The rise of streaming: good or bad news ?

The rise of streaming in our small screens was able to relieve the wallet of many households. As we approach the end of the platform war, major Hollywood productions are overwhelmed by the impact of these.

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A success Story

Streaming application Netflix was born in 1997 in California, a joint venture between Wilmot Reed Hastings Jr. and Marc Randolph. Creators are shaking up the main business model of the time, which relied on selling and renting DVD by mail.

While continuing to rent DVDs and Blu-ray, the American company decided to expand its activities by introducing a streaming platform. Starting in 2012, the company added exclusive films and series created by the company’s own online bookstore. It’s the appearance of the Original Netflix. The company is a global success that is locally based, constantly reinventing itself and doing self-management.

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In view of the global success of Netflix, which has more than 230 million subscribers, in the first half of 2022. With the advent of digital and the proliferation of screens, some companies have been pushed to create their own streaming platform to adapt to the changing way in which cinematographic and audiovisual works are consumed. Among them are Disney+, PrimeVideo, HBO Max…

The race between the biggest media and entertainment companies to double their subscribers is over. For example, Disney+ lost 4.6 million customers to its Indian streaming service, Disney+ Hotstar. In the United States and Canada, Disney+ lost 600,000 subscribers. Disney subsequently announced the loss of thousands of jobs and billions of dollars in reduced content spending.

Did streaming put Hollywood in the shade ?

Rivalries between cinema, traditional television and platforms are intensifying. On the one hand, Hollywood defends that discovering for the first time a film in streaming from its couch or on public transport lessens the viewer’s experience. On the other hand, Netflix finds that its offering makes films more accessible to the general public who does not necessarily have the time or the means to go to the cinema.

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The methods used by Netflix are questioned. We accuse the society of buying the global and moral rights of a production in return for a generous remuneration. The platform thinks it can capture its audience by producing adult dramas and light romantic comedies, genres set aside by majors who bet on big blockbusters, including superhero films.

Thus, we see in recent years that the serial genre has changed to leave more places for mini-series. The series on offer are getting closer and closer to cinema, whether in terms of production, image aesthetics or increased budgets. 

Today, the talents navigate smoothly between the big screen and the small screen. Cinema is being challenged by series whose quality and popularity have increased exponentially in recent years. Many film directors and stars are now embarking on series projects.