We can see everything but it is impossible to find it

We have the general feeling that on the platforms of streaming We can find everything. But you have to find it. The prioritization of the quantity on the quality that the streaming He carried out for years to build catalogs is now throwing unpleasant results for the spectators, even when the main platforms have talked about Revert the situation. We are facing an overcually, full of content panorama, but at the same time, confusing and unmanageable. Quality exists, but locating it is not so simple.

Deep transformation. After years of expansion and an unbridled career for accumulating the largest amount of possible titles and productions, the main platforms began in 2023 to rethink their strategy: The amount is no longer alland the sustainability of the model is to prioritize the quality of the contents. This Production decrease of original Not only has it brought a rhythm of less frantic premieres. It has also given rise to a stage of cuts, cancellations and unpopular decisions, such as stop shared accounts either introduce advertising. And above all, to some confusion: now we have so much material at our disposal that it is impossible to find it.

To the search. In recent years, users have become accustomed to a constant and inexhaustible flow of new content. For years, the strategy of flooding the market with continuous premieres became the norm, generating a almost addictive expectation. There was always something new to do. When that trend has stopped, we have landed in the opposite situation: as counted This Salon article in which they defended the thesis that although there is more material to see in streaming than ever, the complicated thing is to find it.

Can’t get no satisfaction. Now that content is released at lower speed, The public can interpret it as a fall in quality and interest. In addition, the Culture of binge-watching He is already completely settled, and only remakes this feeling. But above all: streaming platforms are more confusing than everwith the algorithm sliding for each slide, for each category, sometimes not even knowing what it wants to see, the viewer finds it easily. Have you ever seen stuck in an Apple TV+ program without knowing how to return to the main menu? Have you ever reset the platform after an ad? The bugs multiply, the categories are a maze, the search is an absolute odyssey.

As there is not enough new programming to appease the needs that the platforms themselves have generated, These become irresoluble riddles so that it seems that the content has buried us.

The wandering is over. Therefore, various studies detect A trend. Although the public spends a lot of time wandering through the platforms in search of something to see, we are trying to cushion those hours Returning to “Analog” recommendation systemsthat dodge so much the undisputed Fall in the clarity and usability of the platforms Like the presence of algorithms more and more poor. Platforms such as letterboxd and a certain revaluation of “human recommenders” They acquire a renewed impulse in the post-social era (Newsletters, for example), and are the best proof of the fall of the dictatorship of the algorithm.

Forgettian parenthesis. Salon highlighted in his article another phenomenon of less accelerated times than these. Before they mediated very clear parentheses between The different exhibition windows of the films: a premiere in cinema took a year to reach exploitation in domestic physical formats; From there he could spend another year or more before we saw him on television, first in payment channels and then already on open television. And that was the end of the road: it was considered that the film had made its commercial tour. Now it’s all more accelerated and confusing: A movie can take just a few months to move from cinema to streamingwhile goes out for rent and digital sale, skipping the physical format.

This chaotic race makes a film that, in our head was newly released or even in the cinema (Salon gave the example of ‘The Phoenician plot’ of Wes Anderson), it can actually be seen in streaming. It is only one more detail that adds to the generalized confusion: we have everything within reach of the hand, we often escape due to lack of information. Or because we simply do not supply.

Solutions in sight. The ways to follow are complicated, especially at times like the current one, when Netflix has distanced themselves from their competitors and these are unable to follow their rhythm and their financial muscle, and cross recovery phases of an identity that goes beyond being “Netflix competitors.” That is, we are in a moment of transition in the industry that only adds confusion and lack of definition to all these problems. What can the platforms do to better define their services, so that this feeling disappears in the spectator of “is all there, but I have no idea how to find it or what I want to see”?

We return to the initial problem. The platforms have to solve the great drama that we spend hours looking to see: according to A December 2024 studyAmerican spectators spend 110 hours a year trying to decide. It is too much time, especially considering that the problem has not changed: before, there was too much to do. Now, it is impossible to know what they have released, where it is or how to access it.

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