A recurring rhetoric of this presidential race has been the apparent need for a Washington outsider to come along and overhaul the system. They argue that the established model of governance has grown outdated and ineffective and a new approach is needed in order to move forward. I have no idea if that's true or not, but I do see a similar pivot taking place on a much smaller, seemingly unrelated scale. The nature of television consumption is being altered everyday by the continued success of Netflix.
Netflix - once a young and plucky service with starry eyes and grand ambitions - has slowly but surely become the definitive TV outsider who is changing the game. As a broadcaster without borders, the streaming service is available in over 190 countries and recently raced past 80 million worldwide subscriptions (which doesn't take into account the staggering number of college kids who are leaching off their ex-girlfriend's best friend's boyfriend's account information). The service's international growth is on the rise as its ability to dominate the cultural conversation ("Making a Murderer" almost broke Twitter). Traditional TV feels so threatened by Netflix's Usain Bolt-like surge that they're banding together to try and outbid the company for international licensing rights.
So again, how did Netflix - the one-time lowly understudy to Big TV- become a main player on television's stage? Simply put, by having the cajones to do things differently.
Original Content
"House of Cards" debuted in 2013 as Netflix's true launching pad into the original content world and onlookers were impressed that Netflix was able to nab movie star Kevin Spacey for a small-screen project. The seedy political drama is oozing with pulp as Spacey chews scenery like the delicious fat on a rib eye steak while the show's peak-and-valley flow is perfectly suited to Netflix's binge watching structure.
At the same time, "Orange is the New Black" blurs the lines between comedy and drama while showcasing one of TV's most diverse casts. It may not be my particular cup of tea, but I understand how it's earned its place on the menu. These are flagship series that prop Netflix up and bring in huge amounts of viewers.
Building on that, Netflix's burgeoning Marvel Empire ("Daredevil," "Jessica Jones," etc.) will tap into all the current goodwill for Marvel's cinematic universe to continue adding viewers. The streaming service is also smartly tapping into the powerful effect of nostalgia with revivals such as "Fuller House" and "Gilmore Girls" that will attract the early millienial audience in droves.
The ball doesn't stop rolling there; Netflix plans to double its number of original shows in 2016 to continue providing quality exclusive content that can't be found anywhere else. It's an ambitious undertaking that further separates Netflix from other networks, but the final products aren't what make the company different.
Speedy Progress
Ted Sarandos, Netflix's Chief Content Officer, said back in January that the company was looking for the next big sci-fi drama. Today, Netflix picked up "Travelers," an original time-traveling thriller, for a full-season order. No gratuitous spending in an inefficient pilot season, no languishing in developmental hell with countless notes from the network; just a full commitment and a belief in storytelling talent. That's a stark contrast to how the Big Four networks (NBC, ABC, Fox, CBS) do things where the endless red tape threatens to cut off blood flow at every turn. Netflix moves quickly by empowering writers and directors to do their thing unencumbered.
Risky Business
Netflix likes to swing for the fences, but unlike a Mark McGwire or a Jose Canseco, they aren't striking out at an alarming rate. "Sense8," the bonkers-crazy mind-bending drama from the Washowskis ("The Matrix," "Jupiter Ascending"), is the exact type of ambitious gamble the company should be taking. It's an out-there property that reaches for the stars, never mind the fact that it isn't able to escape our orbit. It's a clear sign to established talent that Netflix will take your meeting, no matter how wild your pitch sounds. And hey, "Sense8" is set to debut its second season later this year, so it must be doing something right even if critics didn't quite take to it.
Similarly, Netflix swooped in for Tina Fey's "Unbreakable Kimmy Schmidt" once NBC passed on the project. Fey, a mainstay at NBC, wasted no time getting comfortable in her new digs. The show's second season debuted last Friday to solid reviews (Ellie Kemper is once again fantastic), furthering Netflix's reputation as a home for creatives who want to work just outside the mainstream. Fey is a big name, but Netflix can go even bigger from here.
Original Content Part II
Beyond serialized programming, Netflix is providing something that TV networks simply can't: feature length films. The company is building an impressive roster of established and up-and-coming film talent that includes the likes of Adam Sandler ("The Ridiculous 6"), Brad Pitt ("War Machine") and Idris Elba ("Beasts of No Nation").
They're taking on high-upside castoffs like "Death Note," a live-action adaptation of the massively popular anime series of the same name, while betting on ascending talent like director Bong Joon-ho, whose "Snowpiercer" convinced Netflix to bankroll his anticipated upcoming monster movie, "Okja."
Netflix's offerings are becoming grander in scale and more versatile in content. While cable networks such as HBO, FX and AMC are providing enthralling programming to viewers, they simply don't have the oomph to match projects of this scope.
Netflix still has its flaws: their reach can often exceed their grasp creatively ("Hemlock Grove" and "Marco Polo" are the worst examples of self-indulgence) and their shady approach to publicizing an upcoming price increase is concerning. But all in all, Netflix is blazing its own path on its way to success and fans of television are the ones who are benefitting most from their newfangled yellow brick road.
And to think, just three years ago they were the outsiders.
Follow Brandon Katz at @Great_Katzby
