The first time I attended the New York Film Festival was during my first month in the city, in 2019. I was so new that I had to scout the location of Lincoln Center, and my subway route before I went. The second time was for real. Waiting in line to pick up tickets before the doors of Alice Tully Hall opened, I noticed that most everyone else waiting along with me was elderly. Was this because waiting in line is an old-fashioned and therefore familiar way to buy tickets, compared with purchasing them online? Maybe waiting four hours on a sunny day gives the whole process a sense of ceremony that’s lost when one just types into a computer screen. Of course, this also has something to do with patience. Four hours is not easy to stand through. The whole line began to discuss which show they wished to see with the people in front of and behind them. An old lady in front of me told her companions about her encounter with Greta Gerwig after a yoga class. Obviously, she wanted to see “Marriage Story”. I had come for the world premiere of “The Irishman.” I had waited for this movie for four years. When the cast was announced, and before photos of the set were made public, I started to picture what it would be like when all those old fellas gathered together — Robert De Niro, Joe Pesci, Harvey Keitel. I write film reviews for a Chinese film-critic website. Maybe, if I could get into this screening, I’d get more followers and more traffic for my work and home page, choosing a movie that is the world premiere is apparently a better choice than ones that had screenings before.
There’s no particular hot cake, people’s choice is dispersed, but one thing I noticed is it took a while for us to focus our discussion on “Parasite”. Many people in the line wanted to take a closer look at this Korean film that had won the Palme D’or, including a filmmaker. He looked old, older than me, at least. His heavy beard and thick black leather overshirt — the type that covered his body, so I couldn’t tell if he was chubby or muscular — made me think he’s the kind of tough guy I usually don’t take the initiative talk to. After talking to the people around him, he turned to me and asked, “Are you getting a ticket for ‘Parasite’?” I answered no, and explained I’d already seen it. But I regretted my words as soon as they left my mouth. I’d forgotten I was in the United States, where everything is copyrighted.
He was obviously a little surprised. First, he asked if I was Korean, and when I said I wasn’t, he asked how I was able to watch it. I didn’t realize how serious the problem was, and I didn’t want to lie, so I used the word I often use in China. I said, “I have the resource.” Resources, which are basically torrents and exclusive online playing addresses where you can watch it without downloading the film are usually hidden. And only people who have been watching films online for a long time gaining experiences of finding them can access them easily. After hearing my answer, his look began to shift between disdainful, disgusted, and unreconciled. He turned to the old lady in front of him, and spoke as if I didn’t exist “See what she called it! ‘Resource’! The custom should check her online records before letting her in.” I blushed at once. The people behind me comforted me, saying it’s not important what I used to watch movies before I came here, but now that I’m here it’s more appropriate that I support the filmmakers and their staff by paying for the film. I agreed. But when I got home that night, I didn’t start distributing part of my living expenses to the huge variety of video platforms available.
After living in the English-speaking world for a while, I learned that here my so-called “resource” is called “streaming”, and that there’s even no such word as “resource” in the movie realm, only platforms. It made me feel guilty to realize that I didn’t spend any money watching a movie that everyone here needs to spend money to watch. The first day “Parasite” was released on IFC, I called my friend so we could watch it again. She is even crazier than I am. She is a member of various platforms including the Criterion Channel, Netflix, Kino Lorber, and so on; her record of subscriptions can even be traced back to when the Criterion Collection had physical cards, making her some kind of VIP-like subscribe, meaning she received a tote bag as a gift. When she told me how much of her salary she devotes to streaming services every year, the number seemed not humble to me.
China’s “isolation from the world” on the Internet has become a public secret. For Americans who have immersed themselves in Instagram and Twitter, I used to be the poor guy who couldn’t watch the latest episodes on Netflix. But when my friend who was working in Chicago found out I rated “Love, Death & Robot” one day earlier than him, he was not surprised at all. The fact is, except for the limited list of movies that the Chinese video platforms provide, each of us has our own movie database. My Baidu Net Disk, the Chinese version of Google Drive, is filled with 3 terabytes worth of content that adds up to more than a thousand films. In China, we cinephiles can easily find any movie we want without paying for it. Strategies about how to find “resources” could be edited as a compilation thick enough to print as a book. Before July 2017, the famous entertaining videos websites “Bilibili” has almost 2 million film titles, equals to all of it you can find in IMDb, Their titles are wide-ranged, even sci-fi movies like “Sex mission” and “Soylent Green” can be found on the website. But on July 12th, 2017, most of the titles were removed from Bilibili, some of them are because of copyright problems, and some of them are because of cultural and political reasons, questions, and doubt posts on the website talking about this issue all have been deleted. After this big event, Chinese cinephiles were grieving the collapse of Bilibili, but the “resources” still exist. Not long after “Parasite” was released in South Korea’s cinemas, in mid-May, Chinese fans could have access to the movie. That said, it took a long time to find resources, and no doubt none of the experience can be found watching it in an actual theater.
It wasn’t difficult to change my normal way of film-watching. The benefits are conspicuous for someone who is struggling with lousy and intermingled content. I don’t need to spend a long time to find where I can watch it looking for something I want to watch; websites and apps such as IMDb, Letterbox, etc., provide users with a one-click link. Being a Netflix user is also both money- and worry-saving. You can see whole seasons of “The Office” and “Frasier” for fifteen bucks per month, equal to lunch money, and easily find less terrible films, cutting down the browsing time. When I saw the un-pirated version of “Twilight Zone”, with a complete list of cast and staff, and a well-designed interface, I felt the same euphoria as the first time I saw the CC version physical disc of “Trilogy of Life”.
But soon enough these pleasures were gradually replaced by troubles that came from nowhere. For several months, my daily routine was watching “Frasier” while eating breakfast. One morning, when I had just finished cooking my porridge and opened Netflix, I discovered that “Frasier” was gone, which made me so uncomfortable. It had disappeared without a trace in my watching history. When I typed in the keywords and the cast, only “Cheers’’ came out. I was a little flustered and thought there must be something wrong with my subscription status. After going to my phone and checking that my download list hadn’t changed, I felt a little better. Another time, when I tried to take a screenshot to make a “Mind Chicken Soup” post for my social networks account, only a black screen came up, with the subtitle. Many words popped up in my mind, probably all related to, “Nothing is private to you under capitalism.” Since then, I have downloaded all the movies I want to watch without considering the memory card of my phone and iPad.
This past winter, I went to London to visit my cousin. She was preparing for her college entrance exam. Even though there were only two of us, one of whom was a minor in a foreign country, but since it’s Chinese New Year’s Eve, we stopped our busy work at hand and had a relatively simple but satisfying dinner at a Szechuan restaurant on Gerrard Street on Lunar New Year’s Eve. We watched “Pokémon’’ on Netflix that day to look back on our childhood while we made dumplings to welcome the first dawn of New Year’s Eve. I’m really good at remembering what I ate and which film I watched with someone, those always compose my warmest memories. Before returning to New York, I downloaded “Easy Rider” and “The People vs Larry Flint’’ on my phone so I could watch them when I was bored, but I wound up not watching them while I waited in the airport. When the plane landed at EWR, I didn’t realize that I could no longer watch those two movies on Netflix anymore. When I tried to play the movies at home, the notice “The movie is not available to watch in this region” shocked me, as I had already downloaded them. My previous experience in China was that even if a movie was taken off the platform, it still could be watched as long as it was downloaded. After thinking about it for a while, the only conclusion I came to is that the database is varied according to regions, and it’s impossible to watch movies that are only available in other regions. This limitation degraded half of my user experience. However, instead of struggling over this matter, I just let it go. I still have not seen the second half of “Easy Rider”.
Amazon Prime has a similar problem. “Twin Peaks” was no longer available not long after I downloaded it. And when it was displayed again after a renovation, a Showtime subscription was required to access it. “The Killing,” by Stanley Kubrick, had an even more obvious sign that read, “It will be expired after March 31st”. Going back and forth like this got me really tired, and even made me wonder if I should return to my old ways of watching movies. If 15.99 dollars a month can not buy me the sense of security of watching whatever movies I add to my watchlist, I don’t know if it’s worth it. Will this continual switching of copyrights cause the platform to lose the audience? The streaming wars, as it’s called, come from the users and will end in the users. What’s behind it and what it will lead to?
Netflix had no better choice than pursue this mode，In 2019, Netflix spent $15.3 billion to secure licensing with TV shows, networks, and filmmakers. And how long it can keep streaming depends on the time period set on the agreement, which means titles you put into the watchlist may disappear if you forget to see them until several months later. Deciding which titles to keep is directly related to the user’s interest, which means some “sleeper hits” or hidden gems might disappear. On the website criterioncast.com, in their “CRITERION COLLECTION TITLES CURRENTLY STREAMING ON NETFLIX” section which haven’t been updated for nearly 6 years we can see that most of the titles disappear on Netflix except “Blue is the warmest color”, but I don’t think we will call “Blue is the warmest color” a sleeper anymore, for it is so popular after premiered in 2013.
At the same time you might ask, so does it mean the most popular movie title will always exist in Netflix’s library? The answer is negative, for Netflix strictly follows the “cost-performance ratio” rules, popular titles can also mean higher pricing, their metric is the cost per hour, so the length of the movie appears as a factor. I can say Netflix wants its users to stay longer on the website, not only because they want our money but also because the longer we stay the more they know our preferences.
It seems a bit disturbing, for we are under surveillance even when we have a good time. I remember several years ago when I talked to my grandma about knitting a sweater than on the other day, Taobao, a Chinese version of amazon recommend me “wool yarn” in the search bar, I was freaked out and close the microphone for several days even I know it’s in vain. And knowing how detailed Netflix studies the user’s actions seem to be unfriendly, particularly for users like me who had unpleasant under conspicuous surveillance conditions before. The term “completion rate” first appeared as the overall index for Netflix’s staff’s rating, if you take a close look, you will find there’s no score or IMDb link on Netflix, only a “thumb-up thumb-down”, this simple but arbitrary mode is not the default setting at the first place. In April 2017, Netflix debut this new feedback model replacing the old five-star model that can be retrospect to their DVD days, Netflix teams were satisfied with this new model which we can tell from their Q1 2017 Letter to Shareholders. Go back to the “completion rate”, the “thin red line” on the poster when we scroll down the “continue watching” section, there are also more invisible data to record users’ action, it records “cut off point” and “time gap “between each episode to measure the attraction of a show. it also tracks when you leave, pause, rewind, or fast forward. Netflix knows you even better than your mouse for it has memory. Personal information is also important to improve the algorithm, the zip code, date, and time you watch which show, devices you used can help their recommendation system. Your searching record, browsing, and scrolling behavior are noted to introduce new titles into the library. There are also complaints and doubts that Netflix shows a racist tendency, that the poster may verify according to the user’s race, though Netflix objected to this accusation. No doubt, if these data are disclosed, humanity research can be done considering people’s media preferences nowadays.
After this detailed information is recorded and analyzed, the front page unfolded with algorithm effectively, the huge part with trailer appeared at the top can be the top 10 most popular show, it appears when you are a new user or haven’t watched Netflix for some time, Netflix arrange their home page based on two aspects, popularity and predicted rating, the “thumb-up thumb-down” and all your watching behavior are integrated into the predicted rating, a simple version of scoring approach can be a linear combination of popularity and predicted rating. The equation of this algorithm can be (u,v) = w1 p(v) + w2 r(u,v) + b, where u=user, v=video item, p=popularity, and r=predicted rating, both popularity and predicted rating are positively correlated with the titles’ centricity appears on the screen. When you click on a new title, there will always be a number like “79% matched” visible for all users as a result of this algorithm, but this result is always right based on your behavior, but it cannot always be right based on your personality.
I did a little trick to test the system, the first account I logged in I just naturally followed my interest and saw what appeared on the home page, and another account I watched some infantile titles that I used to like during adolescence and open titles from more than 10 different countries. And Netflix is obviously deceived and lost, even I didn’t watch most of these titles, the genre that appears at the bottom is so different from my other account, the matching index changed, but I didn’t change. The algorithm should work well as we enjoy it but it didn’t when you be aware of it, “There are 33 million different versions of Netflix.” Joris Evers, the director of Global Communications once said, but when the titles are limited, and the system tries to simplify our preference, here’s how the algorithm depersonalizes each user.
For A.S. Hamrah, film critic and the author of “the earth dies Streaming”, streaming content on these platforms seems to be an expedient rather than delight of a day.
“Netflix determines many of its acquisitions and productions using algorithms. So they, you know, they’re not it in the sense that choosing particular titles because someone there thought it was worth seeing necessarily, but because an algorithm told them that people in their audience liked “thing A” and they also like “thing B” and thing B just happens to be some worth-watching titles”
As a film critic, the quantity of the film is a primary condition while choosing a streaming platform, if the platform has a higher quality, that will be a bonus. Some film critics even watch five films a day, and this also happened to some film-major students.
One of the challenges that Netflix Chief Content Officer Ted Sarandos once laid out is “The goal is to become HBO faster than HBO can become us.” Netflix indeed has some sensational titles, but still, the quantity comes first.
“Netflix is doing this by volume. The company produced so many television shows and so many movies. it’s a volume business, they’re just doing it by the amount of content they have. Whereas HBO is more about the quality of the content they have. So there’s always a battle in the world of entertainment, content production between quantity and quality.” said Mr.Hamrah.
In 2018, The “economist” post an article about “Netflixonomics” that explained “the science of getting people to subscribe to television on the internet”.As a more low-key company of “FAANG”, even the dominant streaming realm still “as you probably know, is running in a great deficit” for it wants to include all the titles that absorb users from every class, race, and every part of the world.
The first time Netflix intrigued me was when I heard “My husband won’t fit” binged on Netflix, three years after I saw the “sense 8”. “My husband won’t fit” is a typical “midnight show” talking about taboo topics just like “Mosaic Japan”, and “Naked director” which is another Netflix pick of the few Japanese TV shows. Because the topic remains a mystery in east Asian countries, I was wondering about the “taste” of Netflix’s film department staff. Then I saw “Club Friday”, a Thailand series based on real events. We can consider it as a cheesy and soapy version of “Short cuts”. These picks are so representative that other countries can’t be made, which made me think that there must be some informed and intelligent staff behind the screen. Regardless of the analysis of its own website, Netflix also studies performances of TV shows on pirate sites to make their decisions, some of the titles we have a preference of may give us the impression that Netflix must do a lot of film studies research to arrange their content, but data is dominant.
“The first thing I think and what you said is that the concept of majority and minority of viewership is no longer relevant in the algorithmic or streaming era because Netflix’s goal is not to cater to a minority, but to have everyone be a subscriber to Netflix. So what you’re saying is like saying, well, do you think the majority of people or a minority of people prefer to have electricity in their house? Everyone, right. So Netflix essentially is striving to be a utility like electricity you pay for every month”
The minority shows exist, but there are not a lot of them. This assigned distribution of titles on Netflix assimilating people’s tastes.
Just like Google, when you type “n”, new york times appears in the search bar, when you type “w”, it will be “Washington post”.the more you type in, the more you are used to the content that appears that never deviate from your comfort zone, of course, you will save time, but it depends on your considering watching a film is entertainment or something better.
“But there are some good titles”, people will argue, and I mentioned “Being a Netflix user is also both money and worry saving, for less terrible films on the platform, cutting down the browsing time” The question is, even good titles are there, are we really going to finish it in our apartment with all these distractions.
“People are lazy. So even if people put the Irishman or Atlantics in their queue on their watch list, they will watch the Adam Sandler movie before they watch those other movies, they realize that because of the innate laziness of human beings .”
It’s embarrassing when I hear this truth of humanity, but think about it, every time you watch a Kurosawa film. When you play the beginning of “seven samurai” and catch a glimpse of the “3:00:00” at the end of the progress bar, will you straighten your clothes and sit properly in front of the screen, or will you feel stressed and decide to finish it within three times?
The truth about good films is, we all know they are masterpieces and we all know we should watch them instead of some cheap chick films or goofy anime that make us laugh, but we are also stressful especially when we face masters like Bergman, Antonioni, and Tarkovsky.
Business is just business, but their target, the user, human being full of complexity makes the pure business complicated. If the algorithm is eliminating the taste, and we are aware of it, what is the next step?
Indiewire’s interview compilation “The Future of Movie Streaming Is an ‘Exhausting’ ‘Beautiful Nightmare” gives us some ideas, The criterion channel stands out, other names come along are “Kino Lorber”, “Kanopy” and “Shudder” if you are a horror movie fan.
I just watched several episodes of “Creep shows” on shudder and surprisingly found “The Blair witch project” is included which in all other platforms you need to pay for it even you have subscribed. Most of the titles that appeared are movies I never heard of, in a sense add my knowledge about horror movies.
New york public library ended the free streaming on Kanopy, which is one of the reasons lots of New Yorkers turned to Criterion channels and Kino Lorber. Criterion channel is a symbol in the streaming realm just as Netflix, despite they are all successful in their own ways, Criterion channels seem to stand on the opposite side of Netflix. The homepage itself is a highly-curated exhibition of films, the demanding distribution of the page excluded audience who are only interested in the blockbuster, but it is indeed the best streaming for at-home discovery. The filter shows a conspicuous difference from other streaming websites, based on decades, genres, countries, and directors, it’s so detailed that more than 60 countries are included in the advanced filters. Compared to Netflix who has no filter, it is particularly focusing on its pedagogical functions and remains a niche area for cinephiles who has a particular taste.
As the Criterion Collection announced on their official website, they include films which it deems “important classic and contemporary films”. That means a lot of these films released laserdiscs and are streaming can be considered one of a kind in its genre. So different from Netflix whether a film has a positive popular consensus is not a factor highly valued by the Criterion Collection. The credibility also comes from the background research of the CC curators, the films included in their releases can also result in the filmmaking processes that we consider as milestones or a revolution in film history.
“we’ve seen a lot of things change, but one thing has remained constant: our commitment to publishing the defining moments of cinema for a wider and wider audience.” This announcement by the Criterion Collection shows its spirit in creating a broader audience that is diversified in many ways.
The Criterion collection is getting the rights to release a film, even if it will take years. Cost-Performance ratio isn’t their first concern, that’s the essential cause that distinguishes Criterion Collection and Netflix.
Considering creating content, Criterion Collection and Netflix stand on the opposite side, craftsmanship, and efficiency. Before Criterion Collection released their own channel, their partnership with Netflix was considered as a possibility, but CC chose Hulu in 2011 and post the announcement on their Facebook page mentioned Netflix:
“We love Netflix, and they are still one of Criterion’s most important partners, but Hulu demonstrated a real commitment to the Criterion brand that persuaded us they would be the better home base for our streaming efforts. It has never been easy to find Criterion movies on Netflix — “Criterion” is not even a searchable term there.”
But CC was not alone, as we can see, Netflix eliminates the visible filter function, the adjective is available in “More info” to sort a film, also cast and the country is invisible unless you type them in. For these advanced filters it has been proved useless to figure out the users’ taste, but what they are not considering is, the advanced filter can be useful for users who want to watch films of a particular country and time span.
CC is devoted to curated classics. At the same time, there are only a few old movies on Netflix, the oldest movie is a series documentary called “pioneer: First women filmmaker”.Now Netflix has 53 titles in its classic genre.
“As I said, remember the Netflix executive told me once: “we are not into old movie business” and that’s why they’re not because they can’t understand that if you like “easy rider”, you might also like some new French film by Olivier Assayas or something else. One thing that’s good about serious films from the past is, the audience for those things is much more diverse. So, you know, classic films and art films, have a much broader audience. The number of the audience is smaller, but the breadth of the audience encompasses more different kinds of people. So this is why Netflix is not interested in what they call movies because it’s too hard for them to figure out who’s watching them.
“In terms of why people like things is that for a lot of people they don’t understand that their freedom of choice is limited. So they self limit their freedom of choice. Let’s say if you live in a town where your whole movie experience growing up is going to the Cineplex and you only see a blockbuster, then you don’t understand that there’s a whole other world of cinema outside of that.”
Netflix is dedicating themselves to creating good content according to their public talk, but their content distribution corresponds to the cognitive process of the masses instead of cinephiles, which is a small bunch among all the people who watch films. Netflix is another form of cineplex: there are some good films, a mixture of native and exotic titles discovered only by competitive film festivals categorized by FIAPF. Take the US as an example, last year, we had some native gems including “Marriage story”, “Jojo rabbit”, “Lighthouse” and a typical New York story “Uncut gems”, and exotic titles like “Pain and Glory” and “Parasite”.there are 15 competitive film festivals, but when I mentioned the word, it changed into Cannes Film Festival, Berlin International Film Festival and Venice Film Festival specifically, and only the top prize winner or topical titles will be included in the release, such as “Synonyms” and “Parasite” And most of the people who watched films know these titles.
The old movies and exotic movies that require a longer time span are never there. Some time you heard someone say they love Korean and Japanese movies, but they only know “Shoplifters” and “Burning” for last year’s case. And this phenomenon happened everywhere around the world, our taste no longer belongs to us anymore, we were trapped in our culture and experience. We cannot disenchant the “blockbusters” and “Palme-d’Or winner”, what happened outside that world is not something we need to consider.
For now, after these doubts, I already cast on Netflix but I’m still a Netflix user who seems so contradictory. So what are the good things that Netflix is up to?
“I think if Netflix is going to pay people who are good filmmakers to make films, whether it’s Mati Diop in Senegal or Martin Scorsese in New York, that’s good. As long as we open them theatrically,” said Mr.Hamrah
Starting with “Roma”, Netflix began making more strong competitors in Award season, even though their intention is still business-minded that has little to do with artistic pursuits, but as it can help good filmmakers effectively, what their intentions are is not really important.
As Netflix gaining more reputation for being competitive in Award season and showed up more in some important film event, More protests arise starting by challenging the qualification of Netflix film entering in main competition units. After the screening of “Okja” met technical problems and being disrupted by some people present booing and clapping in 2017, Ted Sarandos, the chief content officer of Netflix, said Netflix wouldn’t be going to Cannes in 2018. Not long after the screening accident, Festival director Thierry Frémaux responded quickly to it and, imposed a ban on streaming films in competition from 2018. In France, a film can’t appear on streaming platforms until 36 months after its release in cinemas, Thierry Frémaux tried to persuade the production team of “Okja” to release it in theaters but refused by Netflix, since then, Cannes’ attitude toward Netflix is pretty clear that they are split up. This conflict continued when “Roma” premiered, and it continued with the debate between Netflix and big theater chains when “The Irishman” premiered at 57th New York Film festival. In 2018, the year “Roma” won the Golden Lion, Italy introduced an obligatory delay between Italian films screening in cinemas and being shown on streaming services to protect its domestic film industry, which is well-known as the “Anti-Netflix” law, as the traditional had more conflicts with modern business mode, and more reputational organizations have shown their attitudes, the Anti-Netflix trend also hit the premiere of ‘Elisa & Marcela’, a Netflix distribution directed by Isabel Coixet, Director of Berlinale, Dieter Kosslick announced that the international film festival will take the same step to deal with the streaming films issues. The most important international film festivals presented a united front, which made the academy awards the best way Netflix can turn to. The Academy remains ambiguous when dealing with Netflix films. There are “conspiracy theories” that “the Green Book” won the best picture rather than “Roma” and “the Irishman came away empty-handed is because The Academy still emphasizes their origins. The statement is not proved yet, but yet one thing for sure is, Netflix indeed change the film industry, and for artist and film industry practitioner who is adapted to the traditional ways, it’s not good news. There are some compromised that Netflix did in the past year, “The Irishman” is screening in a small number of art theaters, and “Atlantics”, the Grand Prix of Cannes in 2019 is acquired by Netflix. These are some signals that Netflix is shifting its strategy to a better adjustment.
The binge mode, which is a Netflix exclusive novelty was switched up on a few shows. When the binge mode gives users the most convenience, it also decreases the charisma of “rendering” and “friction”. For creating a better buzz, some of the original strategies of Netflix are shifted to adjust itself to the market.
Art and business seem to stand on the opposite side but they overlap sometimes in the film business.
At the beginning of 2020, four Netflix originals joined the Criterion Collection. The success of Netflix and Criterion Collection accord with two aspects of humanity: sense and sensibility, one is purely Algorithmic, but with brilliant AI specialists, it works pretty well; one is purely emotional, all the selection is based on its importance in a historical and artistic sense. Netflix’s rationale can even be traced when they are hiring new staffs:
“We set the mandate that their decisions about whom to bring in and who might have to go must be made purely based on the performance their teams needed to produce for the company to succeed.”
“[Great teams] are created by hiring talented people who are adults and want nothing more than to tackle a challenge, and then communicating to them, clearly and continuously, about what that challenge is.”
In Patty McCord’s “Powerful: Building a Culture of Freedom and Responsibility”, we can see that two of the important characters for choosing a new staff are maturity and matching rate. Emotion will not be taken into account.
The idea of talking about streaming services is not about having any kind of impression on services, but being aware of how these programs capture your attention, grab your time and money. Unavoidably, we will turn to stream services even when we realize the cons of streaming. Still, we can make the most of it by fully understanding it detailed in every link that makes it possible.