By the middle of the decade, California finally found a tax credit formula that counteracted the film and TV production incentives which Georgia, Louisiana and other states — not to mention Great Britain and most of Canada — had been using to lure shows away from the entertainment capital for a decade.

While the state’s $330 million per year, 2.0 tax credit program hasn’t shut down the rival jurisdictions, it’s certainly what was needed to replace the less-effective, $100 million annual 1.0 scheme to encourage producers to shoot in California.

Soon after the five-year, 2.0 program started in 2015, enough shows came back to the L.A. region to trigger a soundstage shortage and boost the local IATSE and Teamsters union rosters to near full employment.

The improved program has pumped billions into the California economy; it’s worked so well that essentially an extension, 3.0, has already been approved through 2025 by Sacramento.

The better incentives went into effect just as demand for content metastasized in the last half of the decade. Subscription Video On Demand, or video streaming, exploded as the most disruptive and rapidly omnipresent force in entertainment since home video and, arguably, even broadcast television.

Netflix invested billions of borrowed dollars in licensing hit shows and developing its own movies and bingeable series – starting modestly but addictively in 2013 with the likes of “House of Cards” and “Orange Is the New Black” — and quickly showed competitors Amazon Prime and Hulu how to climb to the top of the must-watch heap.

Apple and, most significantly, Disney entered the competition for streaming subscribers late this year. WarnerMedia, NBCUniversal and several hoping-to-be-as-big players will launch their heavy investments in attracting your monthly fees in 2020.

One once-major studio that won’t be starting a streaming service, though, is Fox. Burbank-based Disney, still rather shockingly, bought almost all of the Murdoch-owned property’s entertainment assets earlier this year. That meant adding everything from “The Simpsons” and “The Sound of Music” to “Avatar” and “Alien” to its already prodigious franchise farms Marvel, Star Wars, Pixar, Disney Princesses and Mickey Mouse.

Even without the Fox assets, Disney dominated the theatrical box office for much of the decade.

It’s registered seven of the all-time top 10 box-office hits since 2010, and by the time all of 2019’s releases run their course, The Mouse will claim seven of the year’s biggest 10 and all of the top five slots (and, probably, six, if “Star Wars: The Rise of Skywalker” earns its keep).

So, Netflix and Disney were the big entertainment stories of the 2010s. And fortunately, L.A. was poised to share in their and many other media companies’ success.