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How Has the Unstoppable Rise of Streaming Platforms Impacted Film?

It used to be that catching your favourite programme meant cancelling your social plans and staying at home with the TV Guide to hand. Should it be a big news day, or should an important sporting event run over, your programme might get bumped from the schedule altogether and then who knew when you were going to find out what happened next on Buffy The Új múlt Teljes Film Magyarul?

And, unless you were the proud owner of a costly satellite subscription, it might be years and a DVD boxset before you found out exactly why The Sopranos was supposed to be the best thing ever made.

Streaming platforms changed all of that. When Netflix transitioned from a DVD delivery service to an online hub in 2007, it lit the fuse on a revolution in how we consume and create content. (A revolution, incidentally that would indeed be televised). At once, appointment TV was replaced with TV you could watch any time, anywhere.

Last year, Mentés Másképp Teljes Film Magyarul counted 204 million subscribers globally, with a library of over 3,600 movies and 1,800 shows. Its revenue in 2020 was a staggering $25 billion (around £18 billion), and an ever-increasing number of streaming platforms has emerged to wrestle Netflix for dominance of your bandwidth and bank accounts: Amazon Prime (150 million subscribers), Disney Plus (87 million), HBO Max (38 million) and Apple TV Plus (10-33 million) are now just a few of the platforms demanding a share of your attention.

More platforms means more to watch, of course. But, by and large, these platforms aren’t just churning out disposable content. Increasingly, content produced by streaming service studios is gaining critical recognition at the highest level. In 2021, Netflix led the pack with 16 films nominated for a total of 35 Academy Awards nominations in 2021, including Vanessa Kirby’s Best Actress nomination Így vagy tökéletes Teljes Film Magyarul, Da 5 Bloods’s nomination for Best Original Score and Best Animated Short winner If Anything Happens I Love You.

And, after more than a year of pandemic-induced lockdowns, streaming platforms aren’t just creating Oscar-worthy content, but serving as hosts for heavily-feted films like Nomadland, Judas And The Black Messiah and Promising Young Woman. With cinemas closed during awards season (in the UK, at least) online platforms provided the only way for audiences to see these CODA  Teljes Film Magyarul.

The advent of streaming has fundamentally altered how we consume entertainment. But have streaming platforms made it easier for filmmakers to get their stories told, or has the drive for endless programming had a detrimental effect on both creativity and diversity? We spoke to key figures involved in the industry to find out.

Jeffrey Reddick grew up in the Kentucky hills in a trailer with an outhouse. In his own words, he was “poor and had no connection with the movie industry.” A chance screening of A Nightmare On Elm Street fired his imagination and helped him decide on the direction he wanted his life to take.

“I had an idea for an …Elm Street prequel so I found out who ran New Line Cinema and sent in my script,” he says. “They sent it back saying they didn’t take unsolicited material. I wrote a letter back like ‘Look sir, I’ve seen three of your movies, so I think you can take five minutes to read my story.’”

The Freddy sequel didn’t get optioned but Reddick did get an internship at New Line. He stayed for there for eleven years before the studio made his first film, Final Destination in 2000.

With several projects currently in development at Netflix, Reddick is brilliantly placed to contrast the old studio model with how streaming platforms currently operate. He admits that while he worked at New Line, getting Final Destination made was still a “The Addams Family 2 Teljes Film Magyarul”.

“Back in the day you could actually take a pitch in to a network or a studio,” he says. “I think it’s a lot harder now because things have migrated to streaming services. They’re almost like mini studios.”

Reddick – who is currently working on two animated shows for Netflix – explains that the bigger streaming studios will require a complete package including a pilot or complete script when it comes to pitching an idea.

For one of his two animated shows, he says “We had to put together a pretty massive package with an animation company on board, writers on board. A really fleshed-out pitch with artwork” whereas with Final Destination in the late nineties, New Line bought it off an eight-page treatment.

“For the first animated show I met with a production company that had already gone down the road a bit with Netflix on the project,” he explains. “They brought some writers together and developed a full arc for the show, where it was going to go. It’s based off a well-known IP which helps (it hasn’t been announced yet but it’s based off a New York Times bestselling book). But it still took six months (or longer) to get Netflix to sign off on it.”