This has taken all sorts of forms, whether that be screenplays that were stashed away for years or passion projects of directors that could finally secure funding under a streaming service or a film being sold by a major studio to a streaming service for one reason or another. Netflix, being the pioneer of streaming content production and acquisition, have put films online that have undergone all three forms of this production malaise that I am referring to. Some of their first films that they released, like Pee-wee’s Big Holiday (dir. John Lee, 2016) and Tallulah (dir. Sian Heder, 2016), are films that had scripts that were written at least a decade before their eventual release. They would eventually move into being one of the only studios to give a large budget and bottomless creative freedom to the passion projects of auteurs, as is the case with Roma (dir. Alfonso Cuaron, 2018) and The Irishman (dir. Martin Scorsese, 2019) before finally moving into just outright purchasing films studios are wary of releasing, like The Cloverfield Paradox (dir. Julius Onah, 2018) and The Lovebirds (dir. Michael Showalter, 2020). This kind of studio dumpster diving or cash throwing has been aped by every major streaming service since the rise of streaming with films like An American Pickle (dir. Brandon Trost, 2020) (HBO Max), Coming 2 America (dir. Craig Brewer, 2021) (Amazon Prime), and Palm Springs (dir. Max Barbakow, 2020), but Netflix has been doing it the longest and is the easiest to look at analytically.