New Netflix partnership with Adam Sandler a wrong move

Make no mistake — Adam Sandler is a comedic icon. His career is a decorated capsule of Saturday Night Live skits, cult classics like Happy Gilmore and Billy Madison and dramatic works such as Punch-Drunk Love and Funny People. His ability to entertain is undeniable, but his repertoire as of late has been questionable. Within the past seven years, all but two of his films have been deemed “rotten” on Rotten Tomatoes, a film review aggregator website. The majority of his films, trashed by critics, have also been unpopular with the public as well, a few failing to even generate more than their production costs. That’s why when Netflix announced a deal last Thursday to premiere four Adam Sandler films exclusively to its subscribers, it struck me as an irresponsible move in terms of customer service.

This partnership with Sandler followed Netflix’s decision to release the sequel to Crouching Tiger, Hidden Dragon, the first full-length feature to be launched by the streaming company. Because Orange is the New Black and House of Cards have been so successful at television awards shows, it seems natural for Netflix to venture into film as well. The original Crouching Tiger, Hidden Dragon is a wuxia classic, a genre of Chinese fiction that follows the adventures of martial artists. It was directed by Academy Award-winning director Ang Lee, so the second installment, though not backed by anyone from the first film, has a critically acclaimed foundation. Adam Sandler’s audience, on the other hand, fluctuates with every film, according to statistics.

It is an audience that, for example, will appreciate Sandler’s statement regarding his Netflix partnership: “When these fine people came to me with an offer to make four movies with them, I immediately said yes for one reason and one reason only. Netflix rhymes with Wet Chicks. Let the streaming begin!” I don’t discriminate against lowbrow comedy — I usually dissolve into breathless laughter watching Steve Carell’s Michael Scott or America’s Funniest Videos. But the fact that Sandler wastes a statement on “Wet Chicks” is unsettling and potentially a reflection of the content to be produced. As a subscriber to Netflix who has to shovel out money every month, I’d like to think that the profits Netflix make contribute to quality content.

This is because I view television channels as curators for subject matter in which people can immerse themselves. Each channel can cover a breadth of genres to cater to everyone, but the shows have to be good. Most networks are sensitive to the public’s response to what they put out there, often pulling shows with a steady viewership decline. Other networks, such as HBO and AMC are not only cognizant of the numbers, but are also aware of the need for great stories to be presented on the small screen. Netflix seemed to do that with House of Cards and Orange is the New Black, shows that are nestled among the best of the best shows of past and present, but the message “Adam Sandler films” sends to the public is the ghost of Jack and Jill. We need television channels or stream sites like Netflix to help us gain access to better television efforts in a world of reality television and The CW.

According to the Huffington Post, however, Netflix acknowledges Sandler’s films as some of the most popular on the site, stating, “People love Adam’s films on Netflix and often watch them again and again.” Though this suggests some of the reason behind Sandler’s involvement with the company, according to Radio Times, Netflix doesn’t actually release the viewership numbers of each show. That means we don’t know the data figures for the people watching House of Cards or Orange is the New Black, so the popularity of Sandler on the streamer site remains nebulous.

But the deal with Adam Sandler has been done and dusted, however sour my feelings about it may be. For those of us hoping for some enthralling theatrical experience, we better deal with it — because Adam Sandler is coming soon to a computer screen near you.

 

Danni Wang is a sophomore majoring in psychology. Her column, “Pop Fiction,” runs Mondays.