Too Much TV: Your TV Talking Points For Monday, April 25th, 2022
We are definitely in peak season for bad hot takes...
Here's everything you need to know about the world of television for Monday, April 25th, 2022.
IT'S BEEN A LONG WEEK OF BAD NETFLIX AND CNN+ HOT TAKES
If you are someone who follows the streaming industry closely, the past week has likely left you feeling as if you've been repeatedly whacked like a pinata by one bad hot take after another. Everyone with a bit of pop culture knowledge and an editor willing to post a clicky headline has weighed in on the problems at Netflix and CNN+. And to be kind, most of them have landed somewhere between "wow, this is obvious" and "did you just put a bunch of random thoughts in a blender to write this?"
While this piece in The Daily Beast is by no means the worst of its kind, it is the most recent one I've read today and I wanted to highlight a few of the things that irritated me, since I have read similar thoughts in a bunch of other places. First of all, the headline is the very non-judgmental "Is Netflix Tanking Because It Shows Have Gotten Bad?" Hmm. Perhaps. But what does journalist Emma Fraser define as "bad?"
Netflix used to be a major prestige player, especially when it comes to TV. But lately it seems to be banking on the cheesy rom-coms, middling sci-fi, and action flicks that dominate its Top 10, while the TV side seems overrun by the trashy reality shows that tip into hate-watch territory. It’s in stark contrast to what's going on with Apple TV+, Hulu, and HBO Max, which seem to be churning out buzzy critical hits that are getting the kinds of accolades that Netflix used to monopolize."
Her complaint seems to be that Netflix is cranking out too many non-prestige titles and yet that appears to be what Netflix subscribers are mostly watching. Now, arguing that Netflix needs more "prestige" shows is one thing I might agree with. But the comparison to other streaming services isn't exactly fair, since all of three of them have cranked out their own slates of reality shows, rom-coms and middling movies. And what is wrong with creating shows in a wide variety of genres? That seems like the audience pleasing type of move that might encourage more people to subscribe.
And a lot of complaints about quality seem to fall into the category of "quality means things I watch," which is a very human reaction. But it also leads to some pretzel logic, like arguing that Netflix lost subscribers because it canceled some good shows that not enough people were watching:
It seems a good place to bring up another recent cancellation while I am on the subject of the mythical-sounding algorithm and its impact on renewals. The Baby-Sitters Club showrunner Rachel Shukert discussed her experiences with Vulture, in which she noted, “As far as I can tell, everything Netflix does is based on how it’s driving subscriber growth.”
I mean, isn't what media businesses do? Cancel things that not enough people want to watch?
I wrote last month about the reasons why Netflix cancels shows and while you might not agree with their methods, they are metrics that make sense:
A primary Netflix metric is called the "adjusted view share," which is a combination of more than 30 factors that attempt to assign an overall "value" for any piece of content. An example I was given was that it's possible to track which content was most watched by brand new subscribers last month. That content would be considered more valuable because it presumably was one of the reasons why viewers subscribed. But if those viewers exit after a month or two, that lessens the value of the content. The assumption being that some percentage of the canceled subscriptions came from people who subscribed primarily for a specific show.
It depends on where people are watching. A show that is more popular in a region such as the U.S., where the ARPU (average revenue per user) is higher has a greater value than one that tracks more in regions where the ARPU is lower. Although that indicator is weighted less than some others and whether the content is attracting subscribers in a territory where subscriber retention costs are high also factors into the equation. Netflix also tracks how many people complete a TV show within a week, the percentage of people who rewatch a series (although if the number is too high, it's discounted as possible fan manipulation). And there are many more. Each of the factors is weighted differently and the weighting can apparently change as the company's strategy evolves.
There is a lot of talk in the industry that Netflix is canceling shows after a season or two to save money. But from what I've been able to gather, it's more a side effect of the metrics that show the viewing numbers for most shows drops every season after the first one. So knowing that, Netflix projects the likely audience and compares it to the cost and other factors. And while some shows are worth bringing back for 4-5 seasons, at this point most Netflix originals are never more valuable than they are in season one. You can legitimately argue that's a problem with Netflix's marketing and I'd agree with you. But it is more based in fact than "Netflix keeps canceling shows I like."
And there are the complaints that Netflix is spending too much on some of its returning shows. Which is a weird complaint since, a) the high cost of shows returning for a fourth or fifth season is why so few of them last that long, and b) comparing the cost of Stranger Things to the equally pricy Obi-Wan Kenobi is probably not the best argument:
Even with the return of Stranger Things on the horizon, it doesn't seem like enough. Not to mention that the highly anticipated Obi-Wan Kenobi is debuting the same day, which shows how confident Disney is that the show will draw eyeballs. The ’80s sci-fi monster hit is also not long for this world. Its fifth and final season lands next year. Considering that “according to people close to the show” the cost of one episode is estimated to be $30 million (that sound you heard is my jaw hitting the floor), it is probably a good thing for Netflix’s purse strings that it is ending.
Look, there are plenty of reasons to criticize Netflix. They spent entirely too much money on expensive production deals that mostly didn't pan out. They continue to nickel-and-dime writers and other creative staff to save money. And their machinations with splitting a season order of animated shows into "chapters" in order to get around union-mandated increases for season two orders is despicable. And I have droned on many times about Netflix's marketing and PR problems.
But after the past week, I am close to suffering from bad hot take PTSD after reading piece after pieces trying to explain what is wrong with Netflix.
Why did Netflix lose subscribers last quarter and why is the company likely to lose even more in the upcoming quarter? What little public data we do have about subscriber behavior seems to show the subscriber churn for Netflix increased dramatically after its last price increase.
Which isn’t nearly as sexy a headline as “Why does everything Netflix produce lately kinda suck?” But it’s a story that is a lot less fun to write.
I'M NOT SAYING THAT E! HAS RUN OUT OF FAMILIES TO GIVE REALITY SHOWS. BUT THIS SOUNDS LIKE THE ANTI-KARDASHIANS
E! has just announced the premiere date of Mathis Family Matters and this makes The Bradshow Bunch sound like Shakespeare. Here is the official description of the series:
“Mathis Family Matters” follows Judge Mathis and his wife, Linda as two of their adult children move back to Los Angeles to all find their way and join the rest of the family. Judge Mathis has had great success helping others, but when it comes to his family, his opinions and being an “expert on everything” sometimes falls flat as he helps to guide his children through adulthood. Linda, the matriarch of the family, has a fabulous quick wit personality and since this is the first time the family has been under one roof in long time, it’s her mission to keep everyone together through the ups and downs. The firstborn, Jade is living life to the fullest on both coasts, as she decides if her dreams of being a full-time motivational speaker outweigh her career in law. Camara can do no wrong in the eyes of the Judge, and with the nickname “Mother Mathis” she has started a family of her own along with her husband, Ryan and daughters Nora and Zara. Camara is trying to manage it all as she works on balancing family life and her law career. Greg Jr. and his long-term boyfriend, Elliott are busy working on multiple real estate ventures, and as they take their relationship to the next level they struggle with sharing their true bond with the world. The youngest, Amir is building his own production empire, and after a recent divorce he jumps right back into another serious relationship causing his siblings to intercede with a love intervention. The Mathis crew is ready to shake things up with fun, big laughs and family love at the core.
NETFLIX AND INDIA
Business Today has a brief interview with Netflix's head of Global TV Bela Bajaria, and while she spends a lot of the time not directly answering questions, it's still worth reading. Especially if you are interested in the streamer's ambitions for the important Indian market:
AB: Do you see Indian content being globally at par? And do we need better production budgets to create global hits like The Crown or Money Heist?
BB: There has been great investment in India. What’s exciting is that the amazing content has been coming out – Aranyak, Kapil Sharma, Fame Game and now Mai is resonating among global audiences. We are also seeing returning seasons of fan favourites like Delhi Crime, and really high quality of upcoming shows and films like Monica Oh My Darling. The investment in India is a big one and a big commitment in India, important part of our growth. Budgets depend on the storyline and what it entails. Something like The Crown required heavy sets and costumes. We are fully committed to creating quality content from India.
TWEET OF THE DAY
ODDS AND SODS
* Hollywood can't sit out the culture wars.
* Facebook ads use Mayim Bialik to hawk CBD pills on fake Fox News Channel web site.
* Linda Martindale recapped Sunday's episode of the increasingly insane Riverdale.
* What a Top 150 Cable Chart looks like with reruns included.
* 40 Years Ago: CBS pulls the plug on WKRP In Cincinnati.
* The first music service included female DJs in the 1930s playing requested records from a bunker in Seattle.
* We are now at the point where it feels as if The Simpsons have always been on the air.
WHAT'S NEW FOR MONDAY
Here's a quick rundown of all the new stuff premiering today on TV and streaming:
Gentleman Jack (HBO)
Radford Builds (Discovery+)
Sin Senos Sí Hay Paraíso Series Premiere (Peacock)
The Cleveland Killings (Investigation Discovery)
We Own This City (HBO)
Click Here to see the list of all of the upcoming premiere dates for the next few months.
SEE YOU TUESDAY!
If you have any feedback, send it along to Rick@AllYourScreens.com and follow me on Twitter @aysrick.