An insightful long read on n+1 by Will Tavlin on Netflix.
One tag among Netflix’s thirty-six thousand microgenres offers a suitable name for this kind of dreck: “casual viewing.” Usually reserved for breezy network sitcoms, reality television, and nature documentaries, the category describes much of Netflix’s film catalog — movies that go down best when you’re not paying attention, or as the Hollywood Reporter recently described Atlas, a 2024 sci-fi film starring Jennifer Lopez, “another Netflix movie made to half-watch while doing laundry.” A high-gloss product that dissolves into air. Tide Pod cinema.
It was fascinating for me becuase I have been part of this Netflix’s journey as a subscriber and I didn’t realise that I was doing casual viewing for sometime now.
That audiences clearly prefer the films of the past has been an inconvenient fact for the streamers who tout themselves as the future of entertainment.
Another revelation for me. I have been watching reruns or discovering old shows.
How to predict the audience’s taste — what will make money and what won’t — is a question that’s plagued Hollywood since its inception. The problem was captured by the screenwriter William Goldman in 1983. “Nobody knows anything,” he wrote in his book Adventures in the Screen Trade. “Not one person in the entire motion picture field knows for a certainty what’s going to work.” Netflix’s greatest innovation was that it found a way around this uncertainty: it provided a platform on which there are no failures, where everything works.
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But by insulating their films from failure, the streamers have destroyed the meaning of success. Thierry Frémaux, head of the Cannes Film Festival and a vocal critic of streamers, understood this well when he presented the dilemma at a Cannes press conference in 2021. “What directors have been discovered by [streaming] platforms?” he asked. It wasn’t a rhetorical question. Frémaux began calling on journalists to name an auteur whose career had been launched by a streamer. By this point, Netflix had released more than seven hundred films in the US alone, with hundreds of directors attached. Yet as the Guardian later reported of the scene, “nobody could name any at all, in fact.”
Wow!
Five years before the WGA and SAG’s historic overlapping strike, which in part sought to redress the streamers’ elimination of back-end payments, LaPorte concluded what it would take major newspapers and magazines years to report: streaming had brought about “the death of Hollywood’s middle class.”
And middle class is struggling everywhere.