Entertainment

Space Force: Why is Netflix canceling some of its best shows and making silly innovations like this?

WThey all have a TV series canceled that we’re still bitter about. Maybe it’s Bizarre and eccentric. Deadwood. firefly. Critic. Double top. There will always be a reason for movie cancellations – low viewership, high production costs, terrible reviews. It might even be a reason you agree. Perhaps the sudden passing of a star (Bill Paxton Training day), or too many dead horses (Lucky). But that rarely makes it easier to accept.

Time is when Netflix like a vengeful angel when it comes to TV’s unjust abolition. Back in 2013, one of the streaming service’s first high-profile original projects was the revival of Development caught, the hit sitcom canceled by Fox in 2006 has long been considered one of the most egregious cases of television executive misconduct. Among the other series that have been resuscitated with Netflix’s cash infusion CPR are Gilmore Girls, Black mirror, Star Wars: Clone Warsand You. And yet, Netflix has proven itself more than willing to use its fingers to trigger an itch when one of its own shows isn’t doing business. Obviously, a content producer the size of Netflix – releasing at least one new series every week, along with weekly releases and comedy specials – is bound to make a lot of movies. popular. But some of the best shows streamers have ever produced have also been cut in their prime. Light; Tuca and Bertie; Dark; Sense 8; Lady Dynamite; also BoJack Horseman, one of Netflix’s major critical hits, was ended against its creator’s wishes. In the meantime, take a look at the refreshed list of series, and you’ll see a messy buffet between the good and the mediocre.

Falling straight into the second category is Space Force, a live-action sitcom focusing on the dysfunction in the workplace of a Nasa-like space agency. One of the few dramatic comedies to gain real prominence on streamers, Space Force will return tomorrow for a second season, after the first, which Netflix says has been watched by 40 million households. To be fair, this success is more testament to the film’s cast – in front of Steve Carrell, Ben Schwartz and John Malkovich – than its own questionable comic value. Comments are damnable; The first volume seemed to disappear from public consciousness within a few days of its release.

Space ForceThe second part is an improvement over the first part. (This is often the way it is with sitcoms, which often require a solid sequence of episodes for the cast to build chemistry, for good jokes.) But it’s still a long way from massive success. It’s a workplace comedy that somehow makes the space industry seem dull, one that occasionally sparks more giggles than belly laughs. Humor is somehow too broad and too conservative at the same time; Carell is a grayer version of a character we’ve seen him play too many times before. Compared to, say, Maria Bamford’s relentlessly innovative (but short-lived) Netflix sitcom Lady Dynamite, Space Force is stale toast. So why do these lackluster shows continue to be innovated?

Of course, Netflix is ​​a business. In theory, it’s less constrained by the whims of the audience than traditional broadcasters – it doesn’t rely on advertisers for income, and it’s always extremely secretive about its publication. viewing data for the public. But it’s a business anyway. A bleak show that millions of people watch is more appealing financially, purely financially, than a masterpiece watched by a few hundred thousand people. In its early forays into the world of original programming, the all-important cult might be enough to sustain a tough series on Netflix. But now, with a cabinet full of Baftas, Emmys, Golden Globes and Oscars, the despair over Netflix’s confirmation has pretty much dissipated.

But it doesn’t have to be this way. HBO’s Breakthrough Crime Drama Wire continuously renewed for five seasons despite low ratings and lack of awards. It is now considered by many to be the best series ever made. HBO has shown similar leniency with even less market following of David Simon Treme, allowing it to run for four seasons despite viewership numbers that might have sunk it on other networks. It’s rare for companies to do this kind of problem-solving; Patience does not necessarily equate to profit. But Netflix has always positioned itself as a disruptor, unfettered by the standards of TV’s old defender. Usually, it seems to be only concerned with creating the bland, consumable filler that has been the scourge of TVs for decades.

‘Space Force’ returns to Netflix on Friday despite poor reviews for first season

(Diyah Pera / Netflix)

At its best, TV is an easy battle of wits between art and commerce. For art to have a chance to win, Netflix has to draw a line somewhere and accept that sometimes it’s more important to be right than famous. Until it does, it will continue to let its best, most interesting gems fall through the cracks. Space Force won’t even reach the stratosphere. Netflix has scrapped the series that may have reached the moon.

https://www.independent.co.uk/arts-entertainment/tv/features/space-force-netflix-steve-carell-b2017356.html Space Force: Why is Netflix canceling some of its best shows and making silly innovations like this?

Tom Vazquez

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