It ran the year 1968 and Andy Warhol left one of his immortal phrases printed.
He resonated in a catalog in Stockholm.
He had just opened his first international retrospective in the modern Museeet of the Swedish capital.
“In the future, all will be famous worldwide for 15 minutes,” he philosophized.
The father of pop art was not very disregarded.

The Guru of the Modernity spoke, without knowing, of the invasion of social networks that constitute immediacy and fugacity.
In that future that he perceived and that today is reality almost everything is passenger and diluted in a matter of days, including the Netflix series.

The data confirms it.
Almost all the titles in their Decalogue of the most consumed of 2021 followed the same pattern: an explosive traffic during its first month on the platform and, then, a dramatic decline in the second month, path of irrelevance in the beyond.
Uninflated series as a Suflé.
Not even the squid game, Korean production converted into a world phenomenon, managed to avoid past interest loss the first weeks.

According to the data of the Whip Media consultancy, disclosed by the Variety magazine, of the total number of users who admitted having seen the Macabre Show of Director Hwang Dong-Hyuk, 73% did it in the month of premiere (September) in front of the
20% of the second month and 5% of the third.
It is a case similar to Lupine, French production starring Omar Sy.
Or the assistant, the story of a single mother fleeing from an abuse relationship;
Or shadow and bone, a fantasy drama and mystery based on the trilogy of Leigh Bardugo.
All are among the 10 series more views of the year but its legacy is dubious.

The analysis of whip average, which employs the TV TIME application, coincides with the data published in December last year by MofFettnathanson.
Its conclusion is that it will be difficult for the streaming giant to keep the rhythm to please hearings in which he has created an insatiable thirst for new proposals.

“The data suggest that Netflix will need continuously refresh its original content production to have their audience hooked while the spectators pass from one original series to another,” said Media Analyst Michael Nathanson.

With the original films the situation is even worse.
Traffic is considerably lower for most titles that debut in streaming.
Hope in order to achieve a longer consumption over time are consolidated titles such as the Seinfeld Series or Gray Anatomy, Classics for the American public to which many spectators and return as in the old days of the replenishments.

Nathanson, however, maintains that for Netflix each time it will be more complex to take with those spectators for the current competition and the proliferation of new platforms.
“With large media companies recovering their content for their own streaming services, we believe that Netflix will depend even more on their own creations,” said the analyst.

Only last year, the company based in the Cats, California, invested 17,000 million dollars in its own productions, a huge amount that, even so, is half of what Disney will be spent by 2022 to feed its platform.
Everything to keep the bonfire of the fugacity alive.