Instead, streaming television plays a game of pecuniary smoke and mirrors. Slyly using words like ＾hit￣ without having to account for the measurable success of a new series in the same way its traditional predecessors did, and side-stepping the brutal TV show body count that often went with it.
Instead, the Disney-owned Marvel has batted up left-of-field ideas – the darkly high concept WandaVision and the up-sized B-team Falcon and the Winter Soldier – and surprised the market with both its inventiveness and its adherence to comic book lore.
＾I¨ve always believed in expanding the definition of what a Marvel Studios movie could be,￣ Kevin Feige, the head of Marvel Studios, told Variety. ＾We try to keep audiences coming back in greater numbers by doing the unexpected and not simply following a pattern or a mould or a formula.￣
Star Wars has a similar tale to tell, where the old school final trilogy of the Star Wars cycle lumbered past the box office finishing line making a lot of money but taking a creative hammering from both critics and fans, while its leaner, sharper streaming cousin, The Mandalorian, was caped in glory for its emotional power and elegantly simple character notes.