|re: We don’t understand the model that works|
|Last Edit: JereNYC 01:20 pm EDT 04/05/21|
|Posted by: JereNYC (JereNYC@aol.com) 01:17 pm EDT 04/05/21|
|In reply to: re: We don’t understand the model that works - ryhog 06:20 pm EDT 04/01/21|
|Now, it's my turn...same thing happened to me on Friday when I went to respond. Whole response swallowed up into the void. Oh, well. And then, of course, I was running around all weekend and didn't have a chance to circle back until now.
To your point, I'm really curious about how Netflix got hooked up with DIANA. There's nothing about that particular show that would seem to suggest that it would be a good candidate for streaming. I'd have thought that a streaming service would start with either a classic title or a production with a big name star...or possibly a new show that had proven itself and gotten terrific reviews and/or word of mouth or had a bit of a run. I could see them starting with THE MUSIC MAN or HADESTOWN or even AIN'T TOO PROUD or TINA, given that the scores of those are comprised of pop hits.
With DIANA, the only connection I see is that Netflix also airs THE CROWN, the most recent season of which covered the Charles and Diana years, and has a recent development deal with the Duke and Duchess of Sussex. But here's the thing about that...THE CROWN is going to cover the same ground as DIANA in (most likely) a more complete and interesting way, given its strong writing and performances and expensive production values. And I'm pretty sure that the Duke of Sussex would rather that Netflix just dropped the whole enterprise. So...what's the niche here for DIANA? Who is this for, aside from musical theatre fans? Why did someone at Netflix pony up the cash for this?
And then what would be negotiated as far as what point in the process would the production be recorded and at what point would be debut on the service? My sense is that, depending on what the box office looks like, and the timing of the opening, the production would be recorded in the first six months of the run and would hit the service at some point in the first year. Then...the producers would watch to see what happens to their box office after their production becomes available on a service. If they've done a good producing job, my idea is that the box office revenue during the first year, coupled with the investment from Netflix, would put the production into the black around the one year mark, so, if the audiences continue to buy tickets, the show continues to earn money as long as the business lasts.
I don't think every production would partner with a streaming service, just as every production now doesn't partner with a film studio and get a movie adaptation. If none of the services bites, I imagine producers would go with the standard model of producing the show and, if it's a potentially long running musical, hope that it runs long enough to pay back. The streaming services would be yet another option, another source of potential investment.
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