Netflix.
HBO Max.
Amazon Prime.
Disney.
Hulu.
YouTube TV.
Tubi.
AMC+.
The list of streaming services goes on and on.
Families, independent adults, children, and young teenagers have all gotten used to the at-home streaming experience: binge watching tv shows to movies to animations to stand up comedies, and back again. We have become addicted to the luxury of not having to do anything, all the while be entertained in our very own living rooms, only to repeat the same cycle night after night. Meanwhile movie theaters around the world struggle to survive even just month to month. Mental illnesses that include anxiety and depression have been confirmed to originate from binge watching on such streaming services. And yet it’s safe to say that there is no interest in going back to the simpler ways of life.
Needless to say I am very passionate about this topic. As a first generation Polish-American, filmmaking and the arts were ingrained in me for as long as I can remember. Even before I knew what I wanted to do with my life, movies were an important part of my upbringing and culture, and still very much is. I completed undergraduate school at the American University of Rome in 2013 with a major in film and digital media. In 2015 when I finally had some money saved up from my first professional job in New York, I applied and entered the William Esper Studio to follow my dreams of becoming a professional actor. There, I studied the Meisner Acting Technique for two years under the guidance of several professors and the founder himself.
Thereon-after I supported myself and acted in a variety of small productions in the city, eventually making my way to Los Angeles. Prior to my brief relocation out west I decided I would want to direct and since then, I have had the opportunity to direct music videos, commercials for brand businesses, and my first short film since graduating university, Wildfire. There are many more stories I would hope to release in the future.
Despite this, it’s fair to also state that streaming productions have supplied alternative resources, such as employment opportunities even throughout the world. In 2020 Netflix had hired a total of 9,400 employees, over double the amount recorded in 2016 (statista.com). HBO Max has reached 73.8 million global subscribers as of the end of 2021, a decision they were not keen to take on. Furthermore, HBO has a total of 209.18 million paying members today, and the company’s market cap is closing in on $300 billion (backlink.com). People who are pro-streaming apps always state the obvious: that because of the overwhelming amount of opportunities provided to individuals seeking employment alone within the entertainment industry, this should justify its presence and not question the effects that these services can cause, especially on young adults and children.
The magic of cinematic storytelling has changed. The chance for people to step out every once in a while to witness a new story being told on the big screen is now ceasing to exist. People no longer have the patience for anything anymore. I even find myself more and more anxious if a safari page refuses to upload on a web browser, not to mention when a movie I’m watching on HBO abruptly freezes. Talk about infuriating! #firstworldproblems
It’s a scary time for the industry. I believe it’s a scary time for any artistic industry, which also includes music, visual arts, etc. Some of the most prolific directors and actors who have solidified the craft are approaching their mid 80’s. When they pass it’ll be a severe loss to the industry. While there are prominent and talented young actors and directors out there, there’s no one who can replace them. I often wonder what kind of movies we will be watching, regardless on a big screen or computer desktop. Will any of them equal Shawshank’s Redemption, or La Grande Bellezza, The Godfather, Catch Me If You Can, Django Unchained, The Pianist? Where’s the next Scorsese? Perhaps it’s a she? And do they even know that they’re meant for this crazy yet beautiful path?
So what’s the solution?
For now the people in power will continue to do what they please: over-pollute content month-to-month to increase their wealth. The artists who have already been solidified since generations ago will continue to agree with these plans because in return, grants them continued fame and fortune. Of course, that’s not to say there never has been any well-crafted tv shows or movies produced by these streaming services. The Crown, which debuted back in 2016, has reached an overall score of 91% on Rotten Tomatoes, 84 on Metacritic and an 8.6 on IMDB (Rotten Tomatoes, Metacritic, IMDB). I Care A Lot was an exceptional black comedy film, finished with female empowerment and crime undertones that reached over 56 million households and generated $1.3 million at box office (Variety). With that, not every movie or tv show released by these services is the next big thing.
And in order for movie theaters to survive, they will need to adapt, states Danny Ledger, leader for Deloitte Consulting. “Theaters can reinvent themselves by thinking about how they can personalize experiences,” Ledger states (Businessbecause.com). This includes better food, more comfortable seats, and the possibility to privatize a room. But is that enough?
If one has the opportunity to recreate a high-quality movie experience at home, with a great sound system and large screen, it's going to be difficult for movie theaters to convince you that you need to go out and spend money on overpriced popcorn.
That’s where blockbusters come in. According to Ledger, people want to see highly anticipated, high-budget films with exceptional special effects and globally beloved movie stars on the big screen. Increasingly, theaters will specialize in those types of movies, while studios will prefer a streaming-only release for films that people have no incentive to leave their house for (Businessbecause.com). The ongoing Covid-19 pandemic has single-handedly effected the possibility to release such potential movies that could allow movie theaters to get back on their feet. In addition, individuals with more CGI expertise and even brand influencers will also have the opportunity for exciting collaborations than people just starting out. However, the threat that streaming services may pose to the creative community through ‘cost-plus’ contracts for example is huge.
“For now, the cost-plus approach is appealing because all talent is getting paid a little more. That said, in time, it seems inevitable that the streamers will be the main gatekeepers of distribution and will thus have the leverage to reduce the amount they pay for content,” Paul Hardart explains (Businessbecause.com).
What happens within the next ten years will change everything. While each generation has produced new business strategies let alone new stories, it’s incredibly rare nowadays to discover a mega-talented artist who knows their shit, and can either create or perform singlehandedly the greatest entertainment the world has ever seen (meanwhile with balls of absolute steel). I for one, strive to be hopeful for what’s to come. But times like these have also made me more realistic and aware of how this business is run.
Until this person comes about, the industry will continue to be a very dark and confusing place. Until the people in power recognize this, not much will change. “There’s disappointment in seeing an art form change, there’s a certain sadness, but I think it's an inevitable step in a new direction,” Hardart admits (Businessbecause.com).
For now, audiences can only sit and rewatch the legendary stories that took place years ago and wait in silence.
-Natalia Ortonowska ©
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