You're right:
https://deadline.com/2020/07/netflix-closes-50m-deal-for-aaron-sorkin-the-trial-of-chicago-7-1202974968/

Paramount in particular has sold many of their movies to streaming this
year. They sold Greyhound to Apple TV+ too.

Oh well, insert Mank, in the below :-) That's a true Netflix original - and
I'm looking forward to that as well!

On Fri, Oct 23, 2020 at 2:42 PM Doug Eastick <east...@mcd.on.ca> wrote:

> Sorkin's new movie (chicago 7) is only on netflix because of COVID.  It
> was scheduled for theaters, but netflix picked it up in September.
>
> (sorry I don't have a hyperlink for the article I read earlier this week)
>
>
> On Fri, Oct 23, 2020 at 6:48 AM Adam Bowie <a...@adambowie.co.uk> wrote:
>
>> I still like Netflix. It'll be one of the last TV services I cancelled if
>> forced to make a choice. I enjoyed the new Aaron Sorkin movie last week,
>> and this week watched the new version of Rebecca (lavish, but ho-hum - and
>> I'm a massive fan of the director). It's a no-brainer if they keep churning
>> out at this rate.
>>
>> But there was an interesting piece in Quartz this week about their
>> reliance on library titles that they don't own. Those Friends, The Office
>> and Parks & Rec re-runs are (or were) very popular. And they've not yet
>> managed their own 100 episode+ bingeable comfort food like that. And if
>> they keep cancelling stuff quickly, they never will.
>>
>>
>> https://qz.com/1918007/netflixs-original-shows-are-rarely-its-most-popular/
>>
>> Incidentally, what I really don't like about Netflix is their corporate
>> culture. Really quite savage. I recommend a recent podcast series by Peter
>> Kafka and Rani Molla - Land of the Giants. The first episode gets into that
>> culture: https://www.vox.com/land-of-the-giants-podcast
>>
>>
>> Adam
>>
>>
>> On Fri, Oct 23, 2020 at 4:55 AM PGage <pga...@gmail.com> wrote:
>>
>>> I don’t know if Netflix’s model will work, but I admire what they have
>>> been doing. They determined very early on, when they we’re still mostly
>>> mailing out DVDs,  that the future of their business was streaming.
>>>
>>> And they knew back then that eventually they would be going up against
>>> companies with MUCH deeper pockets than theirs. They also knew that soon
>>> enough the big content companies were going to stop making it so easy for
>>> Netflix by letting them pass on their product. So they decided to invest
>>> heavily in developing content, hoping that their commitment to spending,
>>> market share and name recognition would allow them to beat the big boys in
>>> the coming wars.
>>>
>>> A decade or so later, those wars are here, and the fact that Netflix is
>>> still holding its own is impressive. Maybe they can’t spend their way to
>>> victory, but almost certainly if they stop spending, they lose.
>>>
>>> Total Assets of Netflix and some competitors (per the Wiki report on
>>> each company page):
>>> Netflix: $34B
>>> Warner Media (HBO): $69B
>>> Disney: $193B
>>> Amazon: $225B
>>> Comcast: $263B
>>>
>>> I think Netflix’s strategy basically is to make it so expensive for most
>>> of the Big Boys to play the streaming game that they decide it’s not worth
>>> it to lose money in a non-core part of their business. If that is even part
>>> right, after an initial pandemic pause I would expect them to jump right
>>> back in to contributing their share and more of Peak TV.
>>>
>>> I have been rooting for them from the beginning, and I still am.
>>>
>>> On Thu, 22 Oct 2020 at 6:11 PM Adam Bowie <a...@adambowie.co.uk> wrote:
>>>
>>>>
>>>> On Fri, Oct 23, 2020 at 1:41 AM Doug Eastick <east...@mcd.on.ca> wrote:
>>>>
>>>>> ok.... so I understand now that Peak TV means quantity.... or a large
>>>>> pile with a peak -- ok, got it.     I've been wondering about this crazy
>>>>> volume of productions for a few years now (basically once the streamers
>>>>> like Netflix started winning Emmys).   The crazy volume of shows, I don't
>>>>> think, can be sustained from an economical basis.   Sure all these
>>>>> streaming studios/channels will disrupt the TV economy/landscape, but is
>>>>> this not like the DotCom boom?  So much money out there based on vacuous 
>>>>> or
>>>>> hopeful eyeballs and unproven models.
>>>>>
>>>>
>>>> I think it's widely thought that there *is* also a new golden age of
>>>> TV, because there are definitely a lot of high quality series out there.
>>>> You still have to hunt though. Netflix may have hit it out of the park with
>>>> House of Cards and Orange Is The New Black when it started. But now we get
>>>> Emily in Paris... but also The Crown.
>>>>
>>>> I'm certain that the model isn't economical any more. In the old days,
>>>> there were massive syndication revenues to be achieved (and for some
>>>> perhaps there still are), but now you have Netflix spending more than they
>>>> earn, and attempting to make TV shows not just for the US, but the world.
>>>> The UK is now their number three production base, but Netflix is making TV
>>>> in pretty much every European country, as well as places like India,
>>>> Australia and dozens of other places. And they're making movies - they want
>>>> to win Oscars. And they're making reality TV. And then there's the vast
>>>> volume of kids stuff that I suspect few of us here are watching.
>>>>
>>>> They need to sign up a hell of lot of people to make their business
>>>> model work.
>>>>
>>>> Meanwhile Amazon and Apple can essentially subsidise their TV services
>>>> while they play their game (Amazon can amortise their spend against other
>>>> Amazon revenues, but I reckon Apple will be out of TV production in a few
>>>> years' time). But the spending is just a rounding error on their
>>>> spreadsheets.
>>>>
>>>> If you're HBO Max or Peacock, you have to build an offering that's
>>>> equal to that of Netflix. Viewers expect it.
>>>>
>>>> It's all got to be unsustainable. And where it leaves traditional
>>>> networks I have no idea.
>>>>
>>>>
>>>> I would really LOVE to see some of the inside metrics of Netflix and
>>>>> their "renewal" decisions (prior to Covid-19).
>>>>>
>>>>
>>>> From what I've read, there's a whole bunch of stuff. They're looking at
>>>> 28 day views from launch, as well as overall views. But they also really
>>>> need stuff that brings in new viewers. So if a show has settled down with a
>>>> viewership base after a couple of seasons, and isn't still growing, or
>>>> bringing in new viewers, then it's more likely to be cancelled.
>>>>
>>>> There's also the production model and the costs. In traditional TV, the
>>>> production company can do things with the show after it's been on network
>>>> TV. They can put it in syndication, sell it globally, licence it to
>>>> streaming services or whatever. That's where the profit for the studio who
>>>> makes it comes from. But Netflix doesn't really do most of those things. So
>>>> they have to overpay on production costs for their originals because they
>>>> want *all* the rights upfront. So the only revenues the producing studios
>>>> can get are the fees from Netflix. So these tend to be stepped upwards -
>>>> the show gets more expensive the longer it's on air. While that's often
>>>> true for network TV too - casts of hit shows getting massive pay bumps -
>>>> there's those down the road deals to mitigate the increases. For Netflix,
>>>> they just see costs increasing season or season.
>>>>
>>>> There does seem to be a lot of "cancelled after two seasons" on
>>>> Netflix, and these are some of the reasons. The downside for viewers is
>>>> shows that don't wrap up properly or get left on unresolved cliffhangers.
>>>> Will viewers start to get fed up with Netflix if they continue that? Maybe
>>>> in due course.
>>>>
>>>> Now you can factor in the Covid costs too.
>>>>
>>>> Personally I can't see the Netflix model ever making enormous sense.
>>>> The scale they have to work at to entertain the world is too much. While
>>>> Americans might watch the odd British show and certainly vice versa, the
>>>> same isn't always true of, say French viewers or Indian viewers. They'll
>>>> watch a bit, but they like things in their own language featuring their own
>>>> cultures. So Netflix has to make local language stuff in pretty much every
>>>> territory they operate in. Netflix *has* done a decent job with this to an
>>>> extent - the Spanish series Money Heist is truly popular globally for
>>>> example - but that's an exception. Netflix needs those global viewers to
>>>> all be spending their $5-15 a month to make the numbers add up.
>>>>
>>>>
>>>> Adam
>>>>
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>
> --
> Doug Eastick <east...@mcd.on.ca>
>
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