weekends. We're really excited about the momentum, but the Matrix definitely will have a home with Possum for like a while. And we're looking to relaunch it in some of our new venues coming to you.
[00:29:23.123] Kent Bye: Oh, okay. Perfect. Anything else left inside you'd like to say to the broader immersive community?
[00:29:27.986] Alexis Scalice: No, I think, you know, we are thrilled to be part of this immersive community and we love having everybody come to Cosm. And I think, you know, outside of cinematic, you know, shared reality between our sports opportunity, there's something for everybody at Cosm. And for us, it's really about building these Cosm communities and having repeat guests come to visit us.
[00:29:46.966] Kent Bye: Awesome. Well, yeah, I've enjoyed my five different experiences I've seen at Cosm now and happened to get to see, I got to see a little bit of the end of the football game. It was a Bears-Commanders game and there was just a lot of, you know, the fandom from these different teams and live sports seems to be something that's really hitting strongly there at Cosm. But yeah, just I think taking these classic films and extending them in a new way adds something new and different that I think folks from the XR industry will appreciate the different ways that you're able to extend the world building, extend the frame, and start to use the spatial affordances to actually give a little bit more intensity and emotion and a deeper immersive experience to some of these different films. Even having lights at the Rose outside in the stadium, there's lots of ways that you're adding these different spatial and immersive qualities to these films. And yeah, just really excited to see where you take it all here in the future. So thanks so much here for joining me here on the podcast to help break it all down.
[00:30:41.598] Alexis Scalice: Thanks, Ken. It was such a pleasure and an honor, and I can't wait for you to come back a sixth time.
[00:30:47.723] Kent Bye: Thanks again for listening to this episode of the Voices of VR podcast. And if you enjoy the podcast, then please do spread the word, tell your friends, and consider becoming a member of the Patreon. This is a supported podcast, and so I do rely upon donations from people like yourself in order to continue to bring this coverage. So you can become a member and donate today at patreon.com slash voicesofvr. Thanks for listening.
