Hollywood Netflix Quotes

Celebrities are like the stars with one major difference: The stars shine TOGETHER, Celebrities hate EACH OTHER!

Nobody Knows Anything. And it’s not just in Hollywood. It’s true in Silicon Valley, too. “Nobody Knows Anything” isn’t an indictment. It’s a reminder. An encouragement.

There are also generational knowledges in play, accessed and skilled within a history of televisual experiments in educational entertainment. For US academics schooled in the fifties, sixties, and seventies some old TV shows haunt this vignette as well. Two are Walter Cronkite’s You Are There (CBS, 1953–57) and Steve Allen’s Meeting of Minds (PBS, 1977–81). During the mid-century decades either or both could be found on the TV screen and in US secondary school classrooms. Even now the thoughtfully presentist You are There reenactments can be viewed on DVDs from Netflix; you can be personally addressed and included as Cronkite interviews Socrates about his choice to poison himself with hemlock rather than submit to exile after ostracism in ancient Athens. Cronkite’s interviews, scripted by blacklisted Hollywood writers, were specifically charged with messages against McCarthy-style witch hunts that were “felt” rather than spoken out.

As I said, there are many examples of Hollywood openly and gleefully mocking Christianity. But it’s not the open and gleeful mocking that’s really a problem. It’s easy enough to avoid watching a show where Satan is a crime fighter. What’s far more dangerous is the show or film that embeds nihilistic and hedonistic themes in a story line that never directly touches on anything religious or spiritual. And this describes the vast majority of the content churned out by Hollywood on a weekly basis. We Christians sit and absorb it into our minds and souls, rarely stopping to question the messages we are receiving. We tell ourselves that all the time spent watching TV or binging Netflix is just an “escape,” an opportunity to “turn our brains off” and “relax” for a while. The problem is that we are always escaping. Our brains spend most of the day in the “off” position. And in this submissive, malleable state, we are utterly susceptible to whatever ideas or messages Hollywood wants to feed us. Television is a passive experience, which makes it the perfect medium for shaping minds. The unresisting mind is most easily shaped. Especially an unresisting mind that does not realize it is being shaped. We begin to act like the people we see on TV, dress like them, speak like them, think like them; we adopt their viewpoints and priorities. We do all of this without noticing it. Five or six or seven hours a day watching TV, thirty-five or forty hours a week, two thousand hours a year, year after year—after a while, we cannot distinguish our real lives from the fantasy world we enter through the screen.

That everyone in the corporate food chain, up to Price and even Bezos, was convinced of the need to work with theaters on their terms and not put their movies on Amazon Prime until five months after they debuted on the big screen proved the company was all-in on art-house movies. It was, in fact, the core of Amazon’s strategy. Rather than serve everyone everything they might want, as Netflix was doing with its mix of Adam Sandler comedies, Will Smith action flicks, and some indies, Amazon wanted to build a distinct identity for its Prime Video service. By making a particular kind of movie, everyone at Amazon figured, they would build an identity for their service, one that made it noticeably different from what almost everyone else in Hollywood was doing. Sure, many people wouldn’t be interested in the weird, depressing, or simply outré works that it was releasing, but at least those who were into it would love it. Amazon executives distinctly didn’t want a studio that was as bland as the company’s selection of USB cables. “We don’t want something that 80 percent of the audiences eventually gets around to watching,” said Hope. “We want the thing that 20 percent of the audience is so passionate about, they’ll break up with you if you don’t feel the same way. We want to inspire an urgent need to see.” In addition, the people who go to art-house movies tend to be upscale, well-educated people who live in cities and who like to shop online. If the ultimate goal of Amazon’s movie business was to attract, retain, and engage Prime subscribers, it only made sense to draw people who would buy the most computers, books, and Kindles online. “They are often very good retail customers,” Price said sheepishly. “So that’s not a bad thing.

The transformation of Hollywood into a foreign-first business has also made sequels, spinoffs, and cinematic universes the smartest bet in the movie business. Newly minted middle-class customers in developing nations like China love prestige Western brands like Apple, Louis Vuitton, and Gucci. The same logic applies in cinemas. American cineastes may reach for the Advil when offered the choice between the latest superhero, dinosaur, or talking robot spinoff, but to many foreign moviegoers, that response is somewhere between condescending and confounding—the equivalent of complaining that there aren’t enough modern art installations at Disneyland. One more trend fundamentally changed the movie business this decade: the golden age of television. As TV has gotten better, the pressure on major movie studios is not to keep up with Breaking Bad, Orange Is the New Black, and Fargo (a property that was perfect for the movie business of the 1990s and for the TV business of today), but rather to stand out by offering something different. Most people, particularly middle-aged adults, simply don’t go to the movies for sophisticated character dramas anymore. Why would they, when there are so many on their DVR and Netflix and Amazon queues at home?

In 1996, there were no tech companies among the five most valuable traded on U.S. exchanges; in 2021 the entire top five consisted of U.S. tech companies. Today, the most prolific Hollywood studio is Netflix. More Americans get their news from social media, primarily Facebook, than from cable television.

Today, the most prolific Hollywood studio is Netflix. More Americans get their news from social media, primarily Facebook, than from cable television.

But do not call me a psychopath. And I request this for two reasons. One, it shows you know little of what a true psychopath is. You would most likely go along with the Hollywood stereotype or the image created by true crime documentaries you binge watch on Netflix for 8.99 a month. Two, it demeans what I do and makes it seem alien. It removes the human nature from human nature. It makes it seem as if what I do is unusual or not of the norm or is done because something is wrong with me. As I said, gladiators killed and died for entertainment. People were hung for stealing in the 1800s and families would go watch it like the picnic in the park.

Moreover, Netflix produces exactly what it knows its customers want based on their past viewing habits, eliminating the waste of all those pilots, and only loses customers when they make a proactive decision to cancel their subscription. The more a person uses Netflix, the better Netflix gets at providing exactly what that person wants. And increasingly, what people want is the original content that is exclusive to Netflix. The legendary screenwriter William Goldman famously wrote of Hollywood, “Nobody knows anything.” To which Reed Hastings replies, “Netflix does.” And all this came about because Hastings had the insight and persistence to wait nearly a decade for Moore’s Law to turn his long-term vision from an impossible pipe dream into one of the most successful media companies in history. Moore’s Law has worked its magic many other times, enabling new technologies ranging from computer animation (Pixar) to online file storage (Dropbox) to smartphones (Apple). Each of those technologies followed the same path from pipe dream to world-conquering reality, all driven by Gordon Moore’s 1965 insight.