Netflix received over 115 nominations at this year’s Emmys, led by hits like The Squid Game, Stranger Things, and Ozark. Although it’s down from last year’s 129, Netflix still holds the second-most titles of any network or streamer, with only HBO beating it thanks to juggernauts like Succession and The White Lotus.
However, not everything is good for the so-called King of Doors. Whether it’s canceling shows left and right or losing subscribers every quarter, the original streamer can’t seem to catch a break, and even its raw and over-the-top original movies can help. Netflix started teasing The Gray Man less than a month ago, and the film – which was said to receive a $200 million production tag – has already left pop culture buzzwords; not even the news that a sequel and prequel were coming was enough to spark interest.
Indeed, Netflix seems to be at a crossroads in its journey of long-term success. Its television division is thriving — shows like Stranger Things and Bridgerton dominate the conversation for days, weeks, and even months, attracting positive reviews from critics and establishing themselves as modern classics. Things are different on its part in the film, however, which makes it difficult not to make a dent in the realm of pop culture. Even the combined powers of Chris Evans and Ryan Gosling were enough to make The Gray Man interesting, and the same can be said of other big-budget films like The Adam Project and Red Notice.
Why is Netflix tied to original film production when its strength is clearly in television? The broadcaster tried to make a name for itself in the movie department, delivering a few hits – the trifecta of Roman, The Irishman, and The Power of the Dog – that will become classics. However, that had more to do with the executives behind them than with Netflix itself. All the film projects produced by the streamer are between the best and the worst. On the contrary, its shows continue to be successful, both original creations and adaptations. It’s time for Netflix to wake up: its original movies suck.
But all is not lost; Netflix has some of the best shows on television today, many of which have reached unprecedented levels of success. Fans and studios are currently fighting an all-out war for control of the entertainment space, and Netflix may be the undisputed ruler of the small screen. So why is it reducing its efforts? Why is it investing so much in movies, settling for being the court jester of the film industry but could be the king of television?
The power of the Netflix?
Netflix made a name for itself in the film industry through one simple strategy: throwing a lot of money at auteurs, hoping to lure them to its level. It worked, if only temporarily. See the article : Netflix: The Absolute 49 Best TV Shows to Watch. Filmmakers such as Alfonso Cuaron, Martin Scorsese, David Fincher, and Jane Campion have accepted the fund and given their voice to bring honor to the streamer.
The appeal of these directors is easy to see: they had complete creative freedom and tons of money to do serious personal projects that might not have been well received elsewhere. Working without restrictions and in full control of their work has allowed them to create some of their best work to date, with modern art Roman and The Power of the Dog expanding the streamer’s portfolio beyond its original big-fish-in-a. -small-pond status. Soon, the awards came knocking, but Netflix showed its short temper by running not one or two, but four impressive awards.
Netflix either underestimated its competition or underestimated itself.
The editor‘s failure to bring any real gold to his celebrity projects proved to be more of an illusion than a real threat in the film business. Rome’s failure to win the Best Picture Academy Award is particularly troubling; however, the streamer’s horrifically bad campaign for Champion’s Power of the Dog is a stain he may never recover from. The film received 12 – let me repeat that, 12 – Oscar nominations at the 94th Academy Awards. It won one. To make matters worse, Apple TV+, a potential new competitor to the streaming wars, won the Oscar for Best Picture and CODA.
Netflix was supposed to be the first streamer to take Best Picture. That is the main reason that spent all this money to attract Cuarón and Scorsese and Fincher. However, it either underestimated its competition or overestimated itself. Whatever the reason, its inability to use its most valuable assets has made it something of a laughing stock in an industry that takes a wicked pleasure in destroying images.
Things aren’t looking any better in the blockbuster department. Netflix is throwing money at dumb action movies with big stars, beautiful locations, and amazing set pieces. However, it is only money underwater; Each new entry is more forgettable than the last, serving the same purpose as the average and very cheap first movie Netflix produced. Anyone remember Red Notice? Of course, we all saw it when it came out because there are worse ways to spend a Friday night than watching an action thriller starring Dwayne Johnson, Ryan Reynolds, and Gal Gadot. But do we care? Did we even listen? I don’t think I can name any characters, let alone plot details.
It is slowly becoming clear that the lack of Netflix strategy will be the downfall of the film sector. While other studios have verticals with specific goals – why else would Fox Searchlight and Sony Pictures Classics still exist if not for the purpose of winning Oscars? – Netflix’s attempt to do it all results in embarrassment after embarrassment. One studio cannot be everything; battles must be chosen to win in the long run. Just ask Warner Bros. Discovery.
The television crown
Things look very different on the television side. On the big screen, Netflix reigns supreme, if not undisputed. Since it first entered the TV industry with the now-defunct House of Cards, Netflix has maintained a strong and purposeful path to the top. To see also : Streaming in Canada on Prime Video, Crave, Disney+ and Netflix [March 27th]. June to July 3]. Shows like The Crown and The Queen’s Gambit established him as a small screen celebrity. Its reign reached its peak at Emmys 2021 when it took home the trophies for Outstanding Drama and Outstanding Limited Series. Five of its actors also won Emmys, and while Apple TV+ and HBO also had strong showings, it was the closest thing to a Netflix night the broadcaster has ever had.
Recent releases cannot compare to Stranger Things and its dominance of the pop culture landscape.
Beyond critical acclaim and industry love, Netflix shows have something that would kill many others: engaging audiences. Recent releases from Bridgerton and Ozark have drawn the attention of exhibitors, with the two shows capturing the conversation. Bridgerton’s brand of sexy historical romance was bound to be popular, but Ozark’s triumph is all the more impressive given its dark subject matter, placing it in a select group that includes The Sopranos and Breaking Bad as unforgiving shows that still deliver audience engagement.
But even the latest two can’t compare to Stranger Things and its dominance of the pop culture landscape. I could write an entire essay on the topic of social media; indeed, any show that has enough power to help a nearly 40-year-old single reach the Top 5 in the Billboard Hot 100 in the year of our Lord 2022 is worthy of praise. As I write this, Kate Bush’s Running Up That Hill is currently at No.
Outsourcing is also making all the difference for Netflix. Squid Game and Money Heist are two of his most watched and talked about projects, attracting great praise and increasing fan interest. Both properties are now franchises, with Money Heist already receiving a spin-off and a spin-off focused on Berlin’s character. In that case, Squid Game is a real thing. The show was an overnight success, becoming the most watched show with an embarrassing 1.65 billion hours watched.
Even its worst shows generate interest, if only because people hate-watching them. Think about Ginny & Georgia, Emily in Paris, and Too Hot to Handle, show that it’s bad, but it still attracts a lot of people. Now, compare them to, say, Persuasion, the recent Netflix adaptation of Jane Austen’s classic. Yes, Persuasion was evil, and everyone wanted to destroy it. But less than a month after its release, the silence is deafening; no one is talking about it. However, when Emily in Paris returns for its inevitable third season, the conversation will start again, even if it’s just to make fun of the heroine’s terrible taste. By their very nature, shows have staying power. Few, if any, movies can match it, let alone a Netflix original.
Stranger Netflix things
There’s no shame in admitting defeat, or at least, there shouldn’t be, and it’s clear that Netflix has lost the movie war. The streamers can’t keep up with the major movie studios who do this for a living and have years of experience in supporting and operating their projects to their best potential. On the same subject : Jake Gyllenhaal Starring ‘Road House’ Reboot Gets Green Light on Prime Video. It also lacks the control of Apple TV+. Netflix can’t seem to stop itself from wanting everything; it tries everything and succeeds with only half of it. But when it succeeds, it succeeds.
Television gives Netflix the opportunity to become the master of the house and finally take its coveted seat at the top of the table. Why should it continue to drop its efforts when it already has a solid foundation to challenge HBO for the title of TV king? Netflix can dominate the Emmys if it wants to. It can continue to provide English language and foreign content, driving the conversation and becoming a trendsetter. In short, Netflix can dominate television. It is already doing that. Other streamers and networks would kill for the kind of engagement Heartstopper received; compare it to the views of Peacock’s Queer as Folk reboot, Apple’s Dickinson, or Hulu’s Love, Victor received, and you’ll see that the Netflix show still has a significant impact on the entertainment scene.
For better and for worse, Netflix is still the King of Streams, and if it wants to keep its crown, it has to pick its battles. Television is the future of Netflix, and neglecting this will only bring further embarrassment. You fought the good fight, Netflix, but movies aren’t your forte. Bow gracefully and return to the television, where you rise. You may never win an Oscar, but you get to rule at the Emmys, and that’s fine.
Editors’ Recommendations
