He’s right, it is overly alarmist. One of the interesting things about the Netflix House of Cards from my point of view (ie someone who saw the originals back in the ’90s on BBC) is that it’s actually that rare beast: a decent US remake of a British show.
It could just be that that’s because the US is slightly less terrifyingly bad at translating material now, but the failure of Life On Mars just a few years ago suggests that’s not universally the case. I suspect it’s actually got a lot to do with the approach Netflix are taking to drama: pick good people, take their hands off, and let them get it made. If those good people are picked partly due to “viewers who liked x also liked y and z so remake x with y and z”, then at least it means that there may be some actual connection.
(As an aside, I wonder if Spacey’s work with the Old Vic in London meant that he perhaps took more from the original (assuming he watched it) than most other American actors would?)
Hulu, which attracted 31 million unique users in March under a free-for-all model, is taking its first steps to change to a model where viewers will have to prove they are a pay-TV customer to watch their favorite shows, sources tell The Post.
In fact, the move by Hulu toward the new model — called authentication because viewers would have to log in with their cable or satellite TV account number — was behind the move last week by Providence Equity Partners to cash out of Hulu after five years, these sources said.
And it’s not just Hulu making it tougher for cable-cutters to stream shows and other content. Fox, owned by News Corp., which also owns The Post, is expected to begin talks soon with Comcast on a TV Everywhere deal that will require authentication. Plus, Philadelphia-based Comcast is expected to switch to an authentication model for this summer’s Olympic Games.
Battlestar Galactica, while good, evidently didn’t have a plan (which is hilariously obvious if you watch the spin-off movie of the same name, which tries to retcon a narrative on top of the twists and turns of the first couple of series). Buffy, perhaps the first mainstream show to attempt long story arcs, only really did them on the scale of a single season.
However, way back in ‘93, Babylon 5 started what turned out to be a five year arc, and managed to carry it off despite both cast changes and uncertainty over its fifth season. The series may have a lot of flaws (the writer, JMS, has a nasty habit of portentous writing and the effects have dated somewhat badly) but I think it’s missing out on some of the credit it deserves for actually having a plot that was thought out at the beginning, rather than coming together as the series careered onwards.