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Netflix’s decision-making remains hard to discern from the outside looking in, but the streamer has nevertheless become something of a refuge for a type of film that’s been increasingly crowded out of the theatrical landscape: the non-IP blockbuster. (The decision is a bit more puzzling considering that Bright, by all accounts a film with as lowly a reputation as 6 Underground, will move forward with a sequel.) Despite Netflix’s claim that 6 Underground-Michael Bay’s explosive(ly stupid) interpretation of the Mission: Impossible franchise-was one of the most-watched original movies in the streamer’s history, the company won’t pursue a sequel because it felt the film was a letdown creatively. But setting aside the fact that Netflix’s viewership metrics are both shrouded in secrecy and self-reported-and therefore should be taken with an ocean’s worth of salt-it appears the company cares about quality to go with its quantity.
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In theory, viewing numbers for a movie would be the streaming equivalent of a box office haul. For every stinker like Bright or 6 Underground, there’s been a relative hit like Extraction or Army of the Dead, which might not end up on a critics’ year-end list but certainly clears the bar of “watchable enough that a Netflix subscriber shouldn’t be flipping through their phone during most of its running time.” Ever since the 2017 release of Bright-a bonkers movie that its star Will Smith pitched as Training Day meets Lord of the Rings-Netflix has dabbled in making its own blockbusters, to mixed results. But it’s a bit trickier to deduce whether a blockbuster has met expectations when the project isn’t coming from a studio, but rather a streaming company. For decades, the easiest way to determine whether a blockbuster was a success for its studio was by looking at the box office receipts: The more money the movie made, the better chance it would provide a strong return on investment.