In the ever-changing landscape of media and entertainment, the exponential rise of Netflix cannot be ignored: ‘Nine in ten 18-24-year-old adults bypass TV channels and head straight to streaming, on-demand and social video services when looking for something to watch, with Netflix the most common destination’ (OFCOM, 2022). With this popularity considered, a key question arises; is Netflix still ‘TV’?

In consideration to this discussion, Amanda Lotz states that, ‘A “medium” derives not only from technological capabilities, but also from textual characteristics, industrial practices, audience behaviors, and cultural understanding’ (Lotz, 2017, p3). Therefore, if television is a medium, we can see how our understanding and definition of it is malleable and may evolve with new technologies, such as streaming services like Netflix.

One key aspect of Netflix’s self-definition as TV lies in its marketing strategy, as Mareike Jenner highlights: ‘By positioning itself as competitor to HBO, Netflix implicitly defined itself as television, rather than an online broadcaster like YouTube’ (Jenner, 2018, p5). This is important to highlight, as this branding choice firmly cements the idea that Netflix sees itself not merely as a streaming service but as a provider of high-quality television content. HBO has long been considered a premium service, with quality content to match, and as such through Netflix’s advertisement as a competitor, they are to be seen in a similar light.

Another significant marker of Netflix as a television powerhouse is its approach to original productions. The streaming giant’s first original series was co-produced with the Norwegian public service broadcaster NRK, emphasizing collaboration with traditional broadcasters (Jenner, 2018, p5). Furthermore, early Netflix original series like Arrested Development (2013) represented a revival of a show that had previously aired on broadcast TV (Jenner, 2018, p6). This approach to content production blurs the lines between traditional and streaming television, reinforcing the idea that Netflix is not merely an alternative but a successor to conventional TV.

In conclusion, I believe that Netflix is, and should be considered, ‘TV’. By marketing itself as a competitor to established cable networks and co-producing content with traditional broadcasters, Netflix marks itself not just as a streaming service but as a defining force in the ever-changing realm of television.

Written by: George Bentley

Bibliography:

Arrested Development (2013), Netflix

Jenner, M. (2018). Netflix and the Re-invention of Television. Springer International Publishing. https://doi.org/10.1007/978-3-319-94316-9

Lotz, A.D. (2017) Portals: A treatise on internet-distributed television. Ann Arbor, MI: Maize Books, an imprint of Michigan Publishing.

Streaming revolution stretches TV Generation Gap (2023) OFCOM. Available at: https://www.ofcom.org.uk/news-centre/2022/streaming-revolution-stretches-tv-generation-gap#:~:text=Nine%20in%20ten%2018%2D24,turn%20to%20TV%20channels%20first.