Netflix Has Cancelled Plenty Of Successful Shows: Ted Sarandos and Greg Peters, co-CEOs of Netflix, stated that the streaming giant has “never canceled a successful show” in a recent interview with Bloomberg.
This assertion is complete nonsense and represents an appalling corporate definition of success that has been hurting the quality of original content for years. For Netflix, success is measured not by creative accomplishment or compelling stories but rather by the sheer volume of customers who continue to tune in for new seasons while submitting to the algorithm.
Additionally, it shows a lack of depth by elevating all television programs and movies to the same level and portraying them as having the same resources and chances of success. Juggernauts receive far more funding and marketing than those who must fend for themselves, which is not and never has been the case.
Success is a relative standard that depends on genre, audience, actors, brand recognition, and a host of other variables that are so variable that it can be difficult to put a number on them. Not everything can be Stranger Things or Squid Game.
Instead of investing in original programming that hasn’t already been a huge hit, Netflix would much rather spend millions on maintaining outmoded comedies like Friends in its collection. In today’s media environment, everything is supposed to be a franchise or a universe with room for growth.
Now, shows like Stranger Things and Squid Game serve as platforms for spin-offs, commerce, discourse, and cultural effect that Netflix can use indefinitely. The figures these shows generate in comparison to another programming, regardless of whether continuing them is the best course of action, are what count. This would be acceptable if the platform allowed for lesser projects as well, but it consistently cancels each one.
How can it expect to grow in size and keep its audience when there are so few compelling reasons to do so? Why should I bother watching a new Netflix series when the likelihood of cancellation has become so high?
A few weeks prior, I wrote about sapphic shows like First Kill and Warrior Nun that were proven successes by most metrics but simply weren’t enough for Netflix. Earlier this month, I wrote about the demise of Inside Job and Dead End: Paranormal Park within days of one another.
Naturally, this isn’t viewed as a success as it was unable to conquer the world. Applying such a rigid meaning to such a term is harmful, and this is especially true for a streaming service that is perpetually lamenting the number of customers it is losing each month. Give us a cause to remain; here’s a hot tip.
Why should we trust Netflix when the plots and people we are expected to fall in love with are so easily thrown out? Fandoms develop around these universes, and while we sincerely hope they are successful, especially when it comes to animation and gay stories, we have repeatedly witnessed the firm ignore them.
It has progressed beyond satire, and I frequently find myself cautioning people against becoming very enthused about anything available on streaming services because it may be terminated at any time. Although many of these shows are successful, I don’t believe Netflix has a clear understanding of what that success even entails.