In a prior blawg post, I described how Netflix’s decision to produce and stream original content on an on-demand basis (for the entire series) could prove to be a very disruptive force in the traditional television entertainment world. Netflix, which had been the leading DVD-by-mail rental service, saw its revenues falling over some questionable pricing policy changes. Its decision to invest heavily in original programming has allowed Netflix to reinvent itself into a streaming content giant (with 29 million current U.S. subscribers). A key part of that strategy involved investing in quality (and expensive) original content—far exceeding anything previously produced solely for the web.
Netflix’s investment seems to be paying off not only for its bottom line, but also for its reputation as a serious creative force. House of Cards, Netflix’s first foray into original programming, just received an Emmy nomination for Best Drama Series, and its two leads, Kevin Spacey and Robin Wright, each received Best Actor nominations. It marks the first time that a show not aired either on traditional broadcast or cable networks has been nominated in the top Emmy categories.
Shows distributed over the Internet were first made eligible for TV’s top honors under a change to the Emmy voting rules that became effective in 2008. Interestingly, of all the other competitors in the Best Drama Series category– Breaking Bad, Downton Abbey, Game of Thrones, Homeland and Mad Men—only Downton Abbey airs on a broadcast network (and it airs on PBS, not one of the traditional “big four” of CBS, NBC, ABC and Fox). The other shows are cable series and, of course, House of Cards is available only streamed to Netflix subscribers.
This certainly is an indication that, not only are viewers embracing these non-traditional networks more than ever, but actors and producers see these alternatives to the networks as a better vehicle for their artistic visions. The Emmy nods now make it clear that the Academy of Television Arts & Sciences (the presenter of the awards) sees the changing entertainment landscape as well. On the heels of its success with House of Cards, Netflix won the exclusive rights to stream an entire new season of the cult hit Arrested Development and, within the past couple of weeks, it has made available its second original series, Orange Is The New Black. Obviously, Netflix is betting on a future in which original programming will play a key, if not exclusive, role.
Will the traditional television networks once again be able to produce shows that can compete with the quality found on cable and now on-demand? That question, of course, must factor in both economic and creative considerations. Time may be running out for the Big Four.
