Netflix is increasingly designing films and series for distracted, second-screen viewers. DW's Scott Roxborough asks what it means for storytelling, visual language and the future of cinema as an art form.
One of Netflix’ biggest recent hits was the show ‘KPop Demon Hunters,’ which required audiences to pay attention
It really didn’t. Even by the standard of a kid’s movie it had constant dry exposition of obvious information and, though I weep for anyone who missed the popcorn gag, people who ignored everything that wasn’t a song probably had a much better time with the movie than I did.
Also,
None of this is entirely new. We’ve always had “ironing TV” — soap operas, reruns, reality shows designed to hum along in the background while viewers do something else. What’s different now is that Netflix has applied that logic to prestige drama, blockbuster films and tentpole series.
He puts Transformers and The Wire into the same “this is for intellectuals like me” category.
I question whether this writer has ever seen a television.
It really didn’t. Even by the standard of a kid’s movie it had constant dry exposition of obvious information and, though I weep for anyone who missed the popcorn gag, people who ignored everything that wasn’t a song probably had a much better time with the movie than I did.
Also,
He puts Transformers and The Wire into the same “this is for intellectuals like me” category.
I question whether this writer has ever seen a television.
What’s “the popcorn gag”? I assumed it was some kind of Korean cultural thing.
If it has a deeper context than what’s in the movie, I’m unaware of it.