When I stand back and take a good look at it, I cannot honestly say that Netflix is worth the money to pay for it full-time. Obviously, there’s enough on the service to keep you busy for a few months, binge-watching the good stuff. But then, what are you missing out on if you unsubscribe after that process?
Netflix’s strategy is to invest heavily in original content so that, even if the back catalogue stuff goes away, there’s still a core of the good stuff. With Warner and Disney about to launch their own streaming services, Netflix had better have its own original content. But is any of it much cop?
At the moment, I mainly watch Star Trek: Discovery on Netflix. In the US, this is on CBS All Access, so it’s not even part of their main market. Now, Disco is excellent, and even the not-great episodes are better than the not-great episodes of, say, Star Trek The Next Generation. But, without this, there really hasn’t been anything new from Netflix that I rate. And since Disco isn’t actually from Netflix, I wonder, really, about their taste, and their commissioning process.
Here’s a list of things I recently rated as thumbs-down, because I was sick of them appearing in my feed (I hoped it would make a difference):
- After Life (can’t stand Ricky Gervais, never have, never will)
- The Umbrella Academy (yawn to this whole genre)
- Turn Up Charlie (nope)
- The Disappearance of Madeleine McCann (nope)
- IO (awful, boring, grim)
- Sex Education (nope)
- Black Mirror: Bandersnatch (yawn etc.)
- Pine Gap (terrible tripe from Australia)
- Nightflyers (horrible tripe)
- Always a Witch (risible tripe from Columbia)
- Northern Rescue (boff)
- Dirty John (even though I listened to the podcast, it’s a hard pass)
- The Order (sub-Magicians tripe)
- Love, Death, and Robots (yawn)
Secret City (Another Australian series – watched Season 1, fell into a coma part-way through Season 2 and abandoned)
I could go on. You get the picture. The problem here is not that, now and again, Netflix misses the mark. All of these programmes and films have appeared over the last couple of months. And there has been nothing inbetween to get on the “thumbs up” list. They’re all different varieties of terrible. Some of them are terrible because they’re not to my taste; others are just objectively bad.
Pine Gap loses you halfway through the first episode, when it becomes clear that this show consists of people talking to each other, very seriously, in rooms. It’s also Exposition Central, “As you know.” And (as a final nail in its coffin) any show that involves “computers” is dull from the off.
Nightflyers, based on a George R R Martin property, is a grim, violent science fictioner that starts with death and viscera and goes on from there. If not exactly Game of Thrones in space, it wishes it was, and so it has all of the gore but none of the lore, as it were. Game of Thrones actually spends time, at the beginning, to introduce you to a cast of characters and make you care about them before it starts killing them off. But Nightflyers was just undiluted nastiness.
I have to conclude that those in charge of commissioning have poor taste. Turn Up Charlie was reviewed badly. Hollywood Reporter said it might almost have had potential, but creative decisions were made to focus on the absolute worst characters. Similarly, the documentary about Madeleine McCann was slated by reviewers for its fundamental tastelessness. And as a Netflix subscriber, you have to watch yourself: because they know who watches, for how long, and how often in a way that no television network before them ever did. So I’m cautious, even, about hate-watching, because what does their algorithm care what emotional state I’m in, as long as I’m watching.
I regret sitting through Bandersnatch, which I hated every moment of, because I’m just one more viewer, albeit one who didn’t explore all the possible permutations.
But the dilemma I face is this. Sure, I could cancel as soon as the latest series of Disco finishes, but then I’d be depriving my kids of the trashy shit they watch on their devices. So I’d feel bad about it: but the question is, how bad?