But it seems clear at this point that Paramount believes that it’ll be able to make a return on its investment, so it’s just a matter of where the show eventually lands, not if the new season gets created.
Unless they do like WB did for Batgirl, and shitcan the entire thing permanently after production is complete, for a tax write-off.
I don’t think Netflix actually cancels shows after two seasons any more often than other networks do.
Somehow people got it into their heads that Netflix is far more cancel-happy than its competitors, but if you look at the numbers, traditional TV networks have had like a 50% cancellation rate for decades.
Even TOS was cancelled after two seasons!
If Netflix is more prone to cancelling shows at all, which I’m not convinced is even true, it can’t be by an enormous margin.
There was an article a few weeks ago about how Netflix only has about a 15% cancellation rate. Unfortunately there was no deep dive into the data, so the figures are suspect. A few factors that weren’t considered:
A very significant percentage of Netflix programming is reality TV and cheap junk. This doesn’t get cancelled because well, it’s cheap.
Many series don’t get cancelled, they just aren’t renewed. If Netflix tells the producers this is the last season, they’re gonna rush the storyline to some kinda ending regardless of whether it was originally supposed to stretch several more seasons.
I would rather a rushed ending than to be left hanging (unless they’re going to do a movie or something)
Maybe the last few years are better, but through the late 2010s Netflix very much looked at the per episode drop off rate for viewers and used that to determine if a show would continue to pull in viewers and get renewed. They were quite aggressive and then when other streaming services started coming into play they aggressively tried cutting costs off dead shows and burned a lot of people.
Nah, Futurama is pessimistic. A thousand years passed and nothing got better. Humans just found new ways to screw each other over and more aliens to hate. Lower Decks is based and hopepilled.
This is such good news! I wonder if the incredibly effective and creative UAW strikes made them realize they were fucked if they didn’t get reasonable. The public is squarely on the side of the workers, in all the different labor actions going on right now. When this many different industries say enough is enough and take a stand, it’s hard to ignore who has the real power.
Good point! I also think it’s interesting this is days after several talk shows ended up being pressured into staying off the air pending the WGA strikes. Could be that they were gonna try using talk shows to normalize scabbing until the unilateral public backlash made it clear they wouldn’t get their way?
Whether or not it was that calculated, the backlash and pullout showed the producers they were going to have a hard time filling the schedule with unscripted reality shows and ad-libbed talk shows. Especially if they couldn’t get anyone with any talent in improvising to “not act” in them.
This is mostly hearsay (supported by things the WGA said, so I trust it), but not all members of the AMPTP were happy with the strike going this long and wanted to negotiate a lot sooner.
Earlier this month there was talk of some members leaving so they could negotiate new contracts independently. This might have lit a fire under the ass of the holdouts, since the AMPTP losing someone big like Disney would significantly weaken their own negotiating power.
Interesting. We’re seeing something similar with the UAW as Ford seems more willing to negotiate
The automakers aren’t a single block, so separate contracts need to be signed to end the strike, but any manufacturer still being targeted would be at a major disadvantage to any others that have ended their strikes
Ah that’s good context, thanks. It seems like it’s mostly a positive, since it would give labor even more leverage to improve the contracts that haven’t been negotiated yet. I’m just happy that progress is being made at all. The longer this goes, the more the studios’ reputation will suffer. I hope the public says strong with their support if this deal falls through for some reason.
Yeah it’s also be fascinated to see what points the WGA was willing to concede, if any, and how much the AMPTP was convinced to give up the main things the WGA was demanding.
Unfortunately it sounds like even members of the guild aren’t being told that info yet, let alone the public.
It makes some sense for them to get some sleep and get ready for a big press conference in the morning. Because there’s going to be a lot of immediate debate once it’s out, and they want to be on top of that. Even if they got everything they asked for.
That’s normal for this kind of negotiation. It would be horrible to unleash the press and public opinion on the representatives who have to sign the agreements. There will always be some who aren’t satisfied with the outcome, but in negotiations during a conflict it’s often a good idea to postpone some of the more specific wishes to the next ordinary round of negotiations, so that an agreement can be made at all. Some things are easier to achieve through ongoing dialogues instead of potentially obstructing an agreement on wider issues. Quite often it happens that a conflict is resolved with only little improvements, but with the following negotiations completing the wishlist.
Hi everyone! Netflix by far is the best home for Prodigy in the current streaming landscape.
They have the largest media share and Star Trek has historically done exceptionally well on their service — this opens the door for more seasons of our show.
Animated shows like “The Dragon Prince” have run up to seven seasons on Netflix.
“Longmire” was saved from cancellation and was renewed for an additional five seasons by Netflix. So was “Lucifer,” and many others.
I think the biggest problem is most studios (whatever that means nowadays) have the pockets to wait it out for a while and have no problems generating absolute dog shit content and pawning it off on the customers.
ENT was basically watered down TNG for its first two seasons. Some of the time it was good (eg "Carbon Creek"), some of the time it was bad (eg "Precious Cargo"), but most of the time it was stultifyingly mediocre. Season 3 tried something different, but it was only in season 4 that ENT found its true voice.
And it was Manny Coto who was responsible for the upswing in quality. I'm generally skeptical of prequels, but at least Coto fully bought into the premise of ENT being a prequel show, and showed us how various aspects of Trek lore came to be. I think his stint running that final season may have been his best work.
Or watered down VOY. The first two seasons had its gems (Cold Front, Shuttlepod One, Carbon Creek, Minefield, Future Tense, Regeneration are a few) but the series imo didnt get good until its 3rd and 4th seasons, largely due to Coto and Sussman taking over.
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