Last fall, the quirky half-hour Dickinson, a surreal period dramedy inspired by the life of a young Emily Dickinson, grabbed a couple of unexpected honours: It will be the first Apple TV+ series to earn a second season, as well as being the first Apple series to get a season three greenlight. The Morning Show and For All Mankind, which gathered Emmy buzz, had to delay their season two productions thanks to the pandemic. So it’s the show about the poet that’s Apple TV+’s trailblazing debut, a marriage of feminist history and world-dominating luxury tech that is both entirely bizarre and uniquely American.
Apple TV+’s strategy has proven markedly different than the massive libraries touted by other streamers, which heavily augment their original programming with shows they’ve bought the rights for. According to Reelgood, a streaming TV guide, Amazon Prime and Hulu have more than ten times as much licensed content as original programming. Even Netflix, the great content producer of our era, licenses over half of the television it offers to subscribers. The prevailing wisdom is that quantity should be the business model.
Apple TV+ is, by contrast, a boutique offering. The 30-odd titles on its ₹99-per-month service are all exclusive originals, save for exactly two: Fraggle Rock and the Peanuts specials, including the staple
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