While Steve was Steve, the significance of the series isn’t in the story or the setting. Lillyhammer is Netflix’s first foray into acquired or original content, and a leading indicator of the further fracturing of our media habits.
When a producer or director can fund their project on Kickstarter, then manage their own distribution, it’s clear big changes lie ahead.
But here’s what we can be pretty sure of: Distribution is no longer a gating factor. Marketing (finding an audience) is more challenging than ever. And content remains king.
There’s no guarantee good content will be found. But I can assure you <cat and baby videos aside> less-than-compelling content is quickly forgotten.