Stories were once passed on as folklore, an oral tradition.
Then objects began to be written upon -- clay, metal, stone, etc.
Stories were put on tablets, scrolls . . .
Bit by bit, we moved to books.
More recently, the way we tell stories has changed more quickly.
In the 20th century alone, stories were told via radio and silent movies and then through 'the talkies' and TV and then through color versions, through 3-D, through widescreen.
Beginning this century, the 'big development' is said to IMAX.
But it's not really.
It's streaming.
And how streaming goes down will most likely determine or choices for the next few decades.
CBS is attempting to market its own streaming service, CBS ALL ACCESS.
It's not gone well.
That's because so few interested in streaming watch CBS.
It's also because no one wants to watch, for example, THE GOOD WIFE without the lead character. No one cares about a bit player shoved into a leading role and that's before you notice that the actress has a brow that looks like an angry bird due to some weird genetics and aging.
THE GOOD FIGHT wasn't supposed to be the lead series for the streaming service. STAR TREK: DISCOVERY was supposed to be the lead series. But it's now set to premiere at the end of this month. Word on it is mixed with many feeling it breaks completely with Gene Roddenberry's vision of space exploration and peace.
CBS ALL ACCESS is also hoping football games will help it in the short term.
Rather sad that they launch a streaming service in 2017 and yet think small -- as they hope to compete with services like AMAZON, NETFLIX, HULU, SLING and CRACKLE to name only a few.
Of those listed, CRACKLE may be the most interesting.
Thus far, they've refused to charge a fee which allows them to be available to so many more viewers. They're original programming has been helped by movie choices that went with entertainment, not highbrow (the latest of which is the humorous PARTY BOAT). And in terms of animated offerings, SUPERMANSION may be among the best out there currently. As for live action shows, CHOSEN boasts three outstanding seasons and SNATCH and ARE OF MORE are strong continuing seasons.
If you leave original programming, it's worth noting that CRACKLE has shown a strong increase in streaming in the last weeks as a result of being the exclusive streamers of HEROES (and the limited edition follow up HEROES REBORN).
AMAZON PRIME is, like most others, a for-pay streaming channel.
Unlike most, it can claim to be in the film business.
MANCHESTER BY THE SEA, for example, is a serious film nominated for six Academy Awards (and winner of two: Best Actor Casey Affleck and Best Original Screenplay Kenneth Lonergan). CAFE SOCIETY is one of Woody Allen's late life successes and AMAZON can claim it as well and Spike Lee's amazing CHI-RAQ and Jocelyn Moorhouse's THE DRESSMAKER.
But here's the thing, it's very light on comedy. And AMAZON is far more likely to build a comedy around actor Ben Stiller than director Woody Allen.
The two decades since THERE'S SOMETHING ABOUT MARY have made clear that Ben's not really that funny and that, like Will Ferrell, his looks don't so much polarize as repulse potential audiences.
Because AMAZON tends to release its films, it may be in a better position than other streaming services.
Then again, its spending has led many to dub AMAZON PRIME as the second coming of Menahem Golan -- throwing money around with no real plan for the future.
LITTLE EVIL.
Eli Craig has written and directed a minor comedy classic. It's going to look even better with each passing year and should pick up an ever growing audience.
This without any theatrical release.
The film stars Adam Scott as Evangeline Lilly's new husband and the step-father to her demon son. It features strong comedic support from Bridget Everett, Donald Faison, Chris D'Elia and Sally Field. It's a NETFLIX original.
NETFLIX will also have Angelina Jolie's FIRST THEY TOOK MY FATHER -- the fourth film's she's directed. As Angelina explained to DEADLINE, "a small movie like this, in a foreign language and with no stars, would be lucky to play for a week at a small theater in New York."
More to the point for NETFLIX, it sets them up with Angelina as a business partner.
Studios used to greenlight vanity productions -- films they didn't expect to have a huge financial turnaround -- just so that they could be in business with big name talents -- the hope being that a larger relationship could develop.
Maybe that will happen with Angelina, maybe it won't.
But it's a smart move.
Smart moves don't seem to be coming from SLING. It's basically a delivery system similar to cable. And with HULU moving to offer many of the same channels -- TCM, TBS, TNT, USA, COMEDY CENTRAL, CARTOON NETWORK, etc. -- SLING may find itself left behind.r
What of HULU?
With little attention or notice, it's lost THE CW programming. CBS, which owns half of THE CW, has always been the hold out network among the big five when it came to HULU. Now they've pulled THE CW as well.
What does that leave HULU with?
An honest to goodness funny show (DIFFICULT PEOPLE), an inspired comedy (CASUAL), an over-rated trend (THE HANDMAID'S TALE), two solid dramas (SHUT EYE and HARLOTS) and the relocated from FOX sitcom THE MINDY PROJECT.
That's a set of building blocks, it's not really a slate of programming despite the fact that it moved to a for-pay-service (HULU PLUS) in 2010.
So it really does come down to AMAZON or NETFLIX and possibly the future landscape will allow both to survive; however, if you had to bet on one, smart money would go with NETFLIX.
NETFLIX has Emmy nominees Lily Tomlin and Jane Fonda in a funny sitcom. They've successfully rebooted a family sitcom (FULL HOUSE into FULLER HOUSE). THE RANCH (another sitcom) does very well with streaming numbers. DISJOINTED (Kathy Bates' new sitcom) is laugh out loud funny while SANTA CLARITA DIET is a milder but enjoyable sitcom.
Meanwhile AMAZON's Roy Price doesn't think sitcoms are important.
FRIENDS, SEINFELD, EVERYBODY LOVES RAYMOND, WILL & GRACE, I LOVE LUCY, THE BIG BANG THEORY, HOW I MET YOUR MOTHER, etc. remain immensely popular but all AMAZON has to show for sitcoms is the well intentioned but rarely funny TRANSPARENT.
I LOVE LUCY?
AMAZON appreciates the value of that program enough to do a TV movie about Lucille Ball and Desi Arnaz but not enough to give it a writer of quality.
No, when it comes to writing women, Aaron Sorkin is not now or ever a go-to writer.
And it appears that when it comes to solid programming, AMAZON is never the go-to.
Doubt us?
While NETFLIX has multiple shows to offer, AMAZON is pouring millions into an iffy project entitled CARNIVAL ROW.
How iffy?
The script for the show was trapped in development hell for over a decade at NEW LINE CINEMA.
Wait, there's more.
One of the producers?
Rene Echevarria.
You may remember him as the show runner (show ruiner, to hear David Fury talk) of TERRA NOVA. It was the can't miss whos of 2011 and might have remained that way without the addition of Rene who'd already destroyed ABC's efforts to turn TRUE LIES into a TV show.
We could continue with the list of losers behind the scene (including Paul McGuigan) but let's move to the loser behind the scenes who will also star: Orlando Bloom.
That's right, the actor no one ever wanted.
The forty-year-old who, even when he was young and shiny, couldn't carry a film. ELIZABETHTOWN bombed as did KINGDOM OF HEAVEN. In 2012, the failed actor tried to produce as well. The result? THE GOOD DOCTOR, a film infamous for making $5,206 at the box office.
This is what AMAZON decides to invest in?
The only film that it's made sense to invest in -- for either service -- was PEE WEE'S BIG HOLIDAY.
It's a classic as much as PEE WEE'S BIG ADVENTURE.
And it's something NETFLIX is smart to own.
That is where the future lies.
Streaming services will depend upon product.
NETFLIX is building up a catalogue of strong product.
PEE WEE'S BIG ADVENTURE is part of it, LITTLE EVIL is as well. So are hit shows like HOUSE OF CARDS and ORANGE IS THE NEW BLACK and IRON FIST.
What?
You didn't know.
See, that's another problem. Of the four individual MARVEL shows and THE DEFENDERS matchup, IRON FIST was the most popular.
It wasn't very popular with critics.
But critics don't pay the bills.
IRON FIST beat the others easily. And did so because it fit easily into our notions of what a super hero is and does.
AMAZON and NETFLIX needs critical reaction -- strong, positive critical reaction.
But they need more than that.
DROP DEAD FRED.
Trashed upon release, it went on to become a cult classic.
You need those films, and the sleepers like A CHRISTMAS STORY.
Hollywood truth: No one knows anything.
Which is why you make a wide slate of entertainment.
It's a truth the film studios forgot this summer as the same movie opened over and over and the box office took a nose dive.
It's a truth that the streaming services can't afford to ignore.