Per Netflix, “This tendency to do anything to attract talent and giving them carte blanche is going away.”
So say the idiots who handed that sex-obsessed fetishist Ryan Murphy (pictured) $300 million to create flop after flop after flop.
The big news coming out of the embattled Netflix this week comes in the form of this headline: “Behind Netflix’s Leaner Movie Mandate: Bigger, Fewer and Better.”
And with that article comes a chart of Netflix’s most popular movies…
- Red Notice
- The Adam Project
- Don’t Look Up
- The Mitchells vs. the Machines
- The Christmas Chronicles 2
- Bird Box
- Extraction
Wait? Where’s all the LGBTQRSUPERCALIFRAGILISTICEXPIALIDOCIOUS shit?
Where’s all the woke shit?
Don’t point your finger at Don’t Look Up, which — accidentally or not — ripped into the corrupt American establishment (D.C., Big Tech, the FBI, and the ethically-compromised scientific community) in the most Trumpian of ways.
Oh, and where’s all the America-is-racist shit?
I’ll tell you where all that garbage is: it’s buried in that pile of shit Netflix calls a “content menu,” and as far as eyeballs, it’s all losing to 20-year-old movies everyone’s already seen, like Happy Gilmore.
Netflix’s whole plan was to release a new movie every week, which it did. But those movies were all shit — all preachy, insulting, anti-human nature exercises in woketardery.
So now that The People have spoken and the bottom has begun to fall out of Netflix’s stock price — from $679 in November to $192 today — and now that Netflix is losing subscribers and expecting to lose two million more this quarter — the Netflixtards are starting to rethink some things…
It’s easy to see why. The company, in response to Wall Street, has taken cost-cutting measures such as axing more than 150 employees, or 2 percent of its workforce. TV and other parts of the company have taken their hits, but a pointed focus is the features division. A good portion of cuts have wiped out the family live action film division, and the original independent features division, which made movies in the under-$30 million budget range, has also seen its ranks cleaned out.
As it moves forward, Netflix wants to focus on making bigger movies, making better movies, and releasing fewer than it previously did at a gluttonous pace.
[…]
One thing many agree on is that the era of expensive vanity projects at Netflix, whether animation or live action (like Martin Scorsese’s $175 million The Irishman), is likely over. “This tendency to do anything to attract talent and giving them carte blanche is going away,” says one person. As always, there will be exceptions — this is Hollywood, after all — but in essence, this new era seems to be marked by one idea: discipline.
You gotta love how Scorsese is used as an example and not Ryan Murphy. Netflix didn’t spend $175 million on Scorsese. Scorsese did not walk home with $175 million in his pocket. That $175 million was spent to produce the movie itself (and it’s a pretty good one at that). The Ryan Murphy deal put $300 million in that fetishist’s pocket, and heaven only knows how many billions Netflix wasted producing his crap content.
It makes perfect sense for Netflix to want to attract talent. What makes no sense is standing back and allowing them to produce their insane vanity projects that have no appeal to any normal human being.
Netflix is a studio, and Netflix needs to run itself like a studio. You want to make a Very Important Movie? Fine. But you gotta give us two straightforward genre titles first. No preaching. No lectures. No BS. Just gunfire, car chases, laughs, and sex.
The people in charge of Netflix might want to pull a Sullivan’s Travels and spend a little time in the real world.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.
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