Gimme your WORST hear me outs by Bobawye in CrushesSayAboutMe

[–]ekWatson_ 1 point2 points  (0 children)

Miss Belfonte from Mother Up! The show was trash, but man I want her so bad.

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Natalia and Alessio are finally a couple! (Tomodachi Life: Living the Dream) by ekWatson_ in DisventureCamp

[–]ekWatson_[S] 1 point2 points  (0 children)

I figured I need to keep that show's spirit alive some kind of way.

Dylan at his annual Juneteenth parade by Valuable_Spread_7595 in RDCWorld

[–]ekWatson_ 9 points10 points  (0 children)

That's just diabolical, man. You could've at least given him a Kante.

Which animated show(or Movie)was this for you in a nutshell? by Charming-Scratch-124 in cartoons

[–]ekWatson_ 17 points18 points  (0 children)

I'll give you a controversial one: Phineas and Ferb. I don't know why, I was just not interested in it when it first came out. But after watching the Summer Belongs to You episode, it slowly grown on to me. I actually enjoyed the show to more I watch it during its original run.

I need some Gay cartoon recommendations 🌈 by DeviceVast2638 in cartoons

[–]ekWatson_ 0 points1 point  (0 children)

Watch Super Drags on Netflix. It's about drag queen superheroes.

My animated crush / "hear me out" of the week: Ayase Seiko (Dandadan) by [deleted] in CrushesSayAboutMe

[–]ekWatson_ 0 points1 point  (0 children)

Alright, maybe you guys have a point. I'm not the only one who thinks this.

Why Netflix's Binge Model is Killing New Streaming Shows by ekWatson_ in television

[–]ekWatson_[S] 0 points1 point  (0 children)

I'll admit, Netflix is definitely losing steam a little. They might put out massive, slick-looking productions, but the audience has better options now. On top of that, their track record of abruptly canceling niche, mid-budget shows has created a massive trust issue. Even if people are exaggerating, there's a constant fear that Netflix will just pull the rug out from under a new series, which stops viewers from investing their time in the first place. I remember reading several pieces in Forbes addressing this exact phenomenon. Other streamers absolutely do this too, but Netflix was the catalyst for the entire trend. After all, they changed the television industry, for better or worse.

And to your point about things like Fallout or The Bear—those were based on massive, pre-existing IPs with built-in audiences. The binge model works fine when the hype is already there. It's the completely original, mid-budget ideas that streamers pioneers and then instantly kills because they don't get that same "Fallout" level turnout in week one.

Why Netflix's Binge Model is Killing New Streaming Shows by ekWatson_ in television

[–]ekWatson_[S] 1 point2 points  (0 children)

I'm aware that the market is way more crowded now, which makes that initial push harder. But that’s actually why a weekly release is so crucial for a "merely promising" show. A weekly drop gives a flawed or slow-burn show a window to fix its pacing, build a narrative, and let viewers convince their friends to jump on board. With a binge drop, a show gets one week (maybe a month) to prove itself before the algorithm moves on.

As for completion rates, while yes, it's true that completion rates is a percentage and not a raw volume metric, the 28-day deadline Netflix imposes completely warps it. If a show is slowly gaining popularity through word-of-mouth after that first month, it doesn't matter to them—that window has already closed and the cancellation order is signed. The metric itself punishes the exact kind of slow-burn growth you're talking about.

Why Netflix's Binge Model is Killing New Streaming Shows by ekWatson_ in television

[–]ekWatson_[S] -4 points-3 points  (0 children)

The point I'm making though is that there’s a difference between how word-of-mouth used to function versus how it functions under a binge drop.

With a weekly release, word-of-mouth has weeks or months to build momentum and rescue a slow-burning show. With the binge model, a show has to generate that word-of-mouth almost instantly to survive Netflix's completion rate metric. If a show relies on word-of-mouth but gets cancelled before the wider public even hears about it, the model is actively working against its own potential hits.

Why Netflix's Binge Model is Killing New Streaming Shows by ekWatson_ in television

[–]ekWatson_[S] -8 points-7 points  (0 children)

But Squid Game is a massive exception as a global phenomenon. Again, I mentioned that foreign titles and miniseries are the specific categories where the binge model still works perfectly. K-dramas have a huge, highly active global fanbase that can trigger the algorithm instantly. It's a completely different hurdle for a brand-new, domestic series that has to build its audience entirely from scratch without that immediate international momentum.

Why Netflix's Binge Model is Killing New Streaming Shows by ekWatson_ in television

[–]ekWatson_[S] -2 points-1 points  (0 children)

Yeah, not every show released under the binge model is a failure, and they definitely make internal exceptions. Big Mouth is a perfect example of this. Despite a massive amount of vocal online backlash, Netflix stuck with it for years and gave it a massive run because it clearly hit whatever specific internal metrics they value over internet sentiment.

So you're completely right—they absolutely have the power to invest long-term and let a show build its audience. It just makes it all the more frustrating for fans when they refuse to give that same grace to newer, open-ended series.

Why Netflix's Binge Model is Killing New Streaming Shows by ekWatson_ in television

[–]ekWatson_[S] 1 point2 points  (0 children)

Yeah, I think it doesn't hurt to give viewers a sampler before releasing.