I’m guessing because they don’t have to make money off the content. Only break even so that they keep people using their hardware.

When you have a captive audience and make money from something else, you’ll do things that is perceived by others as stupid. Bell Canada does the same thing with CraveTV.

This is the best summary I could come up with:

Second, I fear this excellent, swing-for-the-fences effort won’t have the impact of other, similarly ambitious blockbuster series like Stranger Things or House of the Dragon shown on competitive platforms.

Let’s talk a bit more about Monarch, a series which solves the biggest problem of gigantic monster movies – too much time spent watching actors look up in wonder at skyscraper-sized, computer created behemoths.

Silo, a dystopian drama about a future where a pocket of humanity lives hundreds of stories underground, was a compelling tale featuring David Oyelowo, Rashida Jones, Tim Robbins and Rebecca Ferguson.

Still, Apple’s original programming remains, essentially, a (really robust) side project for a company that finds much of its nearly $3 trillion value from making smartphones, computers, smartwatches, headphones and other kinds of tangible technology products.

Which may explain why the company’s TV shows often don’t have the visibility of larger, higher-profile streaming services presented by competitors whose primary business is more focused on media content (another rival, Amazon Prime Video, has similar issues).

I got an early look at Apple TV+'s original series in the summer of 2019 – well before the service would debut that November — and I was really only impressed by Little America, which seemed like the best marriage of high-quality content, creative storytelling and the elevation of previously unheard voices.

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