Now the story of a wealthy family who lost everything. And the one streaming service that had no choice but to keep them all together. It’s Arrested Development.
Maybe you’re not a fan (yet), maybe you just “blue yourself” because you’re so excited for the new season. Either way, it can’t be denied that Netflix and the Bluths are changing the media game once again. 10 years after the show’s premier, and seven years after it was cancelled despite critical acclaim and a dedicated fan base, Arrested Development returns with a brand-new fourth season on Netflix. Rather than releasing episodes via the traditional one-a-week method, Netflix is making all 15 episodes available at once. Premiering at 12:01 a.m. PT this Sunday, May 26, Arrested Development and Netflix look to capitalize on the fans that have been multiplying since the show first went off the air, and hopefully welcome a new legion of fans to the cult of AD and the streaming video service.
From Streaming: Movies, Media, and Instant Access:
As Nielsen reports, Netflix users are streaming more television than ever and fewer movies:
The increase comes in the wake of Netflix not just inking partnerships to re-air programming, but also jumping feet first into production themselves, rolling out original content— like the 8 episode Lillehammer starring former Soprano sidekick Steven Van Zandt or the upcoming Orange Is the New Black, which is the first project from Weeds showrunner Jenji Kohan following the Showtime program’s run. . . . Conversely, subscribers mainly streaming movies dipped from 53 percent in 2011 to 47 percent in 2012. (“Survey: Netflix”)
And as all those television sets find new programming via the web, more and more viewers are cutting the cable cord, which is exactly what Cox Cable and Time Warner Cable are afraid of. . . .
Original programming for the web is also on the rise, such as Netflix’s House of Cards starring Kevin Spacey [as well as Arrested Development]. And the trend seems to be increasing. CEO Reed Hastings plans to produce more original programming so Netflix isn’t continually at the mercy of other content providers, noting that, “Ideally, we’ll license two or three similar, but smaller, deals so we can gain confidence that whatever results we achieve are repeatable” (as quoted in Kafka). Describing caps and penalties imposed by the cable companies as “outrageous,” Hastings clearly plans to make Netflix a content provider as well as a distributor—the old dream of controlling all aspects of the marketplace (Kafka). Netflix’s strategy seems to be working: as of April 2011, it had 23.6 million subscribers, or more than 7 percent of all Americans—more customers than the biggest cable TV network in the United States (Pepitone). Thus, even with the abortive attempt to separate streaming video and DVD rentals into two different services (quickly abandoned due to both impracticality and customer hostility), Netflix remains “the country’s biggest provider of subscription video content” (Pepitone). And that number is only going to increase as Netflix positions itself to join Amazon’s Kindle and Apple’s iTunes as the chief streaming content providers in their respective areas.