Netflix is ​​getting lost

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There is only one the reason I didn’t unsubscribe from Netflix. I’m counting the days until the streaming service announces the second season of Tim Robinson’s sketch show I think you should go. (We’re almost there! It’s coming out on July 6th.) But when I go through Robinson’s latest, maybe it’s time to break the unsubscribe button. Most popular last year streamer has become my least watched. If apps could collect dust, they would have a network.

Netflix is ​​Kleenex streaming, a brand so dominant that it can stand out in the entire market. (It’s not “Hulu and the Cold” after all.) There are signs that this synecdoche power is declining nonetheless. New great rivals, especially HBO Max and Disney +, have introduced their own terrifying streaming libraries. Plus, a plethora of smaller streamers have established themselves by hosting niche audiences. Movie lovers have MUBI, Ovid and Criterion; horror fans tremble; for fans of anime, there are Crunchyroll and Funimation; the list goes on. As competitors multiply in the United States, they are hijacking former Netflix staples Office i Friends and come out with features that are as cinematic as Netflix assigns bait Irish. The original streaming giant is finally facing real competition.

Throughout the week, WIRED publishes a series of essays on the current state of streaming services. First: Netflix.

With buzz building for hits of these newer services – like WandaVision on Disney + or HBO Mare from Easttown—Streaming analyst Sarah Henschel says it’s understandable that Netflix is ​​feeling less popular right now. But she sees her dominance far from the end. “Netflix is ​​still blowing everyone out of the water, they are still the market leader.” It’s financially in a good place: It recently expanded its past 200 million subscribers, and it’s finally stopped borrowing money. Henschel attributes Netflix’s reputation funk to the delay in production associated with Covid. Moreover, she sees Netflix as completely unparalleled in international markets. Netflix, which operates in 190 countries, has a daunting advantage over everyone else, and pours resources into shaggy shows from around the world that perform cross-border concerts, like fun nonsense in French. Lupine.

Although it adds subscribers globally, Netflix’s share of the domestic market is decreasing. As this happens, competitors are moving in. According to an analysis of the ReelGood streaming guide, HBO Max had the most popular blockbuster releases this spring and early summer with Mortal Kombat i Godzilla Kong. His team of action movies made Netflix’s biggest hit, An army of the dead, looks stingy. In addition, while Netflix continues to build into a streamer that doubles as a studio, Amazon has just bought the studio – MGM -. And some of Netflix’s domestic attempts to make their own Game of Thrones– The Marvel-style cultural stone has spectacularly failed; a television adaptation of Mark Millar’s ​​comic Jupiter’s legacy, which was originally conceived as a launch pad for a superhero franchise abruptly refused less than a month after he made his debut.

Here’s the thing: Jupiter’s legacy had mediocre reviews. And mediocrity is an increasing responsibility when competitors have a tougher list. I think you should go aside, the other upcoming show on Netflix, which I’ve seen are hyper people, is that nightmarish hairy-themed show Sexy beasts. And while his dedication grotesquely seems wonderful, Sexy beasts at best it looks like good-natured garbage. That doesn’t mean Netflix is ​​completely devoid of valuable content – shows with a limited food series High on the pig it comes to my mind as a recent creative success – but that the ratio of blah bids to real winners is completely ruled out. At least for me, there’s too much filler right now and there aren’t enough TVs to justify the price, especially when other streamers are asking for my money.

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