Dropout Was The Best Streaming Service Of 2024, And It's Not Even Close

Back in my college days, I was a theatre performance major and became the first woman to serve as captain in the history of my underfunded state school's improv team (no one who reads /Film regularly is shocked), which meant I spent an excessive amount of time on YouTube consuming sketch clips and illegally uploaded episodes of "Who's Line Is It Anyway?" This fixation led me to the CollegeHumor channel and I became obsessed with a show called "Hello My Name Is." Each episode had Josh Ruben (as in "Heart Eyes," "Scare Me," and "Werewolves Within" director, Josh Ruben) being transformed into a new character with prosthetics, wigs, and costumes, after which he would have to sit down for an improvised, in-character interview upon seeing the result. Nearly 15 years later, my college friends and I still quote a few of the episodes.

"Hello My Name Is." ended long ago, but "Very Important People" hosted by Vic Michaelis has continued to carry that torch on the Dropout streaming platform ... and if Michaelis isn't hosting a late-night talk show within the next 10 years, something is very wrong. Don't believe me? Subscribe to Dropout and see what you're missing.

Sam Reich, a veteran performer and former Chief Creative Officer of CollegeHumor, purchased the company in 2020 from IAC. It was a means of streamlining the company branding to reflect the Dropout streaming service, which has proven to be CH Media's final form. Under his watch as CEO, Dropout now has top-tier original programming, an inclusive roster of familiar faces that evoke the golden age of game shows, independent, ad-free, uncensored comedy of all styles, a work model that actually supports its workers, and a rabid community of tabletop role-playing game (TTRPG) fans, which perhaps makes him the only CEO in entertainment worthy of the title. Under his leadership and the contributions of an incredible crew, Dropout shows us what the future of entertainment could be like if we actually value people over profits and creativity over pleasing the algorithm.

Amid the streaming wars, every platform claims to be an originator — the promised result of innovation that capitalism supposedly breeds — but only one is actually doing it. Subscriber numbers and gains for shareholder be damned, Dropout was the best streaming service of 2024, and it's not even close.

In the 1970s, the already popular landscape of game shows hit critical mass, with The Big Three broadcasting networks (ABC, CBS, and NBC) boasting 19 different shows on the air. Audiences tuned in to watch everyday people try their hand at winning prizes and hosts became such beloved household names they started to feel like family. In the early 2000s, the advent of YouTube allowed everyday people to circumvent the typical pathways to superstardom, providing an opportunity for unknown performers to become household names without ever having to leave their homes. Channels emerged, production values increased, and while plenty of creatives still have to fight the "YouTuber" stigma, those who've crawled out from underneath their "Back In My Day" boulders recognize the overflowing wealth of entertainment existing beyond the confines of broadcasting networks, studios, and corporate-backed streamers. Dropout has found a way to marry both of those worlds together.

While the Actual Play show "Dimension 20" is arguably the lifeblood of Dropout (more on that later), it's "Game Changer," the platform's hilarious game show that has been making waves with the mainstream public. Reich hosts each episode; he's a malevolent god of chaos [complimentary] who invites three comedians to compete in a game show where the rules and premise change with each episode. Sometimes it's a simple game of "Sam Says" (Simon Says cranked up to an 11), sometimes Sam transforms the green room into an escape room and traps contestants inside (you've not lived until you've seen Lou Wilson scream at a hidden camera), sometimes it's a parody of a familiar show like "The Bachelor" or "The Circle," and sometimes the rules are as simple as "Brennan Lee Mulligan can't win." Their improv-comedy series "Make Some Noise," the improv music show "Play It By Ear," and the competitive secret guessing game "Dirty Laundry" are all spin-offs of episodes of "Game Changer," which makes for an immediate buy-in for the already established audience base.

One of Dropout's longest-running series, "Um, Actually," is a trivia show where players win points by insufferably correcting a nerdy statement presented as fact. And "Smartypants," while not directly a competition series, is a hilarious info-dumping lecture show inspired by (but legally distinctly different from) the trend of PowerPoint parties. One of the quickest ways to spark a laugh riot is with "Breaking News," where comedians read silly or strange dialogue from a teleprompter they've never seen before, losing points when they laugh. "Thousandaires," meanwhile, sees each comedian spending $1,000 on a group activity in whatever way they see fit, with the rotating roster of hosts choosing a winner and awarding a prize.

One of the streamer's newest shows, "Gastronauts," is, with no exaggeration, the best new cooking competition series on TV. Host Jordan Myrick invites three chefs to compete with ridiculous challenges conceived by the cast of comedians, with prompts like "make me an edible diorama for dinosaur chicken nuggets," a full meal that can be served in a feed bag strapped to your face, or the simple-yet-perfect: "horniest."

The competition shows feel like counter-culture art, where personality-based funniness is at the forefront and the double-fisted embrace of improvisation means there's no singular voice in control of a show's narrative. It's fully and palpably collaborative. It's so refreshing to watch shows that feel like genuine play, with good-natured people at the center and friendly competition amongst friends. And as an independent network, Dropout isn't beholden to the whims of corporate sponsors, so as an audience member, you truly have no idea where the next bit is going to go.

Exclusivity is the key to any streaming platform. While other, multi-billion dollar juggernauts like Netflix are busy talking out of both sides of their mouth by "exclusively" platforming the specials of outright bigots parroting the same tired jokes they've been beating into the ground for the last decade, Dropout Presents is the platform's series of live recorded specials — ranging from stand-up, improv, and solo performance comedy. Hank Green's "Pissing Out Cancer" and Adam Conover's "Unmedicated" are two fantastic specials with popular humorists outside of the core Dropout universe, and a way to tell the world "Hey, those funny and smart guys you have liked on the internet since high school? Yeah, we've got their comedy special." The improv specials like "Bigger! With Brennan & Izzy," "From Ally to Zacky," and "The Big Team" are a way for Dropout's core audience base to see a new side of the mirthful mastery of the platform's illustrious ensemble regulars, and introduce new players that will hopefully appear on other shows in the future.

Dropout Presents launched earlier in 2024, and considering two of the solo performances are some of the best specials I saw all year, it threw a hell of a launch party. I already wrote an entire piece about why "Chris Grace: As Scarlett Johansson" alone is worth a Dropout subscription, but "Courtney Pauroso: Vanessa 5000" might be the best thing I've seen all year — period. An absolute masterclass in physical satire, character work, and timing, Courtney Pauroso transforms herself into Vanessa 5000, a sex robot giving a demonstration to the audience that doubles as a dissection about relationships, the objectification of women, our overreliance on technology, performative sexuality, and the deep insecurities that fester within us all.

Jonah Ray of "Mystery Science Theater 3000" serves as the director of many of the "Dropout Presents" specials, an absolute perfect fit for everything Dropout and "MST3K" both represent. At their core, both worlds are the antithesis of studio/corporate-backed entertainment. I can't imagine anyone else in the director's chair.

Everyone on Dropout is a gifted performer and the level of skill appearing on each of the shows is staggering. While well-known comedians like Ben Schwartz, Paul F. Tompkins, Atsuko Okatsuka, Joel Kim Booster, Rachel Bloom, and Pete Holmes have been known to make appearances, the reason Dropout has exploded in popularity in the way that it has is because it's a platform boosted by a cast that feels like a community. Not since "Jackass" has there been a comedy collective that figured out the key to longevity is not with flashy gimmicks or shifting the focus toward established celebrities, but by embracing authenticity and hiring people who are as talented as they are personable.

The more you watch Dropout, the more familiar you become with the players' quirks, which only enhances the experience. During the infamous "Game Changer" episode "Yes or No" where the game rule was revealed to be that "Brennan Lee Mulligan Can't Win," audiences were kept in a constant state of tension as the group's most openly competitive member slowly went wild, concluding with Mulligan's now infamous, uninterrupted two-minute monologue that has become so popular, Dropout even sold coffee mugs with the complete text on it (it's sold out, sorry). Suppose some random contestant on "Jeopardy!" had this sort of breakdown. In that case, they'd become the type of internet pariah memed into oblivion for a weekend and forgotten about as soon as they arrived. When it happens after absorbing hours of Mulligan's antics, it becomes one of the funniest moments in game show history.

And fans know that what they see is authentic because it's often echoed in what is shown outside of Dropout. Grant O'Brien crafts specialty cocktails on "Dirty Laundry" while also hosting "What Have You Been Drinking?" (an interview podcast that also discusses the history and culture around cocktails). Ally Beardsley publicly started their gender transition in front of the Dropout cameras and was featured in the Washington Post's 50th-anniversary coverage of "Dungeons and Dragons" talking about their gender exploration through character creation. (They also co-host the popular "Gender Spiral" podcast.) Likewise, Erika Ishii's passionate speech about why they should be given government funding to have a Gundam on "Smartypants" holds actual weight when you know they performed as a voiceover artist on "Mobile Suit Gundam Narrative."

This authenticity could also be said for legitimately every person who has ever appeared on Dropout.

In recent years, the avenue of Actual Play entertainment where people play TTRPGs for an audience has exploded, and "Dimension 20" has been a massive part of that explosion. One-shot specials, anthology storytelling, and specialty seasons like "Dungeons and Drag Queens" (which featured members of "RuPaul's Drag Race" as players) have amassed a passionate and dedicated fandom. Live shows sell out across the country, so much so that in January of 2025, the group will put on "Dimension 20: Gauntlet at The Garden," a sold-out live show at Madison Square Garden.

The creative play of TTRPG is already a hugely popular avenue, but there's an element of its unscripted and unpredictable nature that keeps audiences coming back. There's so much to be gleaned about the players based on the characters they create and the choices they make, and with game masters like Brennan Lee Mulligan (who also hosts talk-back and interview shows related to the "D20" seasons) and Aabria Iyengar, audiences watching at home feel like they're a part of the game, too.

And feeling like they're a part of the game means the audience base gladly gives back and supports their faves when they pursue other creative endeavors. In just one example, core cast member Izzy Roland (who also currently plays Carla on HBO's "The Sex Lives of College Girls") raised over $250,000 in completion funds for the feature film "D(e)AD," directed by Claudia Lonow ("Knots Landing," "Rude Awakening," "Accidentally on Purpose") and Jonathan Schmock ("The Simsons," "Arrested Development," "Dharma and Greg"), and written and executive produced by Roland. The fact it also features many Dropout performers in lead and supporting roles doesn't hurt either. 

In the way that disgraced co-founder of WWE Vince McMahon is the Wario of "top brass at companies who are also public-facing figures on the TV the company produces" universe, Sam Reich is the Mario — a short king hero that makes the world a better place by using his wealth and connections for good. As the CEO and the "face" of the company, there is a direct connection to the success of the brand and his performance. If people don't like Sam, don't believe in his vision for the platform, or don't trust his taste, the product will fail. One of the older Dropout series, "Total Forgiveness," saw Ally Beardsley and Grant O'Brien play out a competition not unlike the plot of "Cheap Thrills" to earn thousands of dollars to help with their student loan debt. The series is one of the most moving unscripted works I've ever seen, and it only works because Reich has built an empire where employees feel comfortable enough to pitch a show centered on tormenting each other for monetary gain.

When it comes to entertainment in corporate America — the studios, the streamers, and the like — s*** rolls downhill, and since Sam Reich isn't s***ing on anyone, it means Dropout is just a mountain worth climbing. Listen, I don't know the man, and I'm not here to stump for any CEO, but unlike other companies who are willing to get in bed with the absolute worst people on the planet if it means their pockets are going to get a little thicker (see also: that "Harry Potter" Max series), Dropout is consistently striving to be as welcoming, inclusive, and progressive as possible without ever sacrificing what makes the platform worth watching. And that's the result of the leadership of Sam Reich. If every major player in the industry had a fraction of the empathy and selflessness that he shows, our industry would be in much better shape.

Oh, and if you need further proof, Dropout shares its end-of-year profits with its collaborators. All of them.

While I was in the middle of writing this article, it was announced that Buzzfeed had sold off First We Feast's "Hot Ones" for $82.5 million because they're making the full pivot to AI. Buzzfeed was birthed from the same era of the internet as CollegeHumor and this is how it's choosing to face the future? Bold strategy! Excluding the gold standards of streaming, Netflix, and Disney+ (because it's Disney), other players in the streaming wars have felt like they've been circling the drain for a while (sorry, Peacock, I love you). Every service is too busy chasing trends dictated by algorithms and catering to the lowest-common-denominator type of viewer to the point where every edge has been sanded into oblivion, refusing to acknowledge that they have no idea how to connect with Gen Z and Alpha, and having to make bundles with their competitors just to stay alive that they're all operating in an unsustainable bubble that will soon burst.

Meanwhile, Dropout's audience has continued to grow, clips of its shows go viral on social media every day, and its flagship show — and I cannot stress this enough — sold out Madison Square f***ing Garden(!!!), something that the current president-elect failed to do. And they did it all by staying true to their vision of making art that reflects the future we all deserve. One that rewards intelligence and kind-natured fun, stresses the importance of community building, and understands the life-altering power of a good sense of humor. Dropout is inclusive and innovative, the phoenix has triumphantly risen from the ashes of CollegeHumor ... and it's only $5.99 a month.

Full disclosure, as is the result of just existing in Los Angeles, I do personally know some folks who work at Dropout or have been special guests on episodes, like fellow wrestling fanatic and "Dimension 20" player Danielle Radford, jack-of-all-trades/"Um, Actually" host Ify Nwadiwe, and Vanessa "hung out with Suge Knight the night before his arrest" Guerrero, as seen on "Dirty Laundry."