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America's Home for Home Loans, 866-569-4711. That's 866-569-471100 or visit american financing.net walsh today Matt WALSH SHOW Streaming services are taking over our lives. While the movies and shows themselves feel worse and less relevant than ever, we'll explore how endless subscriptions and algorithm driven content are destroying both filmmaking and the culture around it. Also, California spends $100 million building a bridge for forest animals. It's been four years and it's still not completed. A woman who wrote a children's book about dealing with grief is found guilty of killing her husband. All of that and more on the MATT Walsh. According to the most recent studies on the subject, the average American now subscribes to four different streaming services. Many subscribe to five or six or even more. Netflix alone has 300 million subscribers, which almost equals the entire population of the United States, not counting illegal aliens. And yet the surveys and our own experience tell us that most people aren't satisfied with these services and are only becoming less satisfied every day, we all have the impression that it's just, it's too much. There are too many of these platforms. They're only getting more expensive. And as the service declines and the one major promise of streaming, that we wouldn't have to deal with ads, has been almost entirely abandoned at this point. People are experiencing a great amount of fatigue, streaming fatigue. And what's more, it seems that these services are bad for movies themselves. The art of filmmaking has declined, which everyone has noticed While streaming services are ubiquitous, the movies and shows themselves feel somehow more marginal, less relevant than ever before. The Oscars happened this past weekend. Nobody noticed or cared because nobody noticed or cared about any of the movies that were nominated. So what's really happening here and why? We've done a series of deep dive explorations into various facets of American cultural life over the past few months, trying to figure out why the quality of everything is on the decline. In a word, everything kind of sucks now. And why is that? What's going wrong? That's what we've been trying to figure out. And speaking of things that suck, these streaming service services certainly fit the bill, and so do most of the movies and shows that they charge us exorbitant fees to access. Why is that? Let's explore that question. Start with the fact that everything is bundled now. Roughly 85% of subscribers to Amazon Prime Video are also subscribed to Amazon prime, which supposedly gets you faster shipping on some items. Relatively few people subscribe to Prime Video all by itself. Meanwhile, millions of people have access to Netflix and Hulu through a deal with their cell phone carrier, usually T Mobile or Verizon. The reason that the streaming services offer these bundles is that they're worried about Churn, which means losing customers. Churn is reduced by significant margin when customers have Netflix or Hulu as part of a bundle with their carrier. Bundles are complicated to cancel. For one thing, they might be presented as a free add on, when in reality you're definitely paying for it. And maybe most importantly, when you have a Netflix or T Mobile bundle, you're likely to be less demanding about the content on Netflix. Over time, you naturally come to see Netflix as a component of a larger, necessary contract with your phone carrier. And that's exactly how Netflix and the other streaming services want you to perceive things Amazon doesn't have to justify their cost increases. If everyone thinks of Prime Video Ultra as a necessary component of Amazon prime. The other part of the problem, one of the reasons why it's so hard to evaluate the value of the various services, is that they lose the rights to shows and movies all the time. Netflix acquired the rights to Seinfeld in 2019, but you have no idea if they'll have the show in 2027 because the licensing deal expires at the end of this year. And on top of that, even when a show is available, you have no idea if it's going to be the original version. There's no streaming service that offers Scrubs as it originally aired, for example the licensing rights to the music, which is a big part of the show, were simply too big of a hassle to renew. And to give another example, the version of Seinfeld that's on Netflix is widescreen, even though the show was never intended to be widescree. For the Netflix version, they simply just cropped the original image so that it fits widescreen TVs, and that means they deleted some of the content on the top and bottom of the image in every frame. And the result is that the show looks very different from how it originally aired, which may seem like a small issue, and maybe it is in the grand scheme, but it's more significant than you might think. I mean, if we look at films and shows as pieces of art, which they are or should be, then it's a problem that these services are making alterations to the art basically as they see fit, with no way for most people to access the original version of it. The only way to avoid these kinds of changes is to buy physical media that streaming services can't mess with. You can buy Seinfeld on 4K Blu Ray, for example, complete with the original formatting and a bunch of special features and so on. And indeed, a lot of people are doing that now. There's a whole market for physical media that's undergoing something of a renaissance at the moment. But as it stands, there's simply no legal way to stream the show in its original broadcast format. Unless you're an extremely devoted Seinfeld fan, you probably weren't aware of this, and you probably aren't aware of the many, many other ways that streaming services mess with the content that you think you're getting on Hulu. You can't access five episodes of Always Sunny in Philadelphia because they were retroactively canceled during the BLM hysteria. Basically, any episode where a character appears in blackface, even if the point of the gag is to mock Danny DeVito for wearing blackface, has been erased, just doesn't exist anymore. If you subscribe to Hulu, this is never explained to you. They act like you're getting the whole show, but. But you're not. And many other shows have similar banned episodes for similar reasons. A lot of them do. Again, none of this is ever explained. You're not told about it, But NBC removed 4:30 Rock episodes for depictions of blackface, which, again, obviously we're not endorsements of the idea of blackface, but whatever. The community episode entitled Advanced Dungeons and Dragons was nuked from streaming services as well because the Asian comedian dressed up as a quote Dark Elf and South park took five episodes offline because they depicted Muhammad in an unflattering manner, which is a capital offense in the Muslim world, which we've now imported to the United States. So, you know, they decided to stick to mocking Jesus and Christians and Trump voters and said instead, which is safe. Which is one of the reasons why comedy is dead, by the way. All the comedians are cowards. And what's important to emphasize here is that, well, it's obviously very bad that these streaming services are censoring shows without even admitting it. This censorship is a symptom of a much larger problem. The problem is not simply that wokeness has run amok or that left wing DEI bureaucrats have taken over the entertainment industry. Although that's all true. The real problem is, in part, all this content exists in the ether. You access it through subscriptions. Even if you buy a streaming movie on Amazon, you still only have access to your purchase as long as you have your Amazon subscription. The death of physical media means that nobody owns any particular piece of media anymore. You know, when I was a kid, we had a physical library of physical copies of our favorite films. We would watch those films over and over again. And what this meant was not only that the movies couldn't be retroactively changed or censored, but also that we got to know these movies. They became a part of our lives in a way that no movie today ever will be, because it always exists in the digital cloud. One bit of content in an endless scroll of other bits. This is how it works now, across the board. I mean, in every area of life, we are confronted with an infinite number of options. It plagues society at every level. You go to the store for ketchup and There are like 97 different options to choose from. The same is true of cars, watches, dating apps, clothing, cosmetics, toiletries, anything. It's too many choices. It's overwhelming, it's overstimulating. You commit to one and then you worry that maybe that one or that one or the other one would have been better. It's this kind of paralysis by analysis that everybody is suffering from perpetually, all the time. And along the same lines, as mentioned, there's. There's no communal experience of film anymore. This is really the main thing. Everybody's watching different things. We're not experiencing the stuff together. The movies at the Oscars today aren't always worse than Oscar movies 30 years ago. Sometimes they are. Often they are. But it's more that they exist in a fractured cultural landscape. So none of them make any real impact. That's why it was so weird to see them win awards the other day. Not that anyone saw it because nobody was watching, but when you hear about the movies that won, it's always weird because you think, like, I haven't heard of any of those. Now, say what you want about a movie like, say, Titanic. That's an example I've used in the past. But that was a cultural sensation in a way that no film today is or probably ever can be. To give you an idea of what I'm talking about, here are just some of the movies that received Oscar nominations in 2004, more than two decades ago. And see how many of these you're familiar with. Lord of the Rings, Return of the King, Seabiscuit, Master and Commander, the Last Samurai, Mystic River, Lost in Translation, Finding Nemo, and Pirates of the Caribbean. Now, even though these are now relatively old films, there's a pretty good chance you've seen several of those movies. Probably heard of all of them. Some of them are classics. Now let's look at the major Oscar nominees from 2026. Here's what we have. Sinners, Marty supreme, one, battle after another, Blue Moon, the Secret Agent, Sentimental Value, Begonia, if I Had Legs, I'd kick you, Zootopia 2, Arco, weapons and F1. Now again, these aren't all necessarily bad movies. Some of them are. Some of them, like weapons are actually pretty good, I thought. And all of them are technically sophisticated filmmaking. They're all well made from a technical perspective. But most people haven't heard of about 90% of them. It's not just that most people haven't seen them, it's that they don't even know they exist. And we certainly won't be talking about any of these films in 20 years. They'll be forgotten because, you know, we're all watching different things and there are so many choices, such an infinite array of options all the time, that no particular piece of content can remain in our consciousness for very long. That's why ratings are are down, by the way. Way down. This is from the Hollywood reporter quote, Sunday's 98th Academy Awards drew 17.86 million viewers on ABC and Hulu based on Nielsen's big data plus panel ratings. That's down about 9% from last year's Oscars, which drew 19.69 million viewers for a post pandemic high. And the smallest audience for the award since 2022, when 16.68 million people watched the show delivered a 3.92 rating among adults 18 to 49, a 14 decline from last year. So they dropped 14% of the key demographic, and that's including streaming numbers. They tried to boost the numbers as much as they could, and it's still a big drop. Unless some kind of stunt is involved, say somebody gets slapped on stage or they announce the wrong best picture winner or something, then there's basically no nobody who even pretends to care about the awards anymore. Now, for comparison, the oscars had around 45 million views in 1996. That's the year that Braveheart won. They had more than 35 million viewers in 2016, just a decade ago, and now they're down to 18 million, including a streaming audience, which mostly isn't paying attention now. Is Braveheart a better movie than the ones that were nominated this year? I think it certainly was, yes. But it's not just about it being a better movie. The point is that Braveheart was a cultural phenomenon in a way that no Oscar movie today is or ever could be. The proliferation of streaming and the Internet generally has destroyed the communal experience of movie watching so much that it's almost impossible for any film to be enjoyed and known and loved. And by a majority of Americans. None of them can imprint themselves onto the zeitgeist the way that films did, you know, in the 1990s or any time before that. And yes, it's easy to point out that the Oscars implemented DEI and they won't give awards to productions that aren't diverse in some way. That's obviously part of it. But even without that handicap, these numbers probably wouldn't be much better. Now, I'm not going to wax poetic very much about the Blockbuster days, but the fact is a lot of people are starting to think about how things were back then. I saw a post on X saying that this is a trailer for one of the most popular indie video games right now. And it's a game where you play as a clerk at a video store like Blockbuster. We'll put that up on the screen so you can see this exciting gameplay. You just stand behind the desk, hand out the movies, make sure people hit the rewind button, and so on. Is what passes for entertainment today, apparently. So the video game industry is in even worse shape than I had thought. But actually, there's a reason that the game is popular. People are nostalgic for the pre smartphone, pre streaming era. It used to be that if you wanted to watch a movie, you had to make a commitment. You had to plan your night around it. It was an. It was an event. You. You physically drove to a store, looked through the shelves, talk to the clerk, you have a conversation about the movie you want to watch, and maybe you recommend something, you bring it home. It was an experience. There was a sense of community in it. And then when you get the movie home, you know, and it would be just one movie, maybe a couple, but you're not bringing 6,000 movies on with you. And you'd watch the movie you rented, you'd actually sit and watch it with no other screens distracting you. If you liked it, maybe you'd watch it again the next day, and then you return it, or you wouldn't return it, and you rack up late fees until you had to go get a membership at the Blockbuster across town under a fake name. But either way, the experience was very different. It was a different experience because watching a film was an experience in a way that it just isn't today. And by contrast, as Matt Damon recently pointed out, modern streaming services have a very different audience. You know, their audience puts zero effort into finding a show to watch. They just throw it on the screen while they scroll through TikTok on their phones or whatever. And the streaming companies realize that, so they have to dumb everything down to the lowest common denominator. They have to. They have to take into account that most people are not paying attention to what's on the screen. Watch Netflix.
