Why Netflix is the Home of Superhero Progression

Following a deal with Marvel in 2013 for the rights to several of it's superheroes, Netflix have produced five original series, including Daredevil, Jessica Jones, Luke Cage and this year, The Punisher. All link to Marvel's established cinematic universe, yet manage to explore mostly untouched or under-examined areas. Daredevil deals with a protagonist who has to cope with the loss of his eyesight, Jessica Jones gave us the first female lead superhero since 2005's appalling Electra, Luke Cage presents an African American vigilante reflective of his cultural background, and The Punisher explores the morality of violent justice through a psychopathic antihero. Sure, Warner Bros. have now released a female-led superhero film with Wonder Woman, but Jessica Jones came first. Marvel have just released Black Panther, a superhero film led by a coloured protagonist, but Luke Cage came first. Arguably Netflix is in fact the most progressive place for the genre, not only by taking it to places is hasn't been before, but by successfully revisiting areas it has previously struggled with (such as the female-led outing and Daredevil character). In this post I shall examine what about Netflix in particular allows it to do this, rather than broadcast television or Hollywood films.

Most immediately noticeable about Netflix is that it is a web-based content provider. It's 'television' shows are made available to stream online, rather than via broadcast. Television networks in the U.S. generally get their money from government bodies or advertising (often a combination of the two), and thus must deliver content that brings in sufficient viewer figures so as to attract potential advertisers, as well as provide a 'public service' to audiences for tacitly agreeing to fund them through tax money. This is all within a tight schedule, and often results in shows made to appeal predominantly to mass audiences, too often neglecting minority tastes and wishes. Netflix operates without these restraints however, utilising a subscription-only strategy to make profit. Rather than relying on only a few scheduled shows to attract consumers, their business plan involves building a large enough catalogue of content so as to have something that appeals to everyone. Be it a thirst for high quality political dramas, obscure Asian crime thrillers or anything in between, Netflix is the place to go. Consumers are able to select shows that engage their specific interests, be them mainstream or niche, all for the standard subscription fee.

This not only enables, but encourages content to be commissioned that would otherwise not on TV; it promotes Netflix as the site to explore for films and series that take further risks. Indeed, it's because of this attitude that a blind superhero who defends Hell's Kitchen and a female victim of sexual abuse with superpowers have their own shows. Though, of course, the aim is still to attract large audiences to these, the consequences of not doing so are far less impactful. If a broadcast show doesn't appeal to viewers, they will change to a different channel and that network will suffer. On Netflix, they will just select something else from the same site - and the point is that there will be something.

Unfortunately, Hollywood holds much same fears as television. If Warner Bros. make an unpopular film, then consumers will buy tickets for a something else, more than likely produced by a different studio. In such a competitive market risks need to be taken in order to maintain audience interest, but it appears both Warner Bros. and Marvel are reluctant to gamble on anything particularly progressive (when it comes to film) that they haven't seen work before. This is where Netflix fits in, and is why it's so important to the genre: it is a testing ground for innovative ideas.