Tag Archives: Original Content

Netflix’s dark, family melodrama Bloodline demands to be binge-watched

Bloodline has the trappings of a novelistic family saga, but it isn’t the type of show that compensates for its sedate pace by being especially observant. The show’s creators, Todd Kessler, Daniel Zelman, and Glenn Kessler, also created Damages, the legal thriller with an twisty, non-linear structure that could be as exhilarating as it was irritating. The creators have discouraged comparing Bloodline with Damages, but that’s a tall request. […] Kessler, Zelman, and Kessler may be repeating themselves, but their partnership with Netflix makes doing so is justified. Only when Damages landed on Netflix did the show meet its full potential. The qualities that made Damages an awful fit for traditional cable made it an ideal match for Netflix’s binge-watch culture. In rapid succession, its rug-pulls and cliffhangers feel deft rather than frustrating, and its fractured narrative feels elegant instead of contrived. – Joshua Alston, The A.V. Club
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The Real Reason Most Producers Don’t Want To Work With Netflix

According to a report from The Hollywood Reporter, while Netflix’s array of new content is flourishing, more producers are starting to catch wind of the tremendous downside when it comes to financially aligning with the streaming monolith. It seems that with the tremendous benefit of Netflix’s system of upfront pay, comes the rub of having no backend percentage pay for dollars grossed. – Joseph Baxter, Cinema Blend 
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Netflix Release Dates For All Of The Streaming Service’s 2015 Original Programming

– via Bennett Hawkins, UPROXX
  • Bloodline – March 20
  • Derek:Special – April 3
  • Marvel’s Daredevil – April 10
  • Chris D’Elia: Incorrigible – April 17
  • Grace and Frankie – May 8
  • Between – May 21
  • Jen Kirkman: I’m Gonna Die Alone and I Feel Fine – May 22
  • Sense8 – June 5
  • Orange Is the New Black – June 12
  • What Happened, Miss Simone? – June 26
  • Wet Hot American Summer – July 17
  • Crouching Tiger, Hidden Dragon II – The Green Destiny – August 28
  • BoJack Horseman – TBA
  • Chelsea Handler (documentary comedy series) – TBA
  • F is for Family – TBA
  • Hemlock Grove – TBA
  • Knights of Sidonia – TBA
  • Longmire — early fall
  • Narcos – TBA
  • Club de Cuervos – TBA
  • Chef’s Table – TBA
  • Marseille – TBA
  • Marvel’s AKA Jessica Jones – TBA

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Why Is the Netflix Streaming List So Limited?

The company won’t offer news, sports, user-generated content, or porn for that matter, because these options are outside its focus. For those offerings, Netflix knows that linear TV serves customers well. […] So while Netflix has a limited streaming offering restricted to movies and TV series, it is working hard to remain the best option for its focused segment. Netflix is spending billions of dollars on creating original content. […] it appears Netflix has strong pricing power, despite only offering movies and TV rather than becoming a stand-alone service for consumers who might also want it to offer news, sports, and other content. Long term, it appears Netflix made the right call in remaining so focused. – Bradley Seth McNew, The Motley Fool
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Netflix wants to spend $1 billion on new programming, will pay for it later

[T]he streaming service has decided that the current “favorable interest-rate environment” makes it the right time to rack up $1 billion in debt. Netflix CEO Reed Hastings and CFO David Wells argued in a letter to shareholders that long-term debt was the best way to finance their ambitious plans for the coming year. – Alex McCown, The A.V. Club
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Netflix Shows a Surprising Profit, and Delivers the Subscriber Numbers Wall Street Wanted

[T]he company is increasingly confident in its push into original TV shows and movies. [CEO Reed Hastings] says Netflix will show 320 hours of its own stuff this year, up 3x from last year, and that the push makes sense because “last year our original content overall was some of our most efficient content. Our originals cost us less money, relative to our viewing metrics, than most of our licensed content, much of which is well known and created by the top studios.” – Peter Kafka, Re/code
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