Movies

The Electric State will be massive – but shouldn’t we expect more from Netflix’s original movies?

BBG News

It’s likely that you’ll find “The Electric State” on Netflix this coming weekend. Without a doubt, it will be available for your viewing pleasure as you search for something entertaining to unwind with following a tiring workweek on the streaming platform.

In an upcoming movie poster or thumbnail, the recognizable faces of Millie Bobby Brown from Stranger Things and Chris Pratt from Marvel will be prominently displayed, portraying seriousness and heroism. The scene might also include a charming robot companion, a breathtaking sunset backdrop, and a stylish ripped denim vest.

It’s possible you’ve come across information stating that this film is the work of directors Anthony and Joe Russo, who are known for co-directing Avengers: Endgame, the second highest-grossing movie globally. Alternatively, it could be based (loosely) on Simon Stålenhag’s graphic novel, depicting an alternate 1990s America where robotics and virtual reality technology hold sway.

Would you consider reading “The Electric State” sometime in the near future? Whether that’s next week, three months from now, or even a year from today? Have you recently discussed with enthusiasm movies like “Damsel” from last year, “The Gray Man” released by the Russos this year, “Red Notice” from 2021, or “Extraction” from 2020?

On occasion, our brains yearn for something akin to a speedy car wash, serving as a refresher to sweep away bothersome matters such as thoughts and feelings. However, it’s worth noting that the production of “The Electric State” is said to have cost an impressive $320 million.

The film “Avengers: Endgame” cost up to 400 million dollars. It may be debated whether the movie qualifies as “worthy,” but it unquestionably met the criteria of being culturally significant. People recall it, discuss it, and rewatch it. Whether you think the money was used wisely or not, it served a purpose. Now, one might wonder, what on earth did Netflix spend 320 million dollars on?

The graphic novel The Electric State received reviews that were more wobbly than firm, leaving even its supporters appearing tense. In one of the more favorable assessments, Paste‘s Jim Vorel remarked it as “an incredibly polished yet artistically castrated, sterilized adventure, stunning in its use of high-end visuals but generally lacking any genuine humor, charm, heart or adaptational finesse.

Digital Spy‘s review contended that the show merely meets the threshold of being watchable, but seldom rises to the level of being remarkable. It has received limited advertising and, in optimal conditions, may be met with an indifferent response from its target demographic, such as a casual “it’ll do for tonight”. This indifference, unfortunately, comes at a significant cost of approximately $320 million.

Most Netflix’s high-profile film productions, such as “The Gray Man” and “Red Notice,” are priced moderately to pique viewer interest, with budgets around $200 million each. In contrast, the upcoming release “Heart of Stone” (2023) has a slightly lower production cost of $150 million.

The streamer provided A-list actors such as Ryan Gosling, Chris Evans, Gal Gadot, Dwayne Johnson, Ana de Armas, and Ryan Reynolds with several shooting locations (even though many scenes seem to have been filmed using green screens), scripts filled with enough action clichés that they give the impression of a cohesive narrative, and a few explosions for promotional purposes.

Once they click the thumbnail, it’s no longer Netflix’s business what transpires afterward; since you’ve already subscribed and are committed for the month, they’ve got you covered.

It’s impossible to evaluate a streamer’s content using standard metrics such as CinemaScore (feedback from a random group of moviegoers) or box office earnings during the second, third, fourth, etc., weeks, which are critical because they reflect whether audiences genuinely enjoy what they’re watching and are recommending it to others.

Netflix does not disclose uncensored streaming data, allowing them to determine what’s popular and what’s not. Their own criteria for success has evolved over time, but they presently base their judgments on “viewing hours,” which is the total amount of time users have spent watching a movie compared to its duration.

However, as the critical analysis in n+1‘s report highlighted, the company fails to distinguish between users who have fully viewed a film and those who merely glanced at it for a short time, be it out of genuine interest or due to auto-play features.

The movies are often extravagant, featuring big names, large budgets, but lacking substance. It’s much like getting a huge Easter egg, only to find it empty inside. It’s no surprise that some people within the company have been accused of approving projects without even glancing at the script.

In this rephrased version, I’ve tried to make the language more conversational and easy to understand while maintaining the original meaning and tone. The use of “some people” instead of “n+1” makes the text more general and less technical, making it easier for a wider audience to relate to.

In a different phrasing, one might say that while Netflix produces films like “The Electric State” and “Red Notice”, they are also investing heavily in projects like Martin Scorsese’s “The Irishman” (2019) and David Fincher’s upcoming film “The Killer” (2023), by giving them substantial budgets.

Since the streamer doesn’t have strict content guidelines, filmmakers are able to pursue unique and creative ideas without limitation. As Fincher explained to Variety in 2023, ‘With Netflix, it’s much more enjoyable because when you present an idea, the reaction is often ‘That’s a fascinating and eccentric concept. Let’s discuss the feasibility and potential success.’

At the heart of this matter lies a mindset that draws a distinct line between what we label as “art” and “entertainment.” This divide, unfortunately, is affecting the survival of mid-budget films. Initially, we only associated this with traditional cinemas, but now it’s evident that even in the realm of streaming services, mid-budget movies are becoming scarce.

Every year, Netflix often earns several award contenders at film festivals (such as the recent controversial “Emilia Pérez” and Angelina Jolie’s biopic “Maria”). Later, these movies are marketed and distributed to viewers as assignments to watch, enabling them to appear knowledgeable in the workplace the following day.

Binary thinking often oversimplifies and undermines the rich potential cinema holds. Art should not be treated as a chore, and in earlier times, people didn’t approach it with such limited perspectives. For instance, a divorce drama like “Kramer vs Kramer” was once able to break box office records, becoming the highest-grossing film of 1979.

Binary thinking is too restrictive and unappreciative of cinema’s true power. Back in the day, people didn’t view art as a task, and movies like “Kramer vs Kramer” could achieve massive commercial success.

Entertainment need not always be devoid of intellectual stimulation, as even Netflix acknowledges the appeal of the clever and humorous whodunits in Rian Johnson’s “Knives Out” series, evidenced by their decision to obtain the rights to it themselves.

Netflix is unlikely to alter its approach significantly. They’ll keep investing substantial sums in unchallenging, bland films that cater to a wide audience, as these projects only need to be passable rather than exceptional. Taking risks isn’t financially advantageous for them at this time.

However, it’s appropriate for their audience not only to have the ability but also the responsibility, as why limit ourselves to mediocrity when we can strive for more?

The Electric State is available to watch now on Netflix.

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2025-03-14 15:23

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