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jeanvaljean24601 · 4 years

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How to Watch Mad Men and More Great Shows for Free Right Now

Another day, another brand new streaming platform out there begging you to subscribe to its service so you can ignore your family members and binge-watch a bunch of TV shows and movies in the name of entertainment. This time, it's NBCUniversal's Peacock, which offers a free tier as well as two premium options (one with ads and one without). The service features a number of programs for free, including Friday Night Lights and even Parks and Recreation, but Peacock isn't the only place you can stream great shows without breaking the bank.

Below, we've gathered up a number of shows that don't require you to shell out money for Netflix, Hulu, Amazon Prime, Disney+, Apple TV+, HBO Max, Peacock, and/or whatever other streaming service subscriptions are out there. Sometimes you just need a simple freebie. And you know what? You deserve it. So check out the list below and take comfort in knowing it won't cost you a thing.

Watch it on: IMDb TV

Until recently you had to have a Netflix subscription to watch Mad Men, AMC's Emmy-award winning period drama from Matthew Weiner that was dedicated as much to style as it was to substance. The 1960s-set series, which traced the rise and fall of flawed Madison Avenue advertising executive Don Draper (Jon Hamm) through his own complicated relationship with identity, was a pointed commentary on the toxic masculinity, sexism, and racism of the era. It also changed the way we watch and talk about TV. If you haven't seen it yet, now's the perfect time to do so.

The Dick Van Dyke Show

Watch it on: Tubi (complete series), Pluto TV (complete series)

Realizing The Dick Van Dyke Show is streaming for free feels a bit like winning a secret lottery or viewing an exceptional piece of art without paying the museum admission fee. The popular comedy, which ran for five seasons, was created by Carl Reiner and starred Dick Van Dyke as the head writer of a TV show, while Mary Tyler Moore portrayed his wife. It's a timeless classic — one that took home 15 Emmys during its run, and if you've yet to experience it, you literally have no excuse at this point.

The Dick Van Dyke Show Photo: Michael Ochs Archives/Getty Images

Watch it on: ABC app (complete series)

Felicity is best known as the show in which Keri Russell cut her hair (not to be confused with the show in which Keri Russell wore a lot of great wigs, aka The Americans). Depicting Felicity Porter's (Russell) college years and the struggles that accompany trying to figure out who you're supposed to be, the show is also famous for Scott Speedman's whisper-talking and the ongoing battle of Ben (Speedman) vs. Noel (Scott Foley). Although the WB series was previously streaming on Hulu, you can now watch it for free on the ABC app.

A reimagining of the kitschy original series, Syfy's Battlestar Galacticastarred Edward James Olmos, Mary McDonnell, Katee Sackhoff, Tricia Helfer, Michael Hogan, James Callis, and Jamie Bamber and explored the aftermath of a nuclear attack by the Cylons, cybernetic creatures invented by man who evolved and rebelled against their creators. The show was critically acclaimed for the way it tackled the subjects of science, religion, and politics, and for the way it explored the deeply complicated notion of what makes us human. Everything from the miniseries to the two BSG films (Razor and The Plan) is currently available to stream for free on Syfy's website, so there's no better time to watch it. So say we all!

Watch it on: IMDb TV (complete series), Tubi (complete series), Pluto TV (first 13 seasons), YouTube (first 13 seasons)

For many millennials, the fourth series in the Degrassi franchise, Degrassi: The Next Generation, is the defining iteration of the long-running Canadian series. The drama series, which was sometimes so overly dramatic it was actually funny, tackled everything from date rape and suicide to sexual orientation and teen pregnancy. The series, which launched the careers of Drake (then known as Aubrey Graham) and Nina Dobrev, is streaming on multiple free platforms.

Watch it on: ABC app (complete series)

Eli Stone really had it all, which is to say it had Victor Garber singing George Michael songs, Loretta Devine singing George Michael songs, and George Michael singing George Michael songs. What else is there? ABC's offbeat two-season comedy-drama starred a pre-Elementary Jonny Lee Miller as Eli Stone, a high-powered San Francisco lawyer whose brain aneurysm gave him prophetic visions — which usually involved his friends, family, and colleagues breaking into song. Aside from a couple of ill-advised plotlines (the pilot, which suggests vaccines cause autism, is best forgotten), the show was a blast: a weird but memorable cocktail that should have stuck around for more seasons because, as I mentioned, Victor Garber sang George Michael songs. Also, Sigourney Weaver played God?! -Kelly Connolly

Watch it on: YouTube (nearly every episode)

A true Canadian treasure, The Red Green Show was a long-running comedy starring Steve Smith as Red Green, a handyman who constantly tried to cut corners using duct tape and who had his own cable TV show. It was a parody of home improvement shows and outdoor programs and featured segments like Handyman Corner, Adventures with Bill, and The Possum Lodge Word Game. The show ran for 15 seasons, airing on PBS in the States.

TV Premiere Date Calendar: Find Out When Your Favorite Shows Are Back

Watch it on: IMDb TV (complete series), ABC app (complete series)

Critically beloved but struck down before its time, My So-Called Life has been praised for its realistic and honest portrayal of teenage life, not just via Angela Chase (Claire Danes), but through the show's young supporting cast as well. Now considered to be one of the best shows of all time, it tackled topics like homophobia, homelessness, drug use, and more without ever feeling preachy or like an after-school special. Also, Jordan Catalano (Jared Leto) could lean.

Watch it on: CW Seed (first five seasons), IMDb TV (first five seasons)

If you don't have Netflix but still want to watch Schitt's Creek, you'll be happy to know you can watch the first five seasons of the heartwarming, Emmy-nominated comedy series, about a wealthy family who loses everything they own except the town of the show's title, for free on CW Seed and IMDb TV.

Dan Levy and Catherine O'Hara, Schitt's Creek Photo: Pop TV

Watch it on: Peacock (complete series); IMDb TV (complete series)

You may never know what it feels like to have Coach Taylor (Kyle Chandler) be proud of you, but you can pretend by watching all five seasons of Friday Night Lights, a series that was as much about a Texas community as it was about the sport that united it. By the end of the show, you'll be asking yourself "What Would Riggins Do?" and tattooing "Clear eyes, full hearts, can't lose" on your body, all while chanting "Texas forever!" Trust me, it happens to everybody.

Watch it on: CW Seed (complete series)

It is relatively easy to forget that The CW series The Carrie Diaries was a prequel to Sex and the City, because the charming show, which lasted just two seasons, was able to stand on its own. The coming-of-age series that followed a teenaged Carrie Bradshaw (AnnaSophia Robb) was relatively innocent compared to the original series. The show's 1980s setting made it easier for the writers to focus on more harmless family storylines and teenage heartbreaks, but the show never shied away from the heartstring-tugging drama of young adulthood either. It's a shame the show never got the kind of ratings it deserved and wasn't able to exist beyond Carrie's high school years, but the Season 2 finale works well as a series finale, so viewers won't feel as if the story was left incomplete. android tv box

Watch it on: CW Seed (complete series)

It's a shame Bryan Fuller's saturated dramedy Pushing Daisies, about a pie-maker (Lee Pace) with the ability to bring the dead back to life, couldn't bring itself back to life after becoming a casualty of the 2007-08 writers' strike. A whimsical delight, the show featured the pie-maker teaming up with a local private eye (Chi McBride) to solve murders by reviving the victims for a brief time. Known for its quirky characters, eccentric visual style, and Jim Dale's pitch-perfect narration, it remains must-see TV.

Watch it on: IMDb TV (first seven seasons); Peacock

Columbo kicked off nearly every episode by revealing the crime and its perpetrator to the audience, which means unlike most crime dramas, the show was less about whodunnit and more about Peter Falk's iconic raincoat-wearing homicide detective catching them and getting them to confess. Oh, and just one more thing: it's great.

Watch it on: CW Seed (complete series)

The charming and playful Forever, which starred Ioan Gruffudd as an immortal medical examiner, was the one show that could have saved ABC's Tuesday at 10 p.m. death slot. But the network still canceled the series anyway, enraging the show's fans, who have never let the sting of its death go. Luckily, it now lives on, ahem, forever (aka until the content license expires) on CW Seed.

Watch it on: IMDb TV (complete series)

It sounds odd to say The Middle, which ran for nine seasons on ABC, was unfairly overlooked, but it always felt like the series, which followed the middle class Midwestern Heck family, was a bit of a hidden gem. It wasn't as popular with Emmy voters as, say, Modern Family, and critics also failed to give it its due, but it was a real, heartfelt, reliable family comedy with mass appeal, and you can stream it on IMDb TV for free. h96 tv box

Watch it on: ABC app (complete series)

Trophy Wife's short life — it was canceled after just one season — can probably be chalked up to its unfortunate title, which was meant to be ironic but ultimately kept viewers from tuning in and experiencing the warmth of the show and the relationships at its center. Malin Akerman starred as the young wife of Bradley Whitford's middle-aged lawyer, and the comedy explored the dynamics between the two, his children, and his two ex-wives, who were played by Marcia Gay Harden and Michaela Watkins. h96 max x3

Watch it on: NBC app (complete series)

Loosely based on the Biblical story of King David, Kings was a compelling drama before its time. Rudely cut down after just one season by NBC, the show starred Ian McShane as the king of the fictional kingdom of Gilboa, while Christopher Egan portrayed an idealistic young soldier whose counterpart is David. The show also starred Sebastian Stan, which is reason enough to want to check it out.

Watch it on: ABC app (complete series)

Ray Wise portrays Satan in Reaper, a supernatural dramedy about a slacker (Bret Harrison) who reluctantly becomes a reaper tasked with capturing escaped souls from hell after it's revealed his parents made a deal with the devil many, many years before. The fact the show only lasted two seasons is a crime against humanity. Luckily, you can watch it in its entirety for free on the ABC app. h96 max x3

Watch it on: IMDb TV (complete series)

A team of experts led by a kooky old scientist (John Noble), his son (Joshua Jackson), and an FBI agent (Anna Torv) investigate strange occurrences around the country, X-Files style, in the J.J. Abrams-produced Fringe. The series is one of the best broadcast science-fiction shows of all time, particularly in its first three seasons, and perfected the art of the serialized procedural by weaving the show's deep mythology and excellent character work into weekly standalone stories, making it easy to binge or watch in spurts. And by the time the end of Season 1 starts, you'll have a hard time stopping. -Tim Surette

Watch it on: Tubi (complete series), Vudu (complete series)

Although American TV producers would eventually adapt Being Human, the original British version, which followed three supernatural beings trying to live amongst humans, is far superior. The show, which ran for five seasons, starred Aidan Turner, Russell Tovey, and Lenora Crichlow as a vampire, werewolf, and ghost, respectively. So skip the U.S. version entirely and watch the U.K. series for free.

Watch it on: Pluto TV (complete series), Vudu (complete series), Tubi (complete series)

The Australian young adult-oriented series Dance Academy is not exactly what you'd call "great television," but it is great fun. Brimming with teen angst and melodrama, the series, which ran for three seasons and even had a follow-up movie, followed a handful of dancers at Sydney's National Academy of Dance as they trained in the sport they loved while also falling in and out of love with each other. The acting was sometimes questionable, but the series itself was addictive, not to mention one of the easiest binges you'll ever encounter. h96 max tv box

3rd Rock From the Sun

Watch it on: Tubi (complete series), Pluto TV (complete series), Crackle (all six seasons), Vudu (all six seasons)

You might think a show about a group of socially awkward, 1,000-year-old aliens in human skin suits who are trying (badly) to pose as a human family and blend into an ordinary Midwest town might sound ridiculous, and, well, that's fair. But 3rd Rock From the Sun was still charming in even its most bizarre moments and gave its cast a lot of room to play up their roles and create an ensemble of weirdos that, at some point or another, start to tap into their newfound humanity and relish their new home here on Earth. -Amanda Bell.

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theconservativebrief · 6 years

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Technically, a new fall TV season begins today, Monday, September 24.

Technically. I mean, did you even notice?

There was a time when the start of a new TV season would bring with it endless pomp and circumstance. The Emmys would air the night before the season started, to reward the best of the past season. The networks would air preview specials in the weeks leading up to the new season, showing off the best moments from their new shows.

You would be all but unable to escape the endless onslaught of advertising for those new shows, and the TV Guide would be the thickest, chunkiest issue of the year. And that’s to say nothing of the on-network promos that gathered up all the biggest stars to sing and dance to some cheesy pop knockoff (or, in the case of the WB, brood beautifully to the tune of This Way’s “Crawl”).

But we’re living through an era when almost all of that is disappearing. As with summer movie season, “fall TV season” increasingly feels like an anachronism, a way to mark the passage of the entertainment year that has been drowned out by a glut of programming. How can it be fall TV season when it’s always fall TV season?

An endless sea of screens! Fred Mantel/Shutterstock

Okay, yes, technically, there are still a few months where it doesn’t feel like 500 new shows debut every week. After Thanksgiving, basically no shows launch, due to the end-of-year slump in programming (though Netflix, Hulu, and Amazon have all experimented with launching shows in this window), and August is still relatively quiet, though that, too, is changing.

But the age of “fall TV season” — roughly September and October — and “midseason” (which sort of loosely comprised the January through March window) is essentially done for. Yes, lots of shows still launch in those windows, but we’ve also got a new “prestige TV” season (March through May), and there are so many more summer shows launching in June and July, and January is more crowded than ever, and … and…

Fall TV is still important for broadcast network shows, and ABC, CBS, the CW, Fox, and NBC will be launching 20 new series before the end of October. That’s not nothing. But where all but a handful of cable networks and streaming service programs used to stay away from the fall glut, now there are even more of them adding to the pile-up. FX launched its Sons of Anarchy spinoff Mayans MC in early September, HBO has its new Jennifer Garner vehicle Camping in October, and all three major streaming services have multiple programs debuting in these two months.

And I haven’t even mentioned returning shows.

Now, the argument here might be, “So fall TV season hasn’t disappeared. It’s just gotten worse.” I suppose that’s technically true, but only because there’s so much more television (more than 500 scripted shows, almost certainly) that everything has gotten worse. When Netflix is dedicated to launching a new show, or a new season of a show, on every weekend but a couple of holiday weekends, it’s hard to single out “fall” as a particularly important part of the TV calendar.

This doesn’t mean we should completely abandon the other aspects of what fall TV season used to stand for — and, indeed, we here at Vox are going to be running weekly programming guides for you to make sense of the giant glut of new shows coming at you between now and Thanksgiving (when that glut mercifully calms down a bit).

But the idea of fall as sink-or-swim time for new TV shows is increasingly antiquated. So why do we still cling to it like an essential part of the calendar?

How many of these shows from fall 2017 do you remember? Javier Zarracina/Vox

The whole reason we have a fall TV season in the first place largely stems from advertising. In particular, car manufacturers liked having new shows to place commercials on in the fall because it allowed them to advertise the new models as they began to hit car lots in the last three months of the year. (This is still true.)

But ad-supported TV is a slowly dying model. It’s not like it’s going to completely disappear in the next few years (or even the next decade), but the focus of the TV industry is less and less on the ways that advertisers can make or break the bottom line.

Indeed, if a network launches a new series in the fall, and it struggles to find an audience, there are many more arguments for sticking with that series than there used to be, especially if a network owns that show and can sell it overseas or to streaming services. (I’ve written a lot more about this slow, steady downward trend in cancellation.)

So, then, why take a show that your network believes in and leave it to struggle for attention in the fall, when it might be better served launching somewhere else on the calendar? This has led to the very strange phenomenon of networks holding shows they clearly believe are their prestige players for midseason, while burning off more rote programs in the fall.

There are exceptions, of course — NBC launched This Is Us in the fall and seems to be really into its (not that great) mystery drama Manifest and (perfectly adequate) medical drama New Amsterdam this year. But fall TV means less and less for networks in terms of quality, as well as in terms of their bottom lines.

And for streaming services and cable networks, the economic incentive is to just keep producing and producing shows. Volume is the way to keep making money if you’re Netflix, because every show you produce might become the favorite of just enough subscribers that they keep paying for subscriptions.

And if you launch all of those episodes at once, as Netflix does, well, you need dozens upon dozens of shows in production, and you need to scatter them all across the calendar. This is less true for services like Hulu, which release some shows weekly, but even those are ramping up production to better fill out the year.

What’s more, the sheer number of shows on the broadcast networks launching in the fall window (the one thing still notably different about this part of the calendar) is down from where it was just 10 years ago. In the 2000s, it wasn’t rare for the number of new shows on broadcast to flirt with 30; in the past few seasons, it’s been rare for that number to go over 20. (And, really, my 20 count above is a lie, since it includes the not-actually-new Murphy Brown and only sort of new Roseanne spinoff The Conners.)

Will fall TV continue to be important in the future? The answer is yes, but a qualified yes. In the sense that it marks a busy point in the TV calendar, sure, it’s worth paying attention to. But when the entire TV calendar is filled with new shows, when every week feels like the fall TV seasons of yore, the importance of fall premiere week every late September wanes. It’s not fall TV — it’s all TV.

Original Source -> There is no fall TV season anymore

via The Conservative Brief

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njawaidofficial · 7 years

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YouTube Grows Up: Inside the Plan to Take on Netflix and Hulu

http://styleveryday.com/2017/10/09/youtube-grows-up-inside-the-plan-to-take-on-netflix-and-hulu/

YouTube Grows Up: Inside the Plan to Take on Netflix and Hulu

With a veteran television exec, talent like Demi Lovato and Google’s $86 billion in cash, the platform known for skateboarding videos and tween vloggers wants to join the battle to become a prestige TV player. “I want our shows to resonate in a big way with audiences,” says content head Susanne Daniels. “And once that happens, we’ll be on that list — like it or not.”

Days before Morgan Spurlock debuted his anticipated Super Size Me sequel at the Toronto Film Festival, the documentary already was drawing buyer interest. Netflix made a play for Spurlock’s poultry industry exposé, per sources. Hulu and CNN also were said to be in the mix, but a surprising distributor quickly rose to the top: YouTube. The lights had just dimmed on Super Size Me 2: Holy Chicken‘s Sept. 8 world premiere when THR reported that the streamer would pay $3.5 million for the documentary, committing to a theatrical release and a hefty marketing spend. “YouTube made the most sense for what I wanted to accomplish with this film,” says Spurlock, who is said to have left millions on the table to work with the Google-owned video hub and its 1.5 billion monthly viewers. “You don’t make movies to sit on a shelf and collect dust. You want them to actually be enjoyed by as many people as you can. And their plan is to make this a noisy partnership.”

Indeed, when Super Size Me 2 debuts on YouTube Red, the company’s $10-a-month streaming service, in 2018 after a run in theaters (a distribution partner hasn’t been chosen yet), it will front a small but growing slate of films — among them a documentary from rapper Warren G and a special starring Katy Perry — that YouTube global head of original content Susanne Daniels is hoping will help turn the world’s biggest repository for web video into an arbiter of taste and culture, a player in both the Oscar and Emmy races. “I want the movies that we’re buying to be buzzy and have something provocative to say,” says Daniels, a career television executive who joined YouTube in 2015 to lead its original content push. “It’s easier to support films the right way when they have a really loud and strong point of view.”

That YouTube execs were trolling Toronto for the next big indie hit says a lot about the rise of streaming video services over the past few years. An arms race among cash-rich new players — led by Netflix and Amazon and now including Hulu, Apple, Facebook and, yes, YouTube — has electrified the content business as legacy distribution models continue to fracture (see the 25-year low in box-office attendance this summer). The shift is redrawing the hierarchy of the television industry, where all five broadcast networks saw a decline in total viewers last season while the streamers committed about $20 billion to programming delivered without a cable subscription. This summer, Apple poached Sony TV’s top execs Zack Van Amburg and Jamie Erlicht to help it spend $1 billion making the kinds of shows (The Crown, Breaking Bad) that they once sold to networks. Netflix snapped up uber-producer Shonda Rhimes from ABC with an estimated $100 million deal. And Facebook announced its new video destination along with deals with dozens of production and publishing companies.

If there’s one thing that Netflix’s House of Cards, Amazon’s Transparent and Hulu’s drama series Emmy winner The Handmaid’s Tale have shown, it’s that it only takes one big hit to earn Hollywood’s respect and, in many cases, a subscriber’s credit card information. “If you can offer talent the same level of fame and exposure and pay them the same — if not more — than they get elsewhere, you can get access to anybody,” says BTIG media analyst Richard Greenfield. “There are no barriers anymore.”

Perhaps, but for every Netflix or Hulu, there is an Xbox Entertainment Studios or a Yahoo Screen or an Intel Media, all of which were scrapped after pricey launches. Even YouTube has been here before with its short-lived initiative to offer as much as $5 million up front to everyone from Ashton Kutcher to Jay Z to create their own “channels.” But the latest investments have the Hollywood talent community salivating. “The commitment of resources seems to indicate that this is a long-term game,” says Joe Cohen, co-head of CAA’s TV department. “It’s the most exciting time we’ve been in because of how much opportunity there is.”

There’s certainly not room for half-hearted programming plays in 2017. With nearly 500 scripted series expected this year, breaking through all that clutter isn’t easy. A common refrain as these new buyers take meetings is that each is looking for its Game of Thrones — an all-audience, brand-defining megahit. What that means for each platform is starting to come into focus. While Apple has been on the hunt for a big-budget drama from the likes of A-list creators Ryan Murphy or Vince Gilligan, Facebook is taking a more measured approach — saving Nicole Byers’ MTV comedy *Loosely Exactly Nicole from cancellation and ordering low-budget series from such longtime partners as BuzzFeed and Refinery29.

Where does all this leave YouTube, the site that launched the streaming age in 2005 with user-generated cat videos but now wants to be taken seriously as a prestige subscription destination? During a recent visit with THR at Google’s Mountain View campus in Northern California, YouTube CEO Susan Wojcicki laid out her multipronged offensive: a slate of ad-supported unscripted originals from such names as Demi Lovato (see sidebar), Ryan Seacrest and Ellen DeGeneres, coupled with a scripted push for YouTube Red that combines existing IP (including Step Up: High Water, an offshoot of the dance movie franchise, and The Karate Kid spinoff Cobra Kai) with projects fronted by its homegrown digital stars. Among the shows in the works are a musical comedy with Rudy Mancuso (3 million YouTube subscribers) executive produced by Avengers: Infinity War directors Joe and Anthony Russo, an Anna Akana (1.9 million) drama executive produced by Mark Gordon and a Liza Koshy (11.7 million) vehicle. It even launched its own version of a skinny bundle, YouTube TV, offering access to channels including FX and ESPN over the internet for $35 a month. “Television is changing a lot, and there are opportunities to reinvent parts of it,” says Wojcicki. “We’re going to continue to invest more in it.”

YouTube and Hollywood haven’t always been so chummy, of course. As the original digital video disrupter, the site was a pariah during its early years when uploaded clips made up the bulk of its database. Viacom sued for $1 billion over copyright infringement of footage from The Daily Show and South Park (it was settled in 2014), and the company still regularly wars with the music industry over royalties. So three years ago, when chief business officer (and Netflix alum) Robert Kyncl began to plot the launch of a service that would give users the best of YouTube without the advertising, he knew how important it would be to get Hollywood on board. “YouTube Red was something the creative industry always wanted us to do,” says Kyncl. “I’d been on the receiving end of those calls pretty much every week.”

Enter Daniels, who had spent years tapping into the minds of teens at WB Network and later MTV. Early YouTube Red offerings starring the platform’s biggest stars (think a reality series with PewDiePie) drew eyeballs but not much notoriety. Now that strategy has changed. This summer, YouTube Red went head-to-head with Netflix, Hulu, AMC and Amazon to land Sony TV’s Karate Kid reboot, set 30 years after the coming-of-age classic, with Ralph Macchio and William Zabka reprising their roles. Most involved expected the half-hour Cobra Kai — from Harold & Kumar duo Jon Hurwitz and Hayden Schlossberg and Hot Tub Time Machine writer Josh Heald — to land at Netflix. But Daniels’ aggressive 10-episode straight-to-series offer sealed the deal. Why? “Netflix is breaking a show every other week,” says Macchio. “With the passion that YouTube and Susanne Daniels have, this show is not going to get lost. They want it to be that first big show that puts them on the original content map.”

YouTube isn’t really part of the prestige TV conversation yet, and Kyncl declines to disclose how much the company is willing to spend on its originals business. But sources indicate it’s more likely in the hundreds of millions annually, nowhere near the $6 billion that Netflix pledges. (EMarketer estimates that YouTube ad revenue, which Google doesn’t break out in its earnings reports, will be about $3.5 billion this year, and Google had $86 billion in cash on hand in 2016.) While YouTube is willing to spend like any cable outlet (around $2 million an episode for dramas), say people familiar with its deals, it’s not quite ready to stretch beyond the $5 million an episode of some premium dramas, except for a handful of marquee projects.

YouTube also is said to have beat out others to land the Mancuso project, which has Pitch Perfect‘s Jason Moore attached to direct the pilot. But for other pickups, Daniels and her 30-person staff in the company’s Playa Vista office have had to get more creative. She landed the series reboot of Step Up after running into Lionsgate’s Erik Feig at a New Year’s Eve party. “Whatever was in the champagne that night, the call came in Monday, and it was like, ‘Let’s figure out how to do this,’ ” recalls Lionsgate Television chairman Kevin Beggs. Meanwhile, she piloted the Doug Liman-produced Impulse, based on a novel in Steven Gould’s Jumper series, before ordering it to series. “It’s my preference always to do a pilot,” says Daniels. “But in this crazy, competitive environment — more competitive than I’ve ever seen it before, ever — I don’t always have a choice.”

That competition will only become fiercer as Apple, Facebook and perhaps someday soon Snapchat or Twitter or Instagram get into the premium video game. While a meeting with Netflix, Amazon or Apple may be a creator’s goal among the streamers, persuading a top writer or producer to make the trek to Playa Vista — YouTube’s Hollywood outpost — isn’t as easy. But Daniels hopes that’s changing as she starts to make more high-profile pickups. Agents say the streamer’s hybrid approach of working with both YouTube celebrities and more traditional TV talents has led to some confusion over what the outlet is looking for. However, developing a “brand” of shows is a notion that Daniels pooh-poohs: “Short of choosing a really specific lane to play in, how do you really define ‘brand’? How is Amazon’s brand different than Netflix’s brand different than HBO’s brand different than Showtime’s brand?” She does acknowledge that she is focusing on the 18-to-34 demographic with youthful but edgy fare. On her wish list is a family show with religious overtones (she recently met with Touched by an Angel scribe Martha Williamson), and sources say she also is looking for a broad, multicamera comedy, a female ensemble in the vein of Girls and an action drama that would appeal to YouTube’s large gaming community — in other words, something for each of YouTube’s core demos.

While nearly all of the streamers are competing for awards recognition and prestige, only Facebook, with its 2 billion monthly users worldwide, and YouTube truly can duke it out over sheer audience scale. For now, YouTube has a clear head start on video, with more than 1 billion hours watched daily throughout the world. But through Watch (which currently is only available in the U.S.), Facebook is gunning for a larger slice of the $11.7 billion in ad dollars expected to flow into the digital video business this year.

Already, the two have gone head-to-head on programming. Facebook also considered working with Katy Perry on her 96-hour live stream, but YouTube ultimately landed the ambitious project, which drew more than 50 million views in 190 countries. (Per sources, MTV also bid, but the show would have aired only in the U.S.) “I’m so glad we swung for the fences on that and tried it,” says Daniels. “We need to be thinking about community and interactivity and live and international and all the things that we are that a TV network isn’t.” Witness was the first in a small slate of unscripted originals that YouTube has developed separately from its Red programming and will release outside the paywall in the hope of attracting blue-chip advertisers. “One of the things that I grew uncomfortable with was the fact that we were not creating original content for our biggest partners,” says Kyncl, noting that he’s hoping to tap into the demand that has been created by the nearly 20 percentage point drop in ad-supported originals in the traditional TV business over the past five years as subscription streaming services have flourished.

Plus, there’s the assurance that an ad on a Kevin Hart or Ryan Seacrest show won’t run alongside anti-Semitic, violent or other controversial videos often found on YouTube (and that prompted an advertiser revolt dubbed the “ad-pocalypse” earlier this year). So far, L.L. Bean and STX Entertainment have signed on for DeGeneres’ behind-the-scenes series Show Me More Show. The rate card for the series, which has averaged around 500,000 views per video since its Sept. 19 launch, is said to range from $500,000 to $1.5 million, though other shows have packages that are more expensive. Ulta Beauty is on board for Lovato’s Simply Complicated (Oct. 17), and Johnson & Johnson is the exclusive sponsor of the Seacrest-produced singing competition Best.Cover.Ever.

Talent, meanwhile, has been lured by the potential to reach fans no matter what country they live in. “YouTube is the O.G. of video content on the internet,” says Lovato, the 25-year-old pop star (for those over 40, she’s referring to the “original gangster”). “When they came to me with the idea, I just couldn’t say no.”

But as YouTube sets its sights on higher-profile projects, it risks alienating the community of digital talent who came to fame on its platform (and subsequently helped raise production values and CPMs), especially because projects like the Logan Paul-fronted sci-fi film The Thinning and Joey Graceffa’s reality series Escape the Night are said to be some of the most popular on Red.

Creators are watching YouTube’s moves closely. “It makes sense for them to do both,” says Rhett McLaughlin, one half of hosting duo Rhett & Link, who have both a YouTube Red series (Buddy System) and an ad-supported show (Good Mythical Morning). “This is ultimately a battle for people’s eyeballs.”

Facebook already is exploiting the tension, offering upfront deals to digital influencers to post their videos on Watch, though the social network says it eventually wants to stop funding content altogether in favor of a revenue-share arrangement (the split is the same as YouTube’s, with 55 percent of ad revenue going to the creator). YouTube execs, however, say they won’t abandon the site’s homegrown stars. “We focus on both YouTube native talent and Hollywood talent,” says Kyncl.

Of course, there are quirks to working with a technology company. At YouTube, the main challenge is its uniquely annoying platform architecture, in which each original series must live on a designated YouTube channel. For Step Up, for instance, YouTube is creating a whole new channel, which it will fill out by licensing the original films and offering collections of dance videos. “Some of these things are really new to us and require a whole different approach,” says Lionsgate’s Beggs. “A lot of people who are not normally in the same room together have met multiple times over at YouTube to compare notes.”

One benefit of having all those engineers working behind the scenes, though, can be the troves of data about the intimate viewing habits of billions of people. Daniels came to the Cobra Kai pitch armed with the knowledge that Karate Kid videos had yielded more than a billion views on YouTube. And platforms that rely on advertising typically aren’t as precious about data as Netflix or Amazon. Although YouTube doesn’t release subscriber figures or ratings for Red (the only number that executives have shared is that its first 37 originals have been viewed 250 million times — or an average of about 6.7 million views per show), creators with channels on Red receive monthly reports detailing how long people have watched their videos (important since YouTube shares subscription revenue with its creator partners) and other performance metrics.

In the subscription space, no one seems poised to catch Netflix, which has a five-year head start and series slate that included 43 scripted originals in 2016. But as Netflix and others look to own more of their shows, YouTube (and Apple) could get a boost. “Netflix wasn’t even in the original programming game four years ago,” says BTIG’s Greenfield. “If Apple wants to be a major player, if Google wants to be a major player, this is the beginning.”

Sitting in her Playa Vista office in August after her weekly production update meeting, Daniels contemplates just what it will take to turn YouTube into the kind of platform that gets mentioned in the same breath with Netflix, Amazon and Hulu. “I want our shows to resonate in a big way with audiences,” she says with a gleam in her eye. “And once that happens, we’ll be on that list — like it or not.”

This story first appeared in the Oct. 4 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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