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    The Evolution of Film Via Netflix, AmazonPrime, and Hulu

    Though this has been a topic on the minds of filmmakers for a few years, consider the effect an environment non-dependent upon ratings has upon visual storytelling. How did media service providers like Netflix and Hulu change the film and television industry when, in addition to distribution, they began dabbling in production?

    • I think services like Netflix focus on number of new subscribers, rather than ratings to evaluate their platform, so this might play into the way film has evolved for them. – Andi 5 years ago
    • Netflix, AmazonPrime, and Hulu provide people with TV shows and movies that remind them of the good old days! Rugrats, Doug, Hey Arnold, The Sixth Sense, Casper, The Twilight Zone, Charmed, and more! Yep! Those were the days! – autenarocks 5 years ago
    • To me, Netflix and these other online media servers have created a space where non-mainstream stories are developed and aired; some examples include international film/TV and stories with POC, LGBT, and/or disabled people as protagonists. – Paula R. 5 years ago
    • This is such an important thing to research and stay interested in. These streaming companies are only getting more popular and continue to see revenue increases. I attended Sundance this year and Hulu swept the sales- an unprecedented move by a streaming service. This is becoming the new normal. A positive to be found is one that is perhaps best stated by Alfonso Cuarón, when speaking about his film Roma being funded by Netflix. He believes Roma would've never been able to reach the audience the film was meant to (lower-class people around the globe) were it not for the accessibility of Netflix. An interesting take I'd say! – NellGeer 5 years ago
    • What’s interesting about these platforms is that they are both a major studio *and* indie platform rolled into one. Theoretically Netflix could air a major 100m blockbuster on one day and a 1m iPhone shot drama the next, and their model stays the same. Because they’re revolutionised by the pay model, for the fact consumers directly subscribe, they have much more freedom to both appeal to the masses & niche interests than a studio worried about the bottom line, who need bankable projects with huge returns to survive. The only thing that threatens streaming platforms now is the replication of the Netflix model in too many places, leaving consumers unable to subscribe to all of them. Their proliferation could be their eventual undoing. – A J. Black 5 years ago

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    Latest Comments

    I appreciated the care you took when defining “smart heroine” for the purposes of your article, and the many branches of that definition—the “marrying of internal and external stakes” section is especially interesting, for example. “To be considered brilliant and beating the odds, the heroine in question must face greater stakes than social struggles, insecurity, or discrepancies between what is real and what could become real. She often faces real-world, external problems such as abuse, bullying, and cultural tensions.” An intriguing contrast!

    I also appreciated the range of heroine examples in this article (nice reference to Matilda, one of my childhood favorites). So many more heroines could make this list, as I am certain you know…fun to consider who else could join the conversation. I thought of Anne of Green Gables and The Great Gilly Hopkins when reading.

    Thanks for writing!

    Evolution of the Smart Heroine

    As a long-time Potter fan, I spent much time in various movie theaters over the years whispering into my unfortunate companions’ ears “That’s not what happened in the books.” Really love how you structured this article, allowing for the distinctions between the movies and books as a whole but also making room for minute distinctions between characters and relationships (though you probably could have broken this up into two different articles and I would have loved both!). The section on Hermione is excellent as she and Harry’s relationship is no doubt my favorite in the series—deeply complex and refreshingly platonic. I think the later movies handled their love and loyalty for one another very well, especially the final two. That dance scene in the tent in Deathly Hallows, Part 1 and Hermione’s tearful “I’ll come with you” on the stairs in Hallows, Part 2 will always stick with me—in these cases (especially the dance scene), I felt the liberties taken allegorized the depth of their friendship in a manner suitable to the screen (and all its sometimes-necessary embellishments). Again, lots to love with this article! Will re-read.

    Harry Potter: Books vs. Movies

    An intriguing essay. I especially liked the section about Suzanne Collins—“I don’t write about adolescence,” Collins insists. “I write about war. For adolescents.” I appreciate the nuance of that distinction and feel it applies to many writers of young adult fiction (an often misunderstood genre for this very reason, I believe). I spent a good deal of time researching Collins and her perspectives on necessary/unnecessary war after reading this. Fascinating to follow the thread. Thanks for writing!

    Creative Writing is the Sincerest Form of Reality