I amIn the latest clash of streaming wars, Netflix has emerged fighting. In a star-studded promotional video, the studio announced a staggering slate of original releases in 2021, promising to release a new film every week this year.
The studio’s productivity level drives its competitors out of the water. In pre-Kovid times, Warner Bros. released 21 films in 2019, with 19 postings by Disney. True, the streamer does not always have to grapple with the extra costs associated with a theatrical release – or indeed the cinematic headache is all but open – but its actors’ smiling down was a clear statement of intent.
The past year has highlighted the fragility of a cinematic ecosystem that relies on more than $ 400m of blockbusters to regularly strike a profit and save theaters. Netflix may not yet claim to be the savior of the cinematic experience, but it is undeniably giving the industry a big shot in the arm – and approaching stability in some unstable times – producing original content of all sizes Through the commitment of.
Tent-pole releases have their fair share in this year’s slate. We’ll see the big-budget raid notice, featuring Dwayne Johnson, Ryan Reynolds and Gal Gadot, released alongside Leonardo DiCaprio and Jennifer Lawrence-fueled Don’t Look Up. But she gets involved in films that lean too much into the company’s desire to increase the size of its award cabinet. Booker stands an adaptation of award-winning The White Tiger, while also featuring Lockdown-inspired Malcolm and Mary.
Occasionally with Netflix, a note of caution is whether this liberal model is inherently fragile as a distribution pattern is being disrupted. A house of glass to rival the mouse’s house. Obviously, this depends on very large growth, but so far, the studio has consistently provided it.
In the third quarter of 2020, the studio recorded $ 6.44bn in revenue, with the number of customers worldwide growing steadily, yet all of this offset by a content bill that would be as high as $ 17.3bn in 2020 Notice has been given. There is difficulty in figuring out what the value of each new release is in terms of attracting new customers and attracting others, and this could mean that Hollywood accounting has a new meaning.
Netflix is clearly throwing huge amounts of money into producing original content, much like its rivals at Disney. Yet in many ways the streaming giant’s move matches its rival, which used its recent investor day to expand existing properties. Yes, Disney +’s slate for 2021 is full of new series and films, but they often exist within established cinematic universes. From The Book of Boba Fate and Star Wars via Vandavation and Marvel, the studio is using its platform to appeal to a loyal and dedicated fanbase.
It is controversial that the two streamers are coming from opposite starting points. Disney was a film-making colossus that long ago switched to streaming, while Netflix traditionally relied on the competitive curating of others’ productions. As the two slides close together, it makes logical sense that they are struggling for their traditional strengths, as well as implementing creative and Disney bostering existing IPs outside of Netflix (its biggest money to buy. not mentioned). Accordingly, to all the boys … and Netflix’s growing string of kisses towards the film franchise’s ability to simultaneously put together even bigger budgets for property extraction and Old Guard with the concluding chapter sequels of the booth approval.
While further avenues for both Disney and Netflix are taking shape, the direction of competitors such as Warner Bros. HBO Max is still buffering. The studio’s decision to move the studio’s 2021 to its own streaming platform – with a limited theater run – caused an ire among creatives including Christopher Nolan and Patty Jenkins. The broken, knee-jerk reaction to another year-long closed cinematography threatens Dennis Villanueve’s future of Dune As a franchise. Away from this turmoil, those collaborating with Netflix know exactly what to expect, even if it is not the fanfare of a dramatic run.
There will be no doubt that the crowd slate of Netflix will only reinforce the saturated landscape of TV and film. Gasping for publicity, films such as Manc, The Trial of the Chicago Seven and The Five Bloods came and went on stage. What’s more, Netflix’s growing desire to release a few titles for short theatrical runs will not be enough to single-handedly defend the cinema series. But after a desperate year, their arrogant support for the region should not be evaluated.