Photo credit: movieweb.com
The Electric State has not resonated well with audiences as anticipated, despite a significant marketing campaign that featured two podcasts, apps, and unconventional promotional methods like robot interviews during press events. As Netflix’s most expensive original production to date, it highlights the streamer’s ongoing challenges in establishing a blockbuster franchise akin to the Marvel Cinematic Universe, Harry Potter, or Star Wars. Many observers have noted that Netflix’s attempts to create lasting franchises have faltered, raising questions about its strategy and execution in the film industry.
There was considerable pressure on the Russo Brothers, who were brought in with a substantial budget to replicate their earlier successes. However, the platform still struggles to position itself as a bona fide Hollywood competitor. In a 2021 interview, former Netflix Film Chief Scott Stuber candidly acknowledged the platform’s difficulty in creating films that feel culturally relevant or resonate with audiences. This leads to the larger question: why, despite ample funding and star power, has Netflix found it so tough to cultivate significant and beloved franchises?
What’s the Current State of the Netflix Movie Line-Up?
While The Electric State faltered, the Russo Brothers have expressed a desire to produce more content. However, it remains unclear if Netflix executives are willing to invest further in them, particularly given the platform’s recent financial struggles. Zack Snyder’s collaborations with Netflix ended unsatisfactorily, with franchises like Rebel Moon and Army of the Dead failing to gain traction, as he mentioned in a 2024 interview with The Wrap.
The film Bright seemed poised for a long-term franchise but has since faded, especially as Will Smith’s public image has also diminished, as noted by a Esquire report in 2022. A sequel to The Gray Man remains uncertain, leaving fans with more questions than answers regarding future installments. Interestingly, after a poorly received adaptation of Death Note, Netflix is looking to revive the project under the direction of The Duffer Brothers, reflecting a potential shift in their approach towards anime instead of genuine commitment. Meanwhile, producers have assured audiences that two sequels to Red Notice are in the works, according to comments made to Collider in 2022.
Netflix Isn’t as Out of Touch as They Would Seem
Despite the involvement of talented directors and stars, Netflix has yet to achieve consistent success with its film offerings. The disconnect between audience expectations and executive decisions, which once led to the problematic Death Note adaptation, is recognized by Netflix’s leadership. In a concerning Variety interview, Scott Stuber acknowledged the streaming service’s challenges, particularly regarding the production of culturally relevant content. He emphasized the need to create films that resonate on a personal level, fostering conversations among viewers.
Defending Netflix, it’s essential to recognize how challenging it is to establish extended cinematic universes in today’s climate, especially as even established franchises falter and major studios lose extensive sums of money. Their prestigious project, The Irishman, did not manage to reclaim its hefty budget, likely steering Netflix away from similar costly artistic ventures in the future. Nevertheless, some critics have pointed out that Netflix’s formula of high-budget sci-fi and spy films often falls flat. An example is Jennifer Lopez’s Atlas, which was criticized for conforming to a predictable mold. The service seems to have more success with smaller sequels, such as Beverly Hills Cop: Axel F and Outlaw King, which leverage established characters and familiar narratives instead of relying heavily on star power.
Streamers Running Out of Steam As the Culture Changes
One prevalent theory posits that Netflix may be relegated to the role of a mere content provider rather than evolving into a genuine studio. Alternatively, it might be the case that the cinematic universe concept has outlived its relevance, with Netflix missing the boat. Recent industry ventures like Argylle have shown that prequels and spin-offs carry inherent risks, regardless of the production team’s pedigree. As a result, executives, artists, and commentators might be stuck reminiscing about a cinematic landscape that shifted dramatically around 2020, assuming that blockbusters would continually dominate.
Last year, whispers circulated about significant changes at Netflix, with The Hollywood Reporter noting the appointment of Dan Lin as the new head of film, focusing on smaller character-driven dramas. He has been reportedly analyzing extensive viewership data to better understand audience preferences and trends. This analysis may lead to fewer grand sci-fi projects, suggesting a shift away from the previous push for expansive franchises. The future could see a return to medium-scale productions reminiscent of TV movies and miniseries from earlier decades.
Source
movieweb.com