Will go out of business quicker than Blockbuster...
..kinda sad because they changed the game for how we consume media..brought about "binge watching"...i remember getting their DVDs in the mail...
TV News: Netflix Is Losing U.S. Subscribers for the First Time in 8 yrs UPDATE: new Profile Transfer option to kick off users on your account
- Thread starter playahaitian
- Start date
Will go out of business quicker than Blockbuster...
..kinda sad because they changed the game for how we consume media..brought about "binge watching"...i remember getting their DVDs in the mail...
I'm gonna have to check out Hulu again myself. I only had Netflix for the kids content and the good parental controls. It's not worth it.
Big fan of spike lee I’ve seen all his stuff just saying compared to season 1 the sez scenes were wild
It is intentional. He says we need to see more black love in media.
It’s not out yet, not sure how can make that assumption it hurt them... people are not pulling away from Netflix because Disney is launching on NOVEMBER 12... now he announcement hurt their stock just because the market is just emotional that’s how it works..
We can’t count the amount of businesses that lose money before they turn a profit, Uber, Lyft, weworks, Tesla, Spotify, tidal, I could list like 100 other big name companies that lost for yearsssss. It’s just not a solid indication of the futures of companies.
That being said I am concerned being a share holder and when it goes back up, I’ll probably reduce my position.
The sky is falling is a popular theme now, Netflix has a huge advantage because essentially they are the leader in that space. Fam Netflix and chill is not going anywhere for some time, even if they don’t change anything. That being said, I’ve been impressed with their leadership and vision. If you get a chance check put a podcast called Business Wars (it’s free) dope stories on their moves when up against Blockbuster and then Redbox. They are not sitting on their hands waiting to get put out or biz.
It's where my apps are at to watch all this stuff for free.
The only show on Amazon that's good is Bosch and I like Mrs Maisel. Everything else on Prime ain't worth a shit, plus they make you pay for a lot of stuff or rent.
Netflix is the best out there and I wouldn't of said that 3 yrs ago. Wasn't worth it. And I was paying for it for years and forgot about it at $8 a month.
i don't think amazon prime video is a great streaming service but you are selling it short. it has some pretty good original shows.
the expanse.
hanna.
jack ryan.
homecoming.
the man in the high castle.
and some good anime along with shows that are currently not available anywhere else.
prime video is not my fist stop for entertainment but saying that most of the stuff on prime ain't shit is a gross exaggerated misstatement.
especially when the main reason i have prime is for free shipping and i get prime video at no additional charge.
Everything you said agreed, is why I have Prime and only watch Hanna and Jack Ryan out of those. And I don't watch anime.
Only use Prime for shipping mainly. Anything else they have is majority to buy or rent to watch. So I use it for streaming. Every TV in my house has FireTV devices and we all use apps.
Point being the amount of programming on Netflix, included with your subscription is well worth it. But Netflix about to feel the pain with Disney coming as well as so many using apps to stream.
Amazon has the potential to blow Netflix out the water with Video, but I feel they really don't care about it or focus on producing shows. It's not their focus. They care more about selling products than producing shows.
But is what it is. I cancelled Netflix when Amazon started a monthly service. Was a no brainer for me. My daughter has her own acct and that's how we use Netflix at home.
Sign up for spotify and they'll throw in HULU for free
Is all this factoring in the T-Mobile account holders get Netflix for free, and other words do those count as subscribers too?
I think T mobile is footing the bill for those subscribers
Thanks will check it out
1.00 a month. signed up on a promo in december. a buck a month with commercials. i can deal with commercials.
orange is the new black will also kick up their customer base in a week.
Unless cottonmouth is resurrected...nahhh dawg. When they killed off dude the show tanked
pirating never left... Free streaming has always been available since this fast streaming thing existed
I've got firesticks with Amazon and so far their movies have sucked. I love the many other apps I'm able to run on it though. More TV than I will ever be able to watch across the globe. When I see a Spanish channel the people are in Spain. Not the South Bronx.
Yeah it’s tricky.
The shit I should be able to pull and watch I can’t.
Netflix better add some form of adult content. Might be what they need to regain subscribers.
Netflix need to have an open casting for new scripts to be sent to them... Comedies and scary movies are very cheap to make... You put out a 100-200 mill budget to finance diff scripts , spend 1-5 mill per movie...u'll have 40 or more new flicks to add to content... Always remember saw cost 1 mill to make, the purge was like 3-4 mill, upgrade cost 3 mill, brightburn I think cost 6 mill
Of course it hasn't left (I'm luving proof). I'm talking about driving new people to it.
Last edited:
No, Netflix is not going to start premiering all of its shows one episode at a time
Erik Adams
9/04/19 3:15pm
Filed to: NETFLIX
881
Photo: Lionel Bonaventure (Getty Images)
Perhaps you flicked on your Netflix-connected device this past Friday to learn that a new season of The Great British Baking Show was streaming, then became distraught to learn there was only one episode available for viewing. Perhaps you’ve seen a headline or two about Netflix’s plan to distribute its upcoming hip-hop competition, Rhythm + Flow, one round of Cardi B critiques at a time. Perhaps you even wrote one of those headlines, and unnecessarily raised concerns that this was the way all future series on the streaming service would roll out. If any of the following apply, please allow The A.V. Club to offer these assuring words: No, it’s not.
Never mind the coincidental timing of these two news items. Never mind that, for the first time in the show’s history, The Great British Baking Show is airing nearly simultaneously in the U.K. and the U.S. Never mind that, for all the inexplicable and indecipherable programming decisions made by Netflix in 2019, the most inexplicable and indecipherable would be giving up on the world-altering TV gambit that kicked off when eight episodes of Steven Van Zandt playing a mobster who isn’t Silvio Dante magically popped into queues in February of 2012. Just know that there’s no reason to panic about these developments because it’s not the first time this has happened—and it won’t be the last.
As the service itself has noted, the weekly schedule for The Great British Baking Show is unrelated to its approach to Rhythm + Flow. This is standard procedure for licensed series, as can be attested by any U.S. Netflix subscriber who’s ever crossed an international border, logged into their account, and been surprised to find the most recent episode of Riverdaleor Better Call Saul. You could witness the reverse of this phenomenon as far back as the 2015 premiere of the Canadian sci-fi drama Between, which inspired its own round of “You can’t binge this Netflix show” headlines. Like this one!
And in the case of Rhythm + Flow: Some types of TV narratives are told better this way. Why can’t a streaming show take advantage of the episodic suspense and the shared viewing experience that were definitive aspects of the medium for the first 70-odd years of its existence? What if, like Patriot Act With Hasan Mihaj, The Break With Michelle Wolf, The Joel McHale Show With Joel McHale, or Chelsea, the very nature of the series or its method of production prohibit an all-at-once drop? Hulu took a flier on releasing all of Veronica Mars’ fourth season simultaneously (and then pulled a surprise-release stunt on top of it), and the race to reach the season’s shocking conclusion left creator Rob Thomas wondering if a serialized mystery, like a competition reality show, isn’t better off holding onto its big reveals for a little while.
The binge-watching toothpaste is completely out of the tube, as evidenced by some of the incensed reactions to the tweet above. Netflix has altered viewers’ expectations for when and how they can watch their favorite shows, even as its competitors—namely Hulu—have racked up accolades and awards while hewing to a more traditional broadcast schedule. The next challenger to streaming supremacy waits in the wings, but Disney+ is unlikely to completely reshape these habits by putting seven days between every new installment of The Mandalorian.
For as brazenly as Netflix has been shedding programming as of late, it is reassuring that it’s considering what’s best for the shows that remain on its slate. Also, there’s nothing saying that you can’t accumulate several weeks of unwatched Great British Baking Show and gulp it all down in one sitting, as our ancestors taught us to do with their reality shows and primetime soaps in the benighted age of DVR.
Erik Adams
9/04/19 3:15pm
Filed to: NETFLIX
881
Photo: Lionel Bonaventure (Getty Images)
Perhaps you flicked on your Netflix-connected device this past Friday to learn that a new season of The Great British Baking Show was streaming, then became distraught to learn there was only one episode available for viewing. Perhaps you’ve seen a headline or two about Netflix’s plan to distribute its upcoming hip-hop competition, Rhythm + Flow, one round of Cardi B critiques at a time. Perhaps you even wrote one of those headlines, and unnecessarily raised concerns that this was the way all future series on the streaming service would roll out. If any of the following apply, please allow The A.V. Club to offer these assuring words: No, it’s not.
Never mind the coincidental timing of these two news items. Never mind that, for the first time in the show’s history, The Great British Baking Show is airing nearly simultaneously in the U.K. and the U.S. Never mind that, for all the inexplicable and indecipherable programming decisions made by Netflix in 2019, the most inexplicable and indecipherable would be giving up on the world-altering TV gambit that kicked off when eight episodes of Steven Van Zandt playing a mobster who isn’t Silvio Dante magically popped into queues in February of 2012. Just know that there’s no reason to panic about these developments because it’s not the first time this has happened—and it won’t be the last.
As the service itself has noted, the weekly schedule for The Great British Baking Show is unrelated to its approach to Rhythm + Flow. This is standard procedure for licensed series, as can be attested by any U.S. Netflix subscriber who’s ever crossed an international border, logged into their account, and been surprised to find the most recent episode of Riverdaleor Better Call Saul. You could witness the reverse of this phenomenon as far back as the 2015 premiere of the Canadian sci-fi drama Between, which inspired its own round of “You can’t binge this Netflix show” headlines. Like this one!
And in the case of Rhythm + Flow: Some types of TV narratives are told better this way. Why can’t a streaming show take advantage of the episodic suspense and the shared viewing experience that were definitive aspects of the medium for the first 70-odd years of its existence? What if, like Patriot Act With Hasan Mihaj, The Break With Michelle Wolf, The Joel McHale Show With Joel McHale, or Chelsea, the very nature of the series or its method of production prohibit an all-at-once drop? Hulu took a flier on releasing all of Veronica Mars’ fourth season simultaneously (and then pulled a surprise-release stunt on top of it), and the race to reach the season’s shocking conclusion left creator Rob Thomas wondering if a serialized mystery, like a competition reality show, isn’t better off holding onto its big reveals for a little while.
The binge-watching toothpaste is completely out of the tube, as evidenced by some of the incensed reactions to the tweet above. Netflix has altered viewers’ expectations for when and how they can watch their favorite shows, even as its competitors—namely Hulu—have racked up accolades and awards while hewing to a more traditional broadcast schedule. The next challenger to streaming supremacy waits in the wings, but Disney+ is unlikely to completely reshape these habits by putting seven days between every new installment of The Mandalorian.
For as brazenly as Netflix has been shedding programming as of late, it is reassuring that it’s considering what’s best for the shows that remain on its slate. Also, there’s nothing saying that you can’t accumulate several weeks of unwatched Great British Baking Show and gulp it all down in one sitting, as our ancestors taught us to do with their reality shows and primetime soaps in the benighted age of DVR.
Actor from the Maisel series ...
Brian Tarantina dead at 60 'from apparent drug overdose'
The SAG Award winner's niece found him unresponsive on his couch at 12:30AM and when the officers and paramedics arrived on the scene, they discovered a 'white powdery substance'
Actor Brian Tarantina Dead at 60, Rep Cites Illness
The longtime character actor passed away at his NYC apartment early Saturday morning.
www.tmz.com
60 and doing drugs? SmhActor from the Maisel series ...
Brian Tarantina dead at 60 'from apparent drug overdose'
The SAG Award winner's niece found him unresponsive on his couch at 12:30AM and when the officers and paramedics arrived on the scene, they discovered a 'white powdery substance'www.dailymail.co.uk
Actor Brian Tarantina Dead at 60, Rep Cites Illness
The longtime character actor passed away at his NYC apartment early Saturday morning.
I kept hearing all this hype about the company decided to checking it out and was not impressed. The picture quality and compression was good. As I get older, I am more self-aware of the propaganda tactics that are used and makes watching their movies with coon black actors untenable.
Five Things We Learned From Netflix’s Earnings Report
Netflix’s quarterly report card came out Tuesday, and the top-line news was mixed: The company is still growing (it added 2.2 million net subscribers over the summer), but its rate of growth has slowed substantially from the first half of 2020. Wall Street initially punished Netflix stock, even though the cooldown should not have come as a surprise. The streamer’s previous earnings report forecast that growth would stall over the summer, if only because pandemic-related lockdowns resulted in a spring subscriber surge — and that’s exactly what seems to have happened. Even with minimal growth over the summer, Netflix has already added more than 28 million subscribers in 2020 and seems very likely to break the 200 million mark by year’s end. Not bad for a platform that was supposed to get pummeled this year by a slew of well-financed new competitors.
But while Netflix’s overall outlook still looks quite healthy, the streamer is not exactly a picture of stability of late. The decision by co-CEO Ted Sarandos to ditch longtime day-to-day TV content chief Cindy Holland still has much of Hollywood slack-jawed, and the aftershocks of the move continue to reverberate. Late last week, news broke that Netflix comedy chief Jane Wiseman would be following Holland out the door, ending a seven-year run at the company. Also gone: Channing Dungey, the former ABC Entertainment boss who joined Netflix less than two years ago to focus on dramas and a few key showrunners, including Shonda Rhimes. Dungey departed to take a big job overseeing WarnerMedia’s TV studio operations, but whatever the reason for her exit, Netflix’s TV development team now looks radically different than it did at the start of the year.
During an investor call Tuesday, Sarandos and co-CEO Reed Hastings argued the exec upheaval below them was actually a good thing for the company. Holland’s exit was the result of Sarandos deciding to make the TV side of Netflix’s operations more closely resemble the structure of his film unit, and to install as boss Bela Bajaria, a former NBCUniversal studio exec who joined Netflix four years ago this month. Sarandos told investors he thinks Bajaria is “really well suited to take on” the full TV organization and minimized the exits that have resulted since he pushed out Holland. “Whenever you put new change at the top, there’s some downstream effects as well,” he said. Hastings was even less sentimental about the reorganization of the programming team: “No one gets to keep the job for free. You get to earn it every year, which is intensely challenging, and we all love that part of it.”
While the Netflix exec team didn’t make any major news Tuesday, I found their quarterly earnings interview filled with a ton of interesting insights about how the company views several aspects of its business right now. My five major (and minor) takeaways:
➽ A U.S. price hike next year sure seems likely. Netflix recently increased its monthly price in Canada, leading to speculation the U.S. market is next. Greg Peters, the company’s chief operating officer and head of product, said he would not “comment or speculate on any specific changes,” but his analysis of how Netflix decides when the time is right to raise prices seemed to suggest an increase is in the offing. “Instead of an algorithm, we’re just basically assessing, ‘Okay, how many new popular titles have we delivered? What are local language originals in that particular country looking like? What’s the slate that’s coming looking like? What [do] the fundamental metrics — engagement and churn — look like?’” Peters explained. He also noted that Netflix is likely to once again make more new originals in 2021 than it did in 2020. “If we do that, then we feel like there is that opportunity to occasionally go back and ask members where we’ve delivered that extra value in those countries to pay a little bit more,” Peters said. Don’t expect any such hike, if it comes, to be too big though. We very much want to remain an incredible value as we continue to improve the service and grow,” the exec said.
➽ Netflix is experimenting with new ways to lure new subscribers, including free preview weekends. The service ended the practice of giving folks a 30-day free trial to sample programming, but later this year, Peters said all consumers in India will be able to stream Netflix for free over the course of a few days, no strings or sign-ups attached. “We think that giving everyone in a country access to Netflix for free for a weekend could be a great way to expose a bunch of new people to the amazing stories that we have, the service, [and] how the service works,” he said. Will something like that happen in the U.S.? “We’re going to try that in India, and we’ll see how that goes,” he said. The idea is hardly revolutionary, of course: Premium cable networks such as HBO and Showtime have done free weekends for decades, though such deals usually require consumers to be paying cable customers.
➽ Don’t expect older Netflix shows to start popping up on other streamers or linear networks. Pluto’s recent acquisition of rerun rights to Narcos has prompted another wave of speculation about whether Netflix might start syndicating its shows outside its own platform, either to raise some cash or to raise awareness of lesser-watched shows. But Sarandos Tuesday all but put the kibosh on the idea. “It’s helpful for us to keep our original content on Netflix so people understand the value proposition of Netflix,” he said. “And [while] we have seen our ability to grow a show that was on another network or a smaller outlet pretty meaningfully, we’ve not necessarily seen it the other way around.” Indeed, Sarandos noted the only reason Narcos is on Pluto is because rights to the show are owned by indie studio Gaumont and not Netflix, a situation that exists on some older series (such as BoJack Horseman or Orange Is the New Black) but is much rarer with more recent ones. Netflix and Gaumont had previously licensed a run of Narcos to Univision in order to boost sampling on Netflix; similarly, Comedy Central bought rerun rights to BoJack Horseman a few years ago. “It’ll be interesting to see if [the Pluto deal] lifts the awareness and interest in Narcos, but it’s on a relatively small platform relative to Netflix,” Sarandos said.
➽ Peters was asked about how much viewing of shows happens because Netflix pushes audiences to sample shows via placement on its home pages, and his answer was: a lot! “A very significant majority is driven by the recommendations that we present,” Peters said. But while producers and outside studios clearly pray for Netflix to give their programs blanket promotion on the platform — and Netflix no doubt does promote some titles more widely than others — the streamer remains careful about what it recommends to subscribers. Rather than just pushing Hubie Halloween or Away to every customer in America, it still tries to customize a user’s experience based on past viewing. “We’ve realized there are no gimmicks,” Hastings said. “You can juice a given title if you wanted to, but you’re going to pay for it downstream because not everybody got the best title for them … The fundamental for us is member joy, which we look at [as], how much of your viewing time do you choose to spend with Netflix, how many repeat days, what’s retention, all of those aspects. So we’re really focused on the fundamentals … That’s how we grow.”
➽ It’s not just your imagination: There really are fewer old movies and TV shows on Netflix. Sarandos admits that the overall content offering of the service is “significantly lower than it was when we first started streaming,” even as the number of first-run originals has soared. “In the earlier days of Netflix, remember, we were trying to figure out what we could stream,” Sarandos said. “And we were licensing in bulk and volume — just a lot of content just to see what worked well versus today, where we’re much more deliberate. We really don’t focus that much on the title count … Ten years ago, we used to license an entire library of 800 films from somebody and nobody watched any of them.” Now the streamer’s strategy is to concentrate “on the titles that have a lot of impact and can aggregate big audiences and move the business forward and add a lot of value for our members,” Sarandos explained. “It’s really not a chase for how many titles, but are these the titles you can’t live without.”
Netflix’s quarterly report card came out Tuesday, and the top-line news was mixed: The company is still growing (it added 2.2 million net subscribers over the summer), but its rate of growth has slowed substantially from the first half of 2020. Wall Street initially punished Netflix stock, even though the cooldown should not have come as a surprise. The streamer’s previous earnings report forecast that growth would stall over the summer, if only because pandemic-related lockdowns resulted in a spring subscriber surge — and that’s exactly what seems to have happened. Even with minimal growth over the summer, Netflix has already added more than 28 million subscribers in 2020 and seems very likely to break the 200 million mark by year’s end. Not bad for a platform that was supposed to get pummeled this year by a slew of well-financed new competitors.
But while Netflix’s overall outlook still looks quite healthy, the streamer is not exactly a picture of stability of late. The decision by co-CEO Ted Sarandos to ditch longtime day-to-day TV content chief Cindy Holland still has much of Hollywood slack-jawed, and the aftershocks of the move continue to reverberate. Late last week, news broke that Netflix comedy chief Jane Wiseman would be following Holland out the door, ending a seven-year run at the company. Also gone: Channing Dungey, the former ABC Entertainment boss who joined Netflix less than two years ago to focus on dramas and a few key showrunners, including Shonda Rhimes. Dungey departed to take a big job overseeing WarnerMedia’s TV studio operations, but whatever the reason for her exit, Netflix’s TV development team now looks radically different than it did at the start of the year.
During an investor call Tuesday, Sarandos and co-CEO Reed Hastings argued the exec upheaval below them was actually a good thing for the company. Holland’s exit was the result of Sarandos deciding to make the TV side of Netflix’s operations more closely resemble the structure of his film unit, and to install as boss Bela Bajaria, a former NBCUniversal studio exec who joined Netflix four years ago this month. Sarandos told investors he thinks Bajaria is “really well suited to take on” the full TV organization and minimized the exits that have resulted since he pushed out Holland. “Whenever you put new change at the top, there’s some downstream effects as well,” he said. Hastings was even less sentimental about the reorganization of the programming team: “No one gets to keep the job for free. You get to earn it every year, which is intensely challenging, and we all love that part of it.”
While the Netflix exec team didn’t make any major news Tuesday, I found their quarterly earnings interview filled with a ton of interesting insights about how the company views several aspects of its business right now. My five major (and minor) takeaways:
➽ A U.S. price hike next year sure seems likely. Netflix recently increased its monthly price in Canada, leading to speculation the U.S. market is next. Greg Peters, the company’s chief operating officer and head of product, said he would not “comment or speculate on any specific changes,” but his analysis of how Netflix decides when the time is right to raise prices seemed to suggest an increase is in the offing. “Instead of an algorithm, we’re just basically assessing, ‘Okay, how many new popular titles have we delivered? What are local language originals in that particular country looking like? What’s the slate that’s coming looking like? What [do] the fundamental metrics — engagement and churn — look like?’” Peters explained. He also noted that Netflix is likely to once again make more new originals in 2021 than it did in 2020. “If we do that, then we feel like there is that opportunity to occasionally go back and ask members where we’ve delivered that extra value in those countries to pay a little bit more,” Peters said. Don’t expect any such hike, if it comes, to be too big though. We very much want to remain an incredible value as we continue to improve the service and grow,” the exec said.
➽ Netflix is experimenting with new ways to lure new subscribers, including free preview weekends. The service ended the practice of giving folks a 30-day free trial to sample programming, but later this year, Peters said all consumers in India will be able to stream Netflix for free over the course of a few days, no strings or sign-ups attached. “We think that giving everyone in a country access to Netflix for free for a weekend could be a great way to expose a bunch of new people to the amazing stories that we have, the service, [and] how the service works,” he said. Will something like that happen in the U.S.? “We’re going to try that in India, and we’ll see how that goes,” he said. The idea is hardly revolutionary, of course: Premium cable networks such as HBO and Showtime have done free weekends for decades, though such deals usually require consumers to be paying cable customers.
➽ Don’t expect older Netflix shows to start popping up on other streamers or linear networks. Pluto’s recent acquisition of rerun rights to Narcos has prompted another wave of speculation about whether Netflix might start syndicating its shows outside its own platform, either to raise some cash or to raise awareness of lesser-watched shows. But Sarandos Tuesday all but put the kibosh on the idea. “It’s helpful for us to keep our original content on Netflix so people understand the value proposition of Netflix,” he said. “And [while] we have seen our ability to grow a show that was on another network or a smaller outlet pretty meaningfully, we’ve not necessarily seen it the other way around.” Indeed, Sarandos noted the only reason Narcos is on Pluto is because rights to the show are owned by indie studio Gaumont and not Netflix, a situation that exists on some older series (such as BoJack Horseman or Orange Is the New Black) but is much rarer with more recent ones. Netflix and Gaumont had previously licensed a run of Narcos to Univision in order to boost sampling on Netflix; similarly, Comedy Central bought rerun rights to BoJack Horseman a few years ago. “It’ll be interesting to see if [the Pluto deal] lifts the awareness and interest in Narcos, but it’s on a relatively small platform relative to Netflix,” Sarandos said.
➽ Peters was asked about how much viewing of shows happens because Netflix pushes audiences to sample shows via placement on its home pages, and his answer was: a lot! “A very significant majority is driven by the recommendations that we present,” Peters said. But while producers and outside studios clearly pray for Netflix to give their programs blanket promotion on the platform — and Netflix no doubt does promote some titles more widely than others — the streamer remains careful about what it recommends to subscribers. Rather than just pushing Hubie Halloween or Away to every customer in America, it still tries to customize a user’s experience based on past viewing. “We’ve realized there are no gimmicks,” Hastings said. “You can juice a given title if you wanted to, but you’re going to pay for it downstream because not everybody got the best title for them … The fundamental for us is member joy, which we look at [as], how much of your viewing time do you choose to spend with Netflix, how many repeat days, what’s retention, all of those aspects. So we’re really focused on the fundamentals … That’s how we grow.”
➽ It’s not just your imagination: There really are fewer old movies and TV shows on Netflix. Sarandos admits that the overall content offering of the service is “significantly lower than it was when we first started streaming,” even as the number of first-run originals has soared. “In the earlier days of Netflix, remember, we were trying to figure out what we could stream,” Sarandos said. “And we were licensing in bulk and volume — just a lot of content just to see what worked well versus today, where we’re much more deliberate. We really don’t focus that much on the title count … Ten years ago, we used to license an entire library of 800 films from somebody and nobody watched any of them.” Now the streamer’s strategy is to concentrate “on the titles that have a lot of impact and can aggregate big audiences and move the business forward and add a lot of value for our members,” Sarandos explained. “It’s really not a chase for how many titles, but are these the titles you can’t live without.”
Sounds like these tycoons need to invest in a hologram type devices to gain viewers on some Telsa shit.
Thanks OP.
This is what I have been saying Netflix really isn't that great.
They will run out of money soon to produce quality programming because they do not make enough money to sustain their model.
They NEED Hollywood blockbusters!
That means movie theaters. Everyone needs each other in this entertainment ecosystems.
If theatres go away. Netflix is gonna be playing Benny Hill and porn in order to get viewers.
They have so much program now and it is so splintered which movies are gonna be blockbusters? 1 subscription and host many many people.
How is that quantified?
This is what I have been saying Netflix really isn't that great.
They will run out of money soon to produce quality programming because they do not make enough money to sustain their model.
They NEED Hollywood blockbusters!
That means movie theaters. Everyone needs each other in this entertainment ecosystems.
If theatres go away. Netflix is gonna be playing Benny Hill and porn in order to get viewers.
They have so much program now and it is so splintered which movies are gonna be blockbusters? 1 subscription and host many many people.
How is that quantified?
What you mean they don’t have the cash?
200 million subscribers X $13 = 2.6 billion a month gross revenue.
It aint about how much you make it is how much you KEEP.
How much do you think it costs to : pay people, to produce shows and movies, to license shows and movies, to advertise?
They will run out of money that is why the investors are losing confidence.
They see the iceberg. We just dont know if they hit it or not yet.
How much do you think it costs to : pay people, to produce shows and movies, to license shows and movies, to advertise?
They will run out of money that is why the investors are losing confidence.
They see the iceberg. We just dont know if they hit it or not yet.