For an early subscriber, the evolution of Netflix’s catalogue can seem disconcerting, as the grand ambitions of the beginning seem to have been gradually abandoned as the competitive landscape has hardened. In 2014, Netflix has the face of Kevin Spacey. Cynical heiressin the white housethe series House of cards immediately sets a high standard for “Netflix originals »with its premium casting and David Fincher’s direction. With its model based on putting full seasons online, the platform imposes a new rhythm on the production and consumption of series, and makes the network and cable model obsolete, at least for a while.
Netflix stood out in the following years for its ability to attract big names in film and television, with the promise of high budgets and great freedom. In addition to conventional series such as the crown More complex and authorial objects appear like The OA (2016) or mind hunter (2017). The platform signs a development contract with Fanny Herrero (Ten percent) and a little later, he will raise millions to pay for the services of showrunners in sight: these series directors that we fight for, like Ryan Murphy or even Shonda Rhimes.
At the same time, it is embarking on a major “glocalization” of its catalogue. The immense success of The Money Heist demonstrates his talent for foreign series: today it is on Netflix where we can see what series from India, Kuwait and even Korea are like. With boats in play, like the bloody Squid GameAs for French productions, the ambitions are milder. The beautiful intentions of Fun AND tapie struggle to hide the format of Marseilles, Heart plan and others Lupine. To the point that the expression “Netflix series” has become a way of naming the paradox that associates a leveling of productions with a weak artistic ambition and/or a total rejection of any controversy.
Conservatism
There are many exceptions, such as Ripleya black and white series purchased from Showtime, which had given up airing it, or even The diplomata political series under the influence of Aaron Sorkin, but none can compete with Dahmer EITHER Stranger Things In terms of audiences. This softening of production has, however, a positive point: an unprecedented promotion of the diversity of points of view. Since its aim is to be popular, the platform must address everyone, including minorities, who benefit from a welcome overexposure.
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