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What We Watched: A Netflix engagement report

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Re: What We Watched: A Netflix engagement report

#131

Post by spiderice »

jncfhnb wrote: post #126
jay_kyburz wrote: post #37

Earlier quoted context omitted.

I really love the production values, the costumes, the makeup, the world. I love the idea of the Witcher. But I have no idea what the story is about or what anybody is talking about. It's just all way too complicated.

I thought season 1 was straightforward once you understood the dual timelines

> once you understood the dual timelines

That's a big caveat. Haha. I made it through almost the entirety of the season before I realized there were dual timelines. Nothing made sense. Maybe that's on me.. but I feel like enough people had similar issues that it's more likely a major shortcoming of the show.

Re: What We Watched: A Netflix engagement report

#132

Post by hef19898 »

firebirdn99 wrote: post #30

Kinda sad that Netflix opted for quantity over quality. It shows with all the inane sequels like Murder mystery 2, Extraction 2 and with the idea of just filling an uninteresting script with some stars to make the numbers like Red Notice. And many of the top 50 shows reflect just that. The last Netflix original I watched and liked was The Queen's Gambit.

You should try "Obliterated", its hilarious, it doesn't take itself aerious, it plays with almost all TV tropes we know (in a good way), references everything from Rambo to Die Hard and has an eye for detail (every scene hints at something or is important in some regard). Also, episodes 2-8, each roughly an hour, cover an in-series time frame of 7 hours, which is a bice touch. Throw in good acting, good dialogs and liekable characters and you uave a great show.

Bonus: No brand name stars in it neither.

Re: What We Watched: A Netflix engagement report

#133

Post by Tomis02 »

charcircuit wrote: post #112
shoelessone wrote: post #95

Earlier quoted context omitted.

Possibly unrelated but similar idea at least: in Japan a lot of the Japanese TV shows I watch don't have English subtitles available, but in the US the same shows on Netflix do have English subtitles. I don't fully understand the reasoning for this on Netflix's side.

They may not have the license for English subtitles in Japan similar to how outside of Japan you can't get Japanese subtitles on Japanese TV shows because of licensing.

I heard the "no license" theory before but I find it hard to believe because Netflix originals suffer from the same problem.

Re: What We Watched: A Netflix engagement report

#134

Post by stubish »

nomel wrote: post #73
firebirdn99 wrote: post #30

Kinda sad that Netflix opted for quantity over quality. It shows with all the inane sequels like Murder mystery 2, Extraction 2 and with the idea of just filling an uninteresting script with some stars to make the numbers like Red Notice. And many of the top 50 shows reflect just that. The last Netflix original I watched and liked was The Queen's Gambit.

Or, to look at it another way, they're giving their paying customers what they want.

Or, to look at it another way, they are giving the profitable customers what they want.

It is clear Netflix don't want me as a paying customer, and that makes sense. At least in the short term.

Re: What We Watched: A Netflix engagement report

#135

Post by [deleted] »

jncfhnb wrote: post #122
Kye wrote: post #92

Earlier quoted context omitted.

What We Do In The Shadows is extremely queer and has managed to develop significant reach, and that makes me happy. I thought some of the jokey bi stuff in the first season would be throwaway like usual, but they keep dialing it up. The writers are very well-versed in the vampire meta, and it shows.

Idk. On one hand all the main characters are gay or bi (I think Collin is?). On the other it’s almost entirely a non issue. The vampires have no concept of gay culture at all. As a straight guy with no particular connection to in group lgbt culture this seems preferable. It’s often culturally alienating. What we do in the shadows is comfortably normative

[deleted]

Re: What We Watched: A Netflix engagement report

#136

Post by tiagopavan »

thebradbain wrote: post #118

For anyone else wondering “why they’ve decided to do this”— This is an outcome of the WGA strike negotiations. Now writers (and actors, and anyone else) can use this information to better negotiate their worth with studios, rather than it being 1-sided. All other streaming services should be following suit soon. https://www.wgacontract2023.org/the-campaign/what-we-won > Streaming data transparency: Companies agree to…

That's a great outcome. I was the producer of "The Edge of Democracy" - line 14047 of the Excel file with 200,000 hours viewed. Although we were nominated for an Oscar and became a Netflix originals, they've never disclosed any numbers related to how successful (or not) our film was on the platform.

Re: What We Watched: A Netflix engagement report

#137

Post by gscott »

mvdtnz wrote: post #102
chihuahua wrote: post #94

Earlier quoted context omitted.

You may want to give "Breaking Bad" a try - watch the first season to see if you enjoy it. I'm not sure if it qualifies as "cultural value" but many critics like it. I liked it too, even though I hate almost everything. It has some good acting and writing, and a compelling storyline.

It's not on Netflix in my region so I guess I'll go fuck myself.

That is a common time waster.

Re: What We Watched: A Netflix engagement report

#138

Post by zer00eyz »

tempusr wrote: post #128
Dig1t wrote: post #83

Earlier quoted context omitted.

I really love the show, I think it's a combination of likable characters and feeling special when you understand a physics/chemistry/scifi etc reference. It makes you feel smart because you are in on the references that the smart people are making.

Sure, but the show displays toxic masculinity as a dorky thing that "nerds" just do. Overall, I believe the show is a terrible role model for how men who are in STEM fields should behave to others who do not fit the stereotype. https://www.youtube.com/watch?v=X3-hOigoxHs https://www.youtube.com/watch?v=7L7NRONADJ4

Tropes, Caricature, Mocking, Sterotypes... These things have been the tools of comedy for a LONG time. For good or bad they will remain that.

The problem is context, it's Lenny Bruce mocking the cop who is reading back his skit in court. It's Dave Chapel pointing out how people quoting him on twitter without the context miss the point...

These are made up people in a make believe world doing made up things. They aren't meant to be taken seriously on any level.

Re: What We Watched: A Netflix engagement report

#139

Post by firecall »

goenning wrote: post #47
teej wrote: post #35

I noticed that the watchtime of `You` was split half-and-half between the new season 4 and the prior seasons 1-3. I was curious about the total results by show, including all seasons. Here's the top 25: TITLE TOTAL HRS WATCHED ----- ----------------- Ginny & Georgia 967,200,000 The Night Agent 812,100,000 You 766,300,000 Outer Banks 740,400,000 The Walking Dead 738,600,000 The Glory 622,800,000 La Reina del Sur 616,8…

Friends (1994) is still going strong

Probably a bounce due to the sad passing of Matthew Perry. :-(

Re: What We Watched: A Netflix engagement report

#140

Post by wredue »

Tomis02 wrote: post #81
barryvan wrote: post #77

Earlier quoted context omitted.

Is that really so problematic, though? It's the same as ABC iView and SBS OnDemand, from what I can tell... Perhaps this is just to comply with local law, then?

It is very problematic because modern actors mumble to the point you can't understand much unless the volume is high enough for your entire neighbourhood to hear. Having closed captions instead of subtitles harms immersion. Netflix can provide both English subtitles and closed captions (as seen in some Korean shows). They simply choose not to offer them for most English-language titles.

Lots of subtitles are straight up wrong anyway. You’re nearly as good off guessing what they said in some cases.

I honestly thing that they’re created by third parties who just run the audio through an AI and call it a day.

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