Why does Netflix keep making numerous low-cost TV films?|Movie|The Guardian
You do not need to enjoy Netflix’s upcoming motion picture Secret Obsession to understand precisely what it’s going to be like. There’s the title, which seems chosen by means of some sort of generic thriller tombola. There’s the typography, which has a crack through it. There’s the cast, who all unfailingly appear like catalogue designs troubled by the incoming possibility of gastroenteritis.
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Mainly you understand precisely what Secret Fascination will be like thanks to its trailer, which does a very great task of explaining the whole story. A female suffers from amnesia. Her partner takes her back to their remote home. Just she finds that he isn’t her partner; he’s in fact the man who appears in the far left of each and every single photo she’s in, pulling a sulky face due to the fact that she isn’t in love with him. Some may even state that she is his … secret fascination.
My point is that Secret Obsession looks horrible. It resembles something that should be on Life time. It’s a cheap, tacky, wood, silly potboiler that depends upon a facility so dumb that you can only conclude that the characters should have everything they get due to the fact that they’re all such devastating idiots. Give it 2 weeks and Netflix will jokingly disown it in a tweet. Because that’s the real difference in between Lifetime and Netflix. Lifetime dedicates. Last year alone it produced around 70 new films, all of them variations on a well-worn style. They’re either thrillers (like A Hazardous Date, Lethal Admirer and Killer Single Father), Christmas movies (like A Twist of Christmas, Christmas Pen Pals and An Extremely Nutty Christmas), or they’re witlessly fascinated with the British royal household (Harry & & Meghan: Becoming Royal). These movies are Life time’s support. They’re clearly not great, however Lifetime understands what its audiences desire, and it’s pleased to deliver it to them.
On the other hand, in the same timespan, Netflix launched a comparable quantity of films. Much of them– like My Teacher, My Obsession and A Christmas Change: The Royal Wedding– would feel perfectly at house on Life time. At the same time, Netflix has massive artistic ambitions. One of those 69 movies was Roma. Another was The Opposite of the Wind.
Netflix is a catch-all disrupter. It wants to drag individuals away from cinemas with high quality works of artistic expression, but at the same time it also desires to slice the legs out from below the similarity Lifetime. It understands how to deal with the previous– by tossing loan at award campaigns, mainly– but the latter is a much harder possibility.