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From the early days of Netflix, stream able content was even a stretch. The company was initially deemed “doom to fail” actually mailing out content via postal mail. At the time, the competition of “ready to watch” content was still heavy, within person stores like Blockbuster still holding on tightly to rentals. Even Chuck Tryon stated, “Although the intersections between the film industry and the new media are often marked by the rhetoric of novelty and anticipation – the promises of fast, cheap, and ubiquitous content – some users are often reluctant to embrace new technologies, ensuring that the adaptation (sic) of these tools is far from seamless.”

It wasn’t until Netflix turned to stream able online content that they took over. When they began developing their own content in 2011, with shows like Lilyhammer, Orange is the New Black, and House of Cards, Netflix started turning heads. Netflix even announced, as Ellingsen refers, in 2013 that they would be “replacing linear television.” Apps will replace channels, remote controls will disappear, and screens will proliferate.’ (Netflix, 2013).”

Now, as we emerge into a new level of online content, other “retailers” have stepped into cash in on the burgeoning marketplace. Amazon, Crackle, and mainstream cable networks have also poured ton of funds into building stream able content platforms for their original content as well as providing plenty of on-demand archives.

Because of its “quick watch” and “creator friendly” platform, Youtube still remains at the top of the leaderboard in spreadable content, although views have declined in recent years. This is most likely due to the overwhelming ability to view videos on platform specific networks such as Facebook’s video previewer, which doesn’t always benefit view count. This declining view count has put Youtube on the mend, pushing them to grow within their home at Google, premiering the creator’s space and pushing their top creators out into other industries (such as Zoella with her own beauty line). With the premiere of their Youtube Red Platform in 2015 and 2016, Youtube is investing in its creators, pushing themselves not only as a receptacle for content but a generator as well.

When it comes to those who create the content, Ellingsen provides valuable perspective saying, “Netflix’s chief content officer Ted Sarandos (2013) argued in a keynote at the Film Independent Forum that there are currently big opportunities for independent content producers, because there are ‘far more buyers who want to buy outside the box than there are sellers who want to sell outside the box.’ (Ellingsen).” The potential for impact by these rising creators is vast and is hard to pass up when there are those looking to invest in the next great wave of stream able content.