Solving Streaming Frustrations with One Epic Year

When considering the distribution of content, it is important to strategically target platforms with a wide reach. Services like Netflix, Amazon Prime, or other popular streaming platforms can offer instant worldwide release, allowing the content to reach diverse audiences expeditiously. This approach ensures broad accessibility and maximizes the potential impact of the content. However, these leads to other such problems as:

• Content overload – where there is so much content released viewers simply don’t have time to keep up
• Subscriber Fatigue – where keeping all these subscriptions is getting too expensive for viewers
• Overwhelming Choice – where the lack of curation and personalized recommendations often results in users spending more time browsing for content than enjoying it.
• Flash in The Pan – where content is released barely watch or talked about and it is not renewed for further season, despite viewers eventually finding and enjoying it

I believe One Epic Year can solve those problems.

Dump and Run Mentality

All of Netflix’s releases are put out in one go. The whole season in one day. This has created a number of problems. One being, they’re talked about, even to the point going viral on social media, for about a week. Two if they’re lucky. Whereas a weekly release schedule means it stays in the zeitgeist for much longer. A good example of this is Russian Doll vs Succession.

Russian Doll and Succession were release at the same time. Russian Doll had a massive marketing push, must have cost millions to promote this show. It went viral and a handful of memes were created (if you can remember them). Succession, rolled out over the course of weeks gained word of mouth with the fandom growing more intense. It ended up winning awards and becoming one the biggest, most eagerly anticipated shows. It ran for four seasons. Many loyal viewers waited up until the early hours of the morning in the UK so they could watch on release with their American counterparts.

Did you know Russian Doll had a second season? Most Netflix viewers didn’t, and it became another forgettable show they churn out.

More recently, Kaos with Jeff Goldblum. A story about the modern familial troubles of the gods. The series ended on a cliff-hanger, convinced there would be a second season. But, after just weeks it was cancelled. This led to an outpouring of viewers on social media commenting how silly it was, and that no one had had the chance to see it yet as they work through other mediums of content. And now? Viewers aren’t going to bother tuning in because they know it isn’t going to go anywhere. Netflix seems to have shot themselves in the foot with its cancellation because it didn’t get the figures and the chatter of Stranger Things.

The Penguin, however, is being released weekly on HBO Max and it’s fanbase is increasing by the week. There is even talk among fans and viewers that it should have some Emmy consideration for its stars.

Jupiter’s Legacy cost $200 million to make, that not taking into account that it was bought as part of a package called Millar World. Millar World being from Mark Millar, creator of many comic book characters such as Kick-Ass and The Kingsman. Two massively popular comic to movie franchises. And the plan was to create a universe of characters with Jupiter’s Legacy being the kicking off point. The show itself had multiple plotlines and twists running throughout. Along with the mystery of what gave the heroes the powers etc. It even ended on a cliff hanger to entice viewers to tune in to the next season. But it was cancelled. Because it didn’t gain the momentum, the word of mouth, the social media and YouTube critics picking it apart looking for easter eggs like they do a Marvel movie. So, ultimately, they lost $200 million trying to create their own MCU.

Netflix aren’t the only ones guilty of impatience when it comes to return on investment. I worked on an Amazon show last year called My Lady Jane. With numerous, rewrites, re-edits, reshoots it’s taken ages for it to hit screens. I worked on that show for 7 months, wrapped in March 2023, in July 2024 it was released. All in one go. Which was unusual for Amazon and keen observers like myself saw that it was due to a lack confidence in the product. It had a huge following on the likes of Tik Tok and Instagram. It seemed the demographic that it was made for was eating it up, so to speak. But was cancelled after just a few weeks online.

Seemingly, because Amazon Prime wasn’t looking at those numbers.

Looking in The Wrong Place for Subscribers

Amazon Prime spend most of their money on what and who is popular. The above examples aside, there’s Reacher, Jack Ryan, Lord of The Rings, The Boys. All seemingly have something in common. They’re geared towards the dads and the lads.

Top Gear was a hugely successful show for the BBC. So, when all the presenters left the show Amazon stumped up $160 million to make the spin-off show The Grand Tour for three seasons with those same disgraced presenters. Now this has spun off into five seasons of a farming show.

Money, Money, Money

Netflix predict to spend roughly $15 billion on content in 2024, according to Ampere Analytics. To put that into perspective, Squid Game cost $21 million to make and became one of their biggest shows ever, with people eagerly anticipating the second season.

Away from Netflix, Amazon’s attempt at universe building on existing IP’s Rings of Power cost $60 million per episode, and that had a completion rate of just 35%. Meaning only a third of people who started watching it actually got to the end. So, you could argue that $200,000 had gone to waste.

Amazon, however, have their own problems. Their strategy is to sign creatives who don’t necessarily have anything for them already. One example of this is their deal with Phoebe Waller-Bridge. She signed with Amazon to remake Mr & Mrs Smith with Donald Glover. At a cost of $20 million per year, for three years. Due to creative differences, she left the project, cashed the cheque and hasn’t produced anything for them as yet. This off the back of Amazon purchasing the rights to the hugely successful BBC show Fleabag. This isn’t the only example.

Lena Waithe signed a producing deal for $16 million over two years, and didn’t produce anything tangible before leaving for HBO Maxx.

These are a lot of losses.

This all means they must put up the cost of the subscription or, in Amazon Primes case, introduce advertisements to an already paid for service. It’s these price hikes that are making subscribers question which service they intend to keep, or do they keep creating free trials to binge watch what they want and then cancel.

Solution

By addressing these issues head-on, the aim is to enhance the streaming experience for users worldwide. The platform need aggregate content providing a one-stop destination for all your entertainment needs.

With One Epic Year, say goodbye to dropped subscriptions.

The potential of this show, rooted in the British calendar and enriched with a diverse range of holidays and events, holds worldwide appeal thanks to its incorporation of different genres. With each episode dropping on its corresponding holiday. Eg:

• New Years Day
• Valentines Day
• Good Friday
• Easter Sunday
• May Day etc

With a focus on science fiction and action elements, it captures the imagination of a broad audience, gaining a significant following. This captivating content has the capacity to captivate and engage viewers across the globe. In particular, the fusion of science fiction and action elements presents a compelling draw, resonating with fans across cultures and countries. While rom-com and musical elements and episodes would enrapture other areas a of the viewership spectrum.

The show possesses the qualities to attract attention and commentary from numerous influencers and content creators in the online sphere. These individuals hold the power to dissect and review various aspects of the show, leveraging their platforms to reach an extensive, engaged audience. Notably, YouTube channels such as New Rockstars, Mr Sunday Movies, Marvellous Videos, and Whatculture, among many others, are known for their comprehensive analysis and exploration of content related to DC, Marvel, and beyond.

It is these platforms that can make or break a good show or movie and is not currently being utilized in the fashion it should.

Furthermore, the inclusion of mystery, Easter eggs, and references throughout the show’s full season adds an additional layer of intrigue for viewers. This deliberate integration serves to fuel discussions, speculations, and theories within the audience, creating a sense of community and engagement surrounding the show. The presence of such elements not only enhances the viewing experience but also contributes to the creation of a dedicated and active audience base.

When considering the distribution of content, it is important to strategically target platforms with a wide reach. Services like Netflix, Amazon Prime, or other popular streaming platforms can offer instant worldwide release, allowing the content to reach diverse audiences expeditiously. This approach ensures broad accessibility and maximizes the potential impact of the content.