Netflix Baz Luhrmann hip-hop drama The Get Down has endured notably public production headaches, even delaying half of its first season, and the price tag finally soared too high. Netflix confirms Season 2 has been scrapped, as Luhrmann reveals his commitment to another film.
Netflix Baz Luhrmann hip-hop drama The Get Down has often seen more problems than praise, making headlines for its unusual structure and expense, rather than content. The first season’s second half may get things back on track, though Luhrmann now reveals a shorter count than expected, and what may change in a second season.
Netflix’s Baz Luhrmann-helmed The Get Down is finally dusting off the vinyl to bring us the second half of its first season. After an earlier announcement teaser, the ‘70s hip-hop drama goes “inside the music” with a first full trailer, new key art and photos.
Netflix’s Baz Luhrmann-helmed The Get Down proved one of the first notable examples of streaming series breaking up their episode runs, but at long last, Part II is headed to the stage. Wave goodbye to your social life in April, as The Get Down announces its return in a first teaser.
The musical never completely died as a movie genre, but it did lay dormant for a good long while throughout the 1980s and ’90s, with only the occasional throwback like Pennies From Heaven, Newsies, or Everyone Says I Love You popping up, like an old memory. Back then, the movie business largely conceded its tradition of song-and-dance to Disney cartoons and MTV, assuming — wrongly — that the idea of flesh-and-blood actors breaking into big numbers in the middle of narrative feature films had become too cornball for the modern mass audience.
Netflix’s The Get Down made headlines for the wrong reasons at first, as reports of Baz Luhrmann‘’s ballooning budget and reshoots pulled focus from positive reviews. Production even made history by separating the two halves of its first Netflix season, while new reports suggest episode budgets have reached as high as $16 million.
The relationship between Broadway and and Hollywood has always struck me as a bit unfair. Hollywood basically gets its pick of pre-packaged products: wonderful lyrics, showstopping dance numbers, and beloved songs. Broadway, meanwhile, has to do most of the heavy lifting when adapting a movie for the stage. Oh, you want to make Waitress into a Broadway musical? That’s great! You’ll just need to write a whole new suite of songs. And figure out all the choreography. And rewrite the book to make those first two things fit. Because the movie has none of that.