“What makes a show become an instant hit, and another fail to strike sparks?” Kristi Turnquist writes.
First of all, The Get Down has been available for a whopping one week. So I’d hardly call it a failure just yet.
Second of all, you don’t actually need to go further than the show’s trailers to understand why one might be more commercially viable than the other.
- Some people don’t like musicals. Shocking.
- Some people maintain that disco is the worst thing to happen to music, ever.
- White people. Stranger Things has more white people. Sad though it is, some Americans aren’t drawn to shows with diverse casts. They feel more comfortable with the token black kid in Stranger Things.
- From what I understand, the eighties sucked considerably less than the 70’s. The Get Down does a pretty good job showing all the shit and corruption that went down during the 70’s recession. Conspiracy theories and government paranoia prove a lot easier to swallow than rolling blackouts, gang violence and blatant government corruption. Go figure.
- The shows have different formats. Stranger Things acts like a mystery and the mystery resolves itself during the season. We feel gratified. The Get Down represents one half of one season, so what some critics call poor storytelling may prove part of an extended exposition. I think the high production value of both these shows caused people to have cinematic expectations of both, but they’re both TV series, and far from finished.
- Cheap thrills > expensive thrills. Every time. That’s why Hollywood studios produce about seven horror films a year per musical, if they produce a musical at all. We scare easily.
- Kids are cuter than teenagers.
I watched them both, loved them both and probably liked The Get Down a little better. Whatever the case, we got two dynamite Netflix series this summer. Let’s keep up the awesome, Netflix.