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I'm beginning to dislike Netflix (re: Archive 81, 1899, Warrior Nun etc cancellations)
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<blockquote data-quote="Mercurius" data-source="post: 8900757" data-attributes="member: 59082"><p>Sure, though I'm not sure how this means I'm "also not right." Meaning, how does this conflict with what I wrote?</p><p></p><p>But yeah, one of Netflix's saving graces is their "emphasis on foreign TV," which works for folks like me who like Nordic Noir and rando European supernatural thrillers like Black Spot (one of my faves).</p><p></p><p>What I see is a bit of a shot-gun approach, and using a full season in a way that TV studios used to use pilots: tests to see audience response, in this case how many subscribers might be lured in. It is crazy to think of the amount of money involved, that a series like 1899 could be made--costing tens of millions to produce--with the idea that it will be dropped if it doesn't bring in enough just a few months after airing.</p><p></p><p>But if the test is how many new subscribers come on board, it is a crazy approach in the long-term -- as [USER=69507]@Haplo781[/USER] said -- because it only looks at the quick return of a few months time (or whatever). Seems horrendously over-simplistic and short-sighted.</p><p></p><p>p.s. I'm not sure I'd call Stranger Things and Sandman "high concept." They're more "middle concept", imo; they include elements of high concept, but the focus is really on "middle concept" elements. In ST's case, it is the teen dramedy and genre action adventure, in Sandman it is the emo-gothic drama. Archive 81 and 1899 (as far as I can tell) are a bit more focused on the higher concept elements. This isn't a castigation of ST and SM; in a way, it is simply a more successful formula. In a similar sense that the main reason GoT was a cultural phenomena was not because it was fantasy, but because of the other elements - the characters, the political machinations, the wars, the blood and boobs, etc. Fantasy was simply the contextual milieu in which it took place. Misunderstanding this is why the post-GOT fantasy tv landscape is largely mediocre to poor, as if the showrunners think, "All we've got to do is give them dragons, pointy ears and shiny things, and they'll eat it up. Story, dialogue and characterization...who cares?"</p></blockquote><p></p>
[QUOTE="Mercurius, post: 8900757, member: 59082"] Sure, though I'm not sure how this means I'm "also not right." Meaning, how does this conflict with what I wrote? But yeah, one of Netflix's saving graces is their "emphasis on foreign TV," which works for folks like me who like Nordic Noir and rando European supernatural thrillers like Black Spot (one of my faves). What I see is a bit of a shot-gun approach, and using a full season in a way that TV studios used to use pilots: tests to see audience response, in this case how many subscribers might be lured in. It is crazy to think of the amount of money involved, that a series like 1899 could be made--costing tens of millions to produce--with the idea that it will be dropped if it doesn't bring in enough just a few months after airing. But if the test is how many new subscribers come on board, it is a crazy approach in the long-term -- as [USER=69507]@Haplo781[/USER] said -- because it only looks at the quick return of a few months time (or whatever). Seems horrendously over-simplistic and short-sighted. p.s. I'm not sure I'd call Stranger Things and Sandman "high concept." They're more "middle concept", imo; they include elements of high concept, but the focus is really on "middle concept" elements. In ST's case, it is the teen dramedy and genre action adventure, in Sandman it is the emo-gothic drama. Archive 81 and 1899 (as far as I can tell) are a bit more focused on the higher concept elements. This isn't a castigation of ST and SM; in a way, it is simply a more successful formula. In a similar sense that the main reason GoT was a cultural phenomena was not because it was fantasy, but because of the other elements - the characters, the political machinations, the wars, the blood and boobs, etc. Fantasy was simply the contextual milieu in which it took place. Misunderstanding this is why the post-GOT fantasy tv landscape is largely mediocre to poor, as if the showrunners think, "All we've got to do is give them dragons, pointy ears and shiny things, and they'll eat it up. Story, dialogue and characterization...who cares?" [/QUOTE]
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I'm beginning to dislike Netflix (re: Archive 81, 1899, Warrior Nun etc cancellations)
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