Before “Netflix and chill” entered the cultural lexicon, before the streaming platform won its first Emmy, before it started inking deals with major showrunners, Netflix in the early 2010s was testing out a hypothesis about the public’s appetite for premium-quality television shows on the internet.
It had recently recovered from the Qwikster debacle — an aborted plan to spin off its DVD-by-mail business — and gritted its teeth through a tomato-pelting over a subscription price hike. Now Netflix was challenging network incumbents with its inaugural slate of first-run originals, including “House of Cards,” horror series “Hemlock Grove” and the revival of cult favorite “Arrested Development.” Also in the works was a less high-profile show from “Weeds” creator Jenji Kohan, based on a memoir about a motley collective of women incarcerated in a minimum-security prison. With no point of reference for what a highly produced online-only TV show would look like, the cast of that series,...
It had recently recovered from the Qwikster debacle — an aborted plan to spin off its DVD-by-mail business — and gritted its teeth through a tomato-pelting over a subscription price hike. Now Netflix was challenging network incumbents with its inaugural slate of first-run originals, including “House of Cards,” horror series “Hemlock Grove” and the revival of cult favorite “Arrested Development.” Also in the works was a less high-profile show from “Weeds” creator Jenji Kohan, based on a memoir about a motley collective of women incarcerated in a minimum-security prison. With no point of reference for what a highly produced online-only TV show would look like, the cast of that series,...
- 7/18/2019
- by Elaine Low
- Variety Film + TV
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