Netflix needs to take more risks for our subscription fees

Constant increases to the pricing of Netflix stings every time they’re announced, but the jumps in subscription costs stings more nowadays when the company keeps shelling out on the likes of the bombastic flop, The Electric State directed by Marvel alums, the Russo brothers. Currently sitting at only 15% fresh on Rotten Tomatoes, The Electric State has proven to be a critical flop, despite pulling in big audience numbers. Of course, audience opinion is important, and if people are enjoying it, then I’m not going to yuck their yum.

However, it’s clear the film hasn’t captured everyone as Netflix intended. Adapted from a graphic novel, many critics believe the film missed the mark, visually overhauling the source material and adding a layer of unneeded comedy. Personally, I thought the film was a miss, and as a fan of the original book, it hurt to see so many details ‘revamped’ with a glossy sheen that robbed the personality from the concept.

The Electric State had a reported budget of $320 million, and follows hot on the heels of other expensive motion pictures commissioned by Netflix, in the hopes of rivalling cinema releases. All our subscription fees flood in and get funnelled into these rather soulless projects that feel more like a chance to chase trends and cash in on big name stars, rather than pursue projects that further artistic direction and opportunities to fund original concepts.

Take, for example, Adolescence, a British crime drama starring Stephen Graham. A limited series that looks at the impact of toxic social media on the youth of the world, resulting in violence that devastates families. The drama has caught the eyes of millions for each episode being shot in one take, start to finish, while delivering blistering performances from every member of the cast.

More people in the UK tuned in to these four hours of gripping tension, than to The Electric State, and worldwide, according to Deadline, the Russo directed film only snagged a million more views than Adolescence. The Deadline article goes on to state that “It’s worth noting that 25M views for the opening weekend of any Netflix film is a very small turnout,” and that Enola Holmes 2, also starring Millie Bobby Brown, snagged over 32 million views in the same timeframe. Even the trailer for Adolescence has more viewers than the trailer for The Electric State, on YouTube.

While I would never want to discourage Netflix from making blockbuster films, it feels silly to be throwing hundreds of millions of dollars at these productions, when a small UK drama featuring many unknown actors can attract more eyes. Of course, Netflix is home to a wealth of great, smaller projects, but it somehow feels a bit distasteful to see so much money spent on something ultimately forgettable, when so much of that money could be poured into supporting independent artists in the hopes of creating something both loved by fans, and critically acclaimed.

Netflix has, over the years, cultivated an attitude that spawns so much disposable television. There are gems among the stacks of shows and films the streamer puts out, but when they’re worth so much money, and pulling in billions of revenue, it’s surprising that the chances they seem to take often feel so lacklustre. I can’t speak for everyone, but I’d rather have 10 limited series’ like Adolescence, than one film like The Electric State, because while many might find the film entertaining, how many will remember it in years to come?

That opens a can of worms and a conversation on disposable television; for example, will you still remember season two of Squid Game? Disposable, background-watching television isn’t a bad thing, but with so much money in the coffers, I wish Netflix would spend more wisely. I guess what I’m trying to say is, can Netflix start using their billions of dollars to make smarter decisions in funding? Their marketing feels rather like quantity over quality of late, and I wonder how many people don’t feel like their subscription fees are funding anything of worth. Perhaps the streamer needs to focus on creating great TV, rather than warring with cinema.