The big legacy studios are mostly owned by the streamers. They're the Borg. They sometimes manage to produce a decent film -- they're so big that sometimes they can't help themselves -- but a good film has to run the gauntlet of a DEI committee, a phalanx of woke freaksters out to cancel any non-conforming thought, and corporate suits who are in the business of selling subscriptions, not movies. They see films as generic content, are biased towards quantity over quality, and live in fear of the God King Emperor Xi and Chinese censors.It's like that old studio, Miracle Films. Their slogan was 'If the picture is any good, it's a Miracle!'
What is Netflix's budget for new content this year? Somewhere in the range of $17-19 billion if I recall correctly. Netflix is the industry leader but Amazon and several of the other streamers are also in the $10 billion-plus range. Since they're streamers, they care about subscriptions, not intentional, film-specific ticket sales to active, engaged moviegoers. Their strategy is to throw a blizzard of "content" at every possible market segment to keep the couch potatoes doing their random searches, and then see what sticks. Most of their subscribers are passive consumers who took out a subscription years ago and it's now out of sight, out of mind. Quality inevitably suffers.
My great turnaround movie discovery, Columbus, was made for $700,000. Would Netflix ever make a film like that? Probably not. It might acquire such a film as an afterthought when it was sweeping up the indie offerings from the festivals, but would it promote it? No. The film would get three days on the "New This Week" list and disappear into the depths of the catalogue.