FacadeGameNoReal Cracks In the Netflix Facade Or Just a Bad Week The streaming giant and TV game changer Netflix has always been a fascinating study if you follow the industry. From the no ratings information supplied stance that annoys competitors to its insane budget for content reaching 6 billion in 2. Netflix or even finding a tea leaf or three to read on its strategy remains an interesting pursuit. A series of recent moves have been illuminating, though its still pretty difficult to say with any confidence that trends are emerging. Yet, when Netflix canceled Baz Luhrmanns The Get Down on May 2. Reviewing Facade in the GoF book and the link in another answer to Martin Fowlers Gateway, it appears that their focus is in opposite directions. This feature is not available right now. Please try again later. Grim Facade Hidden Sins for iPad, iPhone, Android, Mac PC A masked vigilante has the town of Coldstone in a death grip Sai Yamanaka, Yamanaka Sai is a Chbu of Konohagakures Yamanaka clan. Prior to this, he. Facade Game No' title='Facade Game No' />Bob Stoops walked away from coaching at age 56, and everyone is still wondering Why Beneath the sturdy persona of a coach, theres a kid from Youngstown who never. Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres French Cathdrale NotreDame de Chartres, is a Gothic Catholic cathedral of the Latin. Sense. 8 on Thursday two of its most expensive series it was the first sign that the platform appeared to care about its wallet. The latter cancellation came one day after Netflix founder and CEO Reed Hastings told CNBC that the streamer should have a higher cancellation rate because that would indicate that it was taking more and riskier chances on the programming side. Which is, well, interesting. For starters, there arguably hasnt been a bigger swing at Netflix than Sense. It was both conceptually difficult to pitch and super expensive a double whammy that left no other outlets standing and seemed, at the time, to be perfect for Netflix because of its vaunted deep pockets and interest in international sales. The Get Down was ultimately more of a financial and creative mess than a broadly ambitious swing from the content side meaning it probably could have been done cheaper and better. But Hastings comments to CNBC could be construed as an interest in bolder, smaller and less expensive offerings as well in comparison to the two recently canceled series. Star Wars The Force Unleashed 2 Endor Dlc Pc. He cited 1. 3 Reasons Why as an example of a series that is a big hit for us again, no numbers and a show that surprised Netflix because it had no idea the series would catch on. That shock was probably similar to the Stranger Things and Making a Murderer phenomena two shows that Hastings didnt cite because, well, he was being mostly extemporaneous in his comments and Netflix makes so many series its hard to remember them all. But any trend spotting based on his interview doesnt connect a lot of dots because later Hastings says the future trend for the company is going big budget, for sure, because as we get a bigger distribution, we can afford more spectacular entertainment. Both The Get Down and Sense. HBO, Showtime and Starz on the cable end. But the fact is that ratings do matter, even if you have the deepest of pockets. Hastings said judging a show is a mix between the ratings it gets and the number of subscribers. He did say this, though Mostly its how many people watch it, before adding those two are very connected. OK, so Netflix does look at ratings as a factor of renewal, which is neither astonishing nor disingenuous. Dao 3.5 Windows'>Dao 3.5 Windows. If not enough people were watching The Get Down to justify its pricey existence which ended after only one season, a real rarity at Netflix and the same applies to Sense. Netflix. Money is no object if whatever Netflix spends it on ends up meeting whatever mysterious metrics shape the Netflix business model. It definitely matters if the streamer throws piles at a series and the series fails under the previously mentioned mysterious metrics. One of them being as we now know how many people actually watch. In short, Netflix still has gobs of money but it doesnt want that money to turn into dumb money. And, more important, it doesnt like or want a trend of dumb money tossed over and over again at shows that dont pan out. In this analysis, were getting somewhere based on the two most recent cancellations. Looking at ratings and at production costs makes Netflix seem relatable to other content providers in ways it may never have been before, as its legend grew. We have hit a place in time where Netflix has very publicly pulled the plug on two shows in a matter of days, which also comes on the heels of expiring series like Bloodline and the reclaimed Longmire. But this isnt a column about Netflix being in trouble, because its clearly not. This is a column about Netflix in the sense of looking at new intel and thinking, Oooh, thats interesting. Because up until now, the motivations and machinations of Netflix couldnt really be understood. And that seems to annoy people. The streamer could make the super expensive and creatively dubious Marco Polo and then cancel it after two seasons to a chorus of, See, Netflix doesnt have the Midas touch. Not everything works. But even Marco Polo was a defensible, smart idea make a drama with an international cast and see if it plays to a worldwide audience as only the globally curious Netflix can. The answer on Marco Polo came back as a no. But that doesnt mean it wasnt worth a shot. And since then Netflix has become, like a learning monkey, smarter about its international content. Not releasing ratings is also smart. If HBO, Showtime and Starz could turn back the clock and institute the same policy, Id bet they would. Why get beat up over low ratings when ratings arent your business model And yes, I fully understand the annoyance people feel myself included when Netflix tries to have it both ways by stating it has a huge hit without providing evidence. But the dont tell method is precisely what it should be doing. What the cancellations of The Get Down and Sense. John Landgraf of FX, who was just named THRs TV Executive of the Year, and who regularly and eloquently dives into issues of the industry, took several shots at Netflix while illuminating how the FX brand works Ive frequently said that FX is the best curated cable channel on television. Two swipes in particular toward Netflix came about the streamer throwing money at comedians for stand up specials and doing the same for documentaries. Would we like to be in the documentary businessYeah. We watch a lot of documentaries. I think its a format thats at a superb place. But right now, Netflix is just shoveling money at it like shoveling coal into a boiler. Like many other execs, Landgraf is partly jealous and partly annoyed by those deep Netflix pockets, but hes not wrong about both the stand up realm and the doc field. Could Netflix be vulnerable to overspending on projects that wont pan out Absolutely. But comedy specials are in the wheelhouse of what Netflix is looking for multiple play opportunities. People like to watch over and over. Documentaries might be a more vulnerable space, given that the topic has to be exactly right and timely and saturation is an issue. But at this point, Netflix is probably feeling good about dominating those categories, price tag be damned. Yet, heres where I think things could potentially get troubling for Netflix Its philosophy is to have a deep bench lots of shows give value to subscribers, theoretically. Being able to have a global presence gives Netflix a financial advantage and that money is then turned into content, but too much content is also a problem. It overwhelms subscribers. It doesnt allow Netflix to create advertising or PR campaigns around every show. If shows are getting lost in the shuffle and creators dont feel like their work is able to stand out or they arent being nurtured also a problem for Amazon, eventually creators will seek other outlets.