In 1995, Emmys nominated for Best Drama were Chicago Hope, ER, Law & Order, NYPD Blue, is X-Files. In 1996, the Emmys were candidates for the best drama Chicago Hope, ER, Law & Order, NYPD Blue, is X-Files. In 1997, the Emmy candidates for Best Drama were Chicago Hope, ER, Law & Order, NYPD Blue, is X-Files. That is: two police shows set in New York, two medical shows set in Chicago, and some aliens, distributed over four networks, represented the height and breadth of the art form for three consecutive years.
In 1995, the Emmy candidates for best comedy were Frasier, Friends, The Larry Sanders Show, Mad About You, is Seinfeld. In 1996, the Emmys nominated for Best Comedy were Frasier, Friends, The Larry Sanders Show, Mad About You, is Seinfeld. In 1997, the Emmy candidates for best comedy were Frasier, 3rd Rock from the Sun (surprise!) The Larry Sanders Show, Mad About You, is Seinfeld. Three shows on neo-neurotic New Yorkers, a show about wealthy neurotics Seattleiti, Garry Shandling and some (other) aliens, concentrated almost exclusively on NBC with a single monologue representing the height and breadth of the form d & # 39; art for three years running.
In 1999, that solitary outlier was on the air The Sopranos is Sex and cityand the story there is familiar to almost everyone. The cable is dry branches, Mad Men is breaking Bad, HBO, AMC, FX, DVD, DVR, New Age of Gold, new voices, shorter seasons, higher standards, bigger stars, showrunner superstars, more choices, the widely pronounced death of monoculture and the decline of Big Four broadcast networks – an embarrassment of wealth, a form of art in its ascent to the end.
In this research-story of progress through the increase of options, streaming services had to cast the only ring of monoculture in Monte Fato forever. They would offer virtually unlimited viewing options. They would allow viewers to cut the cable that connected them to the cable and broadcast networks, allowing those viewers to watch those endless options when and where they wanted, the streaming services. When the biggest of these services, Netflix, entered the original programming game seriously, it started the arms race of the production known as Peak TV. In this content-rich environment, creating a unifying success for culture is a war for the throne that only one or two shows could win, but finding the right show for your personal subculture of one was easier than ever. No more TGIF, no more TV to see: television was the art form of the future, and Netflix was the future of television, and the future had finally arrived.
And now we know how it looks. In 2018, 14 of Neflix's 20 main shows, e all 10 of his first 10 shows, they were replicas of broadcast networks. Friends, who received his first Emmy nomination while Bill Clinton was president, is number one.
None of this means that Netflix is not really the future. It is only more proof that such a future would suck.
The main supplier of what was once necessary to watch TV is obviously not the main public profile for the streaming giant. What used to be a fun way to rent DVDs by post is now both a full-service television network and a movie studio, and as such makes its reputation out of its original programming. The only thing that Netflix wants you to know about Netflix, even more than any of the many shows or movies it has made, is that it wants make the programming more original in the future. According to Netflix, all this is working great.
According to Netflix, Bird Box (A Netflix movie), a community service phrase by Sandra Bullock in the form of a horror film that has already been forgotten by all those who have always looked at it, has been seen by 45 million accounts in its first week of publication, which overlapped with Christmas. This means that millions of families gathered around the tree to watch a video of monsters that didn't show monsters, but showed many people who committed suicide. Furthermore, according to Netflix, you, a provocative but otherwise little known Lifetime original that, in some way, is also advertised as an original Netflix, it is a sexy stalker played by the boy from Gossip Girl whose real name sounds more like a Gossip Girl character of his Gossip Girl the character's name was displayed by 40 million accounts in the first four weeks of service. The same is true, presumably, of Sex education (A Netflix original), which is a British show about Scully's X-Files-Do you remember X-Files, he was nominated for Best Drama in the Years 90 a lot of times, teaching his son how to give handjobs.
For the context, those numbers would make both of these shows more popular than game of Thrones. According to Jon Landgraf, FX's CEO and a longtime cult figure for television journalists, Netflix is lying about those numbers. This would surely explain why game of Thrones it has generated an entire cottage industry, while it would be extraordinary if you have ever heard of a human person you or Sex education aloud, but who can say? Not me, because I don't know and can't tell if Netflix is telling the truth – and not Netflix, because their numbers and methodology are otherwise kept private.
But if Netflix really lied about all this, it wouldn't be the most disturbing thing he's doing right now. According to Cary Joji Fukunaga, the director of True detectiveThe first season that made the reputation and the end of the knockoff series of Jonze / Kaufman / Gondry Maniac (A Netflix original), the Netflix algorithms have the last word on creative decisions, not just on what is shown or renewed, but on what really happens in those shows. If this was an episode of Black mirror (A Netflix original) would be seen as dystopian. None of this, of course, means that Netflix is not really the future. It is only more proof that such a future would suck.
I recommend leaving the show
There are lots of TV shows out there. A lot of shows. Good shows. "The Golden Age of Television", …
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As a professional television critic, I already live there. Netflix is now effectively my entire field of coverage. It is increasingly difficult for me to place coverage of non-Netflix shows; all but the most important "event" events on other networks are passed for periodic reviews, while those on competing streaming services are at most second thoughts. This is also true of Amazon Prime, the television and film branch of an incredibly profitable company after the appointment of the governor of New York, Amazon Cuomo. (Don't feel too bad for Amazon, though: & # 39;, & # 39; & # 39;); window.ga (& # 39; unique.send & # 39;, & # 39; event & # 39;, & # 39; Commerce & # 39;, & # 39; deadspin – Netflix's bright future looks very similar to Television & # 39; s Dim Dim& # 39;, & # 39; & # 39;); "data-amazontag =" deadspinamzn-20 "href =" https://aws.amazon.com/solutions/case-studies/netflix/?tag=deadspinamzn-20&ascsubtag=c1d6cbd7a721c179cba7946611807a3262299a7d ">" Netflix delivery Billions of content globally run on Amazon Web Services. ")
If you write on television the way I usually do it, which is through reviews-summaries, if you insist on single episodes, Netflix is also hard to write. Netflix's business model guarantees it. Weekly bursts of shotgun full seasons of half a dozen different shows are just how it works, but it makes deciding what will hit and how and when to cover it is utterly infuriating for every TV publisher I spoke to. According to the design, Netflix shows are consumed in one or two sessions, within 72 hours of their release on Friday of a few hours. They must be discussed intensively Monday and Tuesday, and then swept away by the next torrent of programming to get to the original Netflix lock by the end of the week.
It is not easy to plan. You can anticipate the reviews of every single episode and distribute them in the first important weekend to attract the bingers, or you can distribute them one a day for a couple of weeks, or you can do the usual review of the season in which to start and then concentrate on any absurdity point of interest occurs with individual annotations. ([Robert Plant voice] Does anyone remember Barb?) What you absolutely can't do, though, is stop thinking about it. Fortunately, you will rarely have to do it. Practically all of this is exactly like stuff you've already thought of.
Netflix is concerned with making cinema accessible to rural and poor and disabled people and marginalized in the same way that Jeff Bezos and Andrew Cuomo care about creating jobs for working-class immigrant communities in Queens.
Even if you reduce Fukunaga's revelation that programming is not only promoted but increasingly created by the algorithm, Netflix also shows those that you should seriously look at, like Suburra is Dark– I almost always hear and look a lot like other shows. This has been included in the Netflix model since the beginning: its first original series was a television series starring Sopranos the former Little Steven Van Zandt, and his first major work was the mega-popular director David Fincher who reworked a British political drama. The orange is the new black, the rare Netflix Original that actually was original, has obscured the (correct) impression that the creativity of the site modus operandi is "If you like this kind of thing, here's the kind of thing you'll like." It turned out to be a false dawn.
Years in the apparent revival of Netflix, More Like This is still the rule. Fincher has recently returned with a serial killer drama Mindhunter, a show that looks like its real serial killer movie Zodiac (available on Netflix) and sounds like the Michael Mann movie Manhunter but it's as good as neither. It also looks like a serial-killer drama to real crime Manhunt: Unabomber (available on Netflix). Maniac, which also sounds like Mindhunter is Manhunter is man hunt, not to mention exploitation – called horror film Maniacin fact it is not a serial killer; is instead a golem taken from the most beloved films of 1999, from Fight Club to Being John Malkovich–Stranger things for students in the second year of university.
And let's not forget it Stranger things in itself: a nostalgia for the film genre of the 80's warmed up, unfolded with mercenary efficiency and fascination that can only be described as algorithmic. It's another clip work: Steven Spielberg joined Stephen King. (Particularly it, from which one of the children Stranger things he starred when it was updated from the 50's to the 80's, which coincidentally makes it more similar Stranger things.)
All right. Ozark is Jason Bateman breaking Bad cover band. Blind Peaky is English Waterfront Empire. If you enjoyed the Ted Bundy documentary, you may also like the Ted Bundy film. You can watch awkward sex and romance comedies set in almost every metropolitan youth community that comes to mind, with the exception of Atlanta, which has been taken. You can watch some bizarre shows of real crimes or rather depressing shows of real crime, but for god you are will watch the real crime shows. Until the site's recent chicken game with Disney's upcoming streaming service, you can choose from six Street level Marvel superhero shows set in New York City. These have all been replaced by Russian doll, that seems marmot day for people who have read Meet me in the bathroom but that everyone says is excellent, even though this is also what they talked about Stranger things.
Try to count the original series starring the people who were killed game of Thrones. Try searching the site "cocaine "and counting all the shows on Pablo Escobar alone. Try to shoot the Big Red Machine this weekend and choose between Netflix Originals in the" Crime "category with titles like, just out of what I'm seeing on my screen right now , Cannabis, Cocaine Coast, Money in Your Pocket, Undercover Law, Unauthorized Life, Altered Coal, Drugs, Drug Lords, Dirty Money, Berlin Dogs, Babylon Berlin, Bad Blood, Blood Pact, Bordertown, Wild District, Wild Wild Country, The Break, The Fall, The Staircase, The Forest, The Keepers, The Mechanism, The Good Cop, The Indian Detective, Deadwind, River, Retribution, Collateral, Warrior, Wanted, Travelers, Narcos, Narcos: Mexico, Inside the Real Narcos. Some of them are good, others are bad, nobody is really nice, everyone is sitting there in small identical rectangles waiting to be played automatically while you see if your new CBD chocolates are good.
The bet is that you will watch them, you will spend hours looking at them. Then I'll chat about them, talk about it for a few days, maybe you'll click a few times in the direction of someone trying to write fast enough to keep up with them. And then a new day will come and you will have mostly forgotten them. You will return to a state of monocultural harmony in which everyone's attention is directed towards the same things at the same time, for the same minimum intellectual, emotional and artistic gains.
This is the end of Netflix: more or less the same, e only more or less the same, and all in one place. You have your two medical shows in Chicago, your two police shows set in New York, your four sitcoms on wacky people in apartments and some aliens, just now you don't have them from four different stupid competing companies, but a gigantic one . By the way, the same giant stupid company, by the way, also offers the products of those four different products of stupid competitors, if you want to switch from Committing a murder to L & # 39; Office (USA) around 16:00 on Sunday. You can adjust the biggest stars and the most explicit jokes on the blowjob and Rome like the movie Friday Night instead of Mother, can I sleep with danger?, but basically we came back to where we started. It's not HBO. It's the TV.
And yet, Netflix wants to make more original shows, based on the data of users it receives by looking at the people who watch their current programs, encouraging them to do more shows exactly as in previous shows. Sometimes the network is good if the taste is not creative in the people that leads to doing this job. Even if it is not really the disadvantaged young people who cannot get a good shake elsewhere that the current speech has invented, creative dynamics like Shonda Rhimes and Ryan Murphy have big business? Are great directors like Martin Scorsese and Ava DuVernay and Coen Brothers and Alfonso Cuarón and Guillermo Del Toro paid to make films, or more precisely to keep the films they make in theaters? Sure, but the thieving barons have always enjoyed slapping their names in museums. What is behind the door does not matter much once the ticket price is paid.
Tony Soprano is not dead / not dead for this, friends. Samantha didn't eat funky sperm for this. Twenty years looking at an incredibly famous medium that has unexpectedly become fucking fantastic has not passed to be able to return exactly to the same monopolized economy of attention that we used to have. That's just what it was, except that the monoculture now belongs to a giant of technology that burns money, churns out the product, drowns the competition and puts spectator metrics in a vault next to the decisions you made during Black Mirror: Bandersnatch, a Netflix original.