Continuing our Special Two Part investigation into the issue of Why Hollywood Hates Netflix. Part One is available to subscribers here. We pick up with number seven on the honor roll of grudges.
7. The Lack of Information
Again, the expectation is that you’re being paid a lot, so take the money and don’t ask questions. Which is fair enough, but honestly: Is it realistic to expect an artist, a creator, or producer to just not care how many people see their work?
The general unfairness seeps into the blood of the larger community. Everyone else–studio, indie producer, or TV network–has to report their numbers in box office and ratings, accurately, no less, upon pain of imprisonment. Everyone else has to spill the goods on hit or flop alike, while Netflix gets to drop little hints of insight, tidbits here and there, and only about the hits. And have each one heralded in screaming headlines and soaring stock prices across the world.
That may be how things go, but it’s not going to make you beloved.
8. Potemkin Village
Higher outdoor marketing visibility in town is not something unique to Netflix. When one is dragged into the vast void beyond the eastern limits of 818, the first thing you notice is that every bus and bus stand isn’t plastered with posters for TV shows.
But Netflix has taken the in-town visibility thing to heights that, as with much of their over-the-toppness, calls attention to the game. Note how when you get within a couple blocks of Sony, suddenly every sign you see is for a Netflix project. Stories abound of The App (or The Service as I’m informed it’s known to its very earnest minions) lining director’s routes to work with billboards for their film. But they also take that strategy into the technological age. I’ve heard tales of the company using producer and director log-in emails to make sure that their personal Netflix home screen is heavily promoting their project.
Netflix currently spends $12 billion to market itself and its content every year. But somehow still feels the need to play these games which don’t make anyone involved feel better about it.
9. The Awards Machine
We’ve all been sick to death of the insanity of the Oscar race for years, but then The Service moves in like a 10-million-pound gorilla buying off any obstacle in its way. Between the spending, the parties, the campaign, and the way it has somehow or other taken care of all who would stand in its way, it’s like someone came to town, bought up the 4th of July parade, named himself Grand Marshall, and glued his face onto the American flag. It might be technically a more lavish parade, but as they say, it’s hard to miss you when you won’t go away.
9a. The App’s mega-spend on the race has driven up the cost of what it effectively takes to campaign, driving out the entire indie sector which has been all but dependent on getting a few nominations here and there to keep margins in the black. Neon managed to squeeze Parasite in the door, but that’s a lone exception and most couldn’t afford to seriously get in the game.
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