Netflix Isn’t Done Just Yet

Image result for netflix

With the introduction to new services like Apple TV and Disney+, people are constantly wondering how Netflix will stand among these competitors. One of the few ways that consumers can monitor this is the stock exchange, and Netflix isn’t taking the hit Wall Street projected.

In the third quarter of the year, Netflix actually rebounded from the previous one after it faced a 21% loss in shares. However, with the release of additional seasons of Stranger Things and 13 Reasons Why, Netflix was able to overcome this loss and gained an additional 6.77 million subscribers, which was more than the expected number given by IBES data. In addition, the new installment of The Crown, along with the release of The Irishman, Netflix is expecting an additional 9.4 million gain in users.

With the release of all the other steaming services coming soon, Netflix is still thinking ahead and planning for the future. A letter to Netflix’s investors stated, “In our view, the likely outcome from the launch of these new services will be to accelerate the shift from linear TV to on demand consumption of entertainment.” While the future is still unknown to how Netflix will handle the new competition, it seems like Netflix still has a fighting chance.

I think this article is interesting because it shows that Netflix is still being able to compete. It’s also interesting to see the data analytics of the Netflix stock rise even though they are still collecting debt from investing in new projects. One thing this article proves is how, in the end of the day, content and shows is what drives the sales. People will cancel their subscription or renew it based on the release of shows, and the quality is what drives this activity. I think this practice of subscribing for a month and then canceling is something that’s going to be used a lot more as more streaming services come out. I honestly think the future is going to be subscribing to certain shows, rather than the entire service making an even more tailored experience for the user.



Netflix’s Final Calm Before The Storm

http://Netflix won’t ‘shy away from taking bold swings’ as streaming competition heats up – The Verge

Netflix has been the top dog in the streaming industry for the past couple of years, and there was no sign of slowing down. The company now has over 158 million subscribers worldwide. During the second quarter Netflix’s revenue and subscriber count was increasing slower than usual. The company then turns around and brings in 6.8 million subscribers and $5.2 billion in revenue over the past 3 months alone. Both of those numbers are higher than they were at this time last year. The increase in subscribers has a lot to do with the recent release of Stranger Things. Stranger Things is an Netflix original, that is now on its 3rd season. The show has had great success since its initial season, and the 3rd season was watched by 64 million accounts in the first 4 weeks.

The next time Netflix receives its report earnings there will be 2 more media powerhouses now in the market. Disney, and Apple are releasing their own streaming services. Personally I would be more concerned with Disney rather than Apple. Based on the movies, and TV shows that is in Disney’s arsenal it could shake up the game. I would imagine that Apple will have a good amount of syndicated media, and test out some original content. HBO Max, and NBCUniversal are 2 other streaming services that are entering the market in 2020. The CEO of Netflix Reed Hastings isn’t really concerned about the new entrants in the market. He stated, ” While the new competitors have some great titles (especially catalog titles) none have the variety, diversity, and quality of new original programming that we are producing around the world”. Netflix isn’t slowing down, and they are still taking bold swings to increase business.

’Stranger Things’ have helped Netflix stay on top

As the competition for streaming platforms continues to grow, Netflix is having to defend its popularity amount audiences. According to the New York Times, Netflix loss 126,000 domestic subscribers earlier this year. However, Netflix was able to get those subscribers back according to the article. Author Edmund Lee explained, ”The third-quarter results benefited from Netflix’s best-known series, ’Stranger Things, ’ which introduced its hugely anticipated third season over the Fourth of July weekend. The series drew 64 million households in the first four weeks it was available, the company said.”

This was a big comeback for the company and not only helped them draw in more viewers but helped line Netflix’s pockets. Netflix’s stock jumped more than 8% in after-hours trading last week. In addition, the company also reported a large jump in profit from $665 million to $5.2 billion in revenue. This rise in profit follows the addition of 6.8 million new customers this quarter, with 520,000 of them in the United States. Netflix has big plans and big movies to help them beat the soon-to-come streaming platform competitors, Disney and Apple. Both of which plan to release their streaming platforms in November. As of now, Netflix is the nation’s largest digital television network, with over 158 million customers around the world, including 60 million in the United States.

45% Might Cancel Netflix If Favorite TV Network Shows Depart

A recent study based on Netflix subscribers found that almost half of Netflix’s subscribers would consider canceling their subscription if networks pulled their content. Networks like NBC, Fox and AMC have content on Netflix that draws a pretty big audience, and some people may even use Netflix strictly for those programs.  Programs like “Friends”, and “The Office” are fan favorites on the app, and NBC could make a lot more money if they streamed “The Office” strictly  on their own services. Other media companies like Marvel have started to take down their content from Netflix for when they release their own streaming service.  We are in a time where every big media company and TV network is starting to come out with their own streaming service to house their content.  There is a big shift from cable to streaming, and the networks are trying to make the most out the opportunity with their top watched content right now on services like Netflix, Hulu, Amazon Prime. 

            Netflix started to make some noise in the industry with their original content like Bird Box and Black Mirror.  Netflix has a lot of great in depth  documentaries on a lot of different topics. That is not the majority of their income, so it is going to be interesting to see how they will adapt if the networks follow through with pulling their content. Will they shift their focus, or will they just put more money and time into their original content. 45% is a very high number of subscribers and if those talks are semi serious I would be concerned if I was Netflix. I would be putting a lot of time into think about how we will adapt if those reports become reality.

New Scorsese Film to appear on Netflix

'Everybody Knows' premiere and opening ceremony, 71st Cannes Film Festival, France - 08 May 2018

Image :

Once again Netflix makes an attempt with the other studio giants in Hollywood. Legendary director Martin Scorsese latest film is set to premiere on the streaming service. This after Scorsese was initially rejected by his usually distributor, Paramount Pictures, due to them being unwilling to pay the large budget the film demanded. Netflix was acquired the film for an astounding $159 million dollars, showing not only how wealthy the streaming service has made them, but just how serious they are when it comes to producing their own content. Though this may appear risky for a streaming service, this one appears to be well calculated. The film, titled The Irishman, is a crime drama, a genre Scorsese has shown his talent with time and time again, most notably with the hit film Goodfellas. In addition to this it is set to star film giant like Robert De Niro and Joe Pesci. Earlier screening was very positive, and there are whispers of Oscar nominations. The article discuses that this wouldn’t be the first time Netflix has produced Oscar worthy content, as it received several awards for the foreign film Roma. Netflix’s ambitions are clear with this movie. By being so bold, the company is stating that it’s movie should be considered film as much as much as those that appear on the big screen. Given the content of the film I admire this choice, as it may not be long before movie theaters no longer exist, and all content is streamed right to the television. If this is the case, I’m glad Netflix is taking the time to consider quality content.

Article :

Netflix’s Plan for Survival in the Streaming Industry

Image result for netflix murder mystery

Amongst the rising competition, Netflix has formulated a plan to capture the attention of well-known filmmakers. In order to reach viewing goals, Netflix has devised a plan that would benefit filmmakers if their movie reached viewing goals or was given a major award. Any films that meet the expected viewing target or receive an award are eligible for a bonus payment on behalf of Netflix. According to The Guardian, “Traditionally, Hollywood studios have been able to offer “back end” payments – ie percentages of box office and profits – from a film’s cinema release as a part of a deal to film-makers. But with limited time in cinemas, Netflix is unable to accrue this level of income, so hitherto they have offered film-makers payment upfront as well as covering their production costs.” 

The launch of this plan could be good news for Netflix’s longevity if filmmakers decide to collaborate with the company. Movies on Netflix such as “Murder Mystery” and “Bird Box” received tremendous viewing ratings (Murder Myster with 30.9 million streams in three days) likely giving Netflix creators this incentive idea. However, what might incentives like this do to movie theater sales or other streaming services? Should offers like these be off-limits to large streaming companies?


The War for Talent in the Age of Netflix

y Joe Flint
Sept. 21, 2019 12:00 am ET
When Walt Disney Co. recently struck a big production deal with Dan Fogelman, creator of the hit drama “This Is Us,” it tore up the usual playbook for signing up TV talent.

Normally, a TV producer’s biggest paydays come after a show has run for a long time, when it sells reruns. But Mr. Fogelman’s new deal, valued at between $100 million and $150 million, according to a person familiar with the pact, is frontloaded. He won’t get any profits from reruns down the road, for “This is Us” or other shows, but in lieu of that he gets an unusually big check right away.

Behind the new model: Netflix Inc., which popularized upfront payments for talent.

The entertainment industry is going through its most dramatic period of change in decades, as Hollywood’s traditional players, fortified by megamergers, launch new streaming services—selling programming directly to consumers online for the first time. They’re spending hundreds of millions of dollars to secure high-quality programming, and in the process are fundamentally reimagining how they do business with talent.

Many of Netflix’s tactics are becoming the industry norm. Industry titans like AT&T Inc. ’s WarnerMedia and Disney are locking up the biggest creators, from “Star Wars” veteran J.J. Abrams to “Riverdale” producer Greg Berlanti in lucrative multiyear deals. Studios are looking for more flexibility to put shows on whichever platforms they choose, including their nascent streaming outlets.

Warner Bros. signed star producer and director J.J. Abrams (pictured on the set of “Star Trek: Into Darkness with actor Chris Pine) to a deal valued at $275 million or more. The deal commits him to projects for HBO Max but also gives him freedom to make shows elsewhere. PHOTO: ZADE ROSENTHAL/PARAMOUNT PICTURES
On the creative side, even successful shows are likely to have shorter runs—as is increasingly the case on Netflix—because of rising production costs and the difficulty of keeping audiences’ attention given a plethora of viewing options. For consumers, that means more shows they love will run their course within three or four years instead of seven or eight. For the talent, it means moving on to new jobs more frequently.

Luring TV’s biggest stars to jump into streaming, if they already haven’t, is a high priority. Kaley Cuoco has had a charmed life in broadcast TV, most recently starring for 12 years on CBS’s hit comedy “The Big Bang Theory.” She plans to take up her next role in a drama for HBO Max, the upcoming WarnerMedia streaming service that will bring together HBO and the rest of the Warner empire.

“I’m one of the guinea pigs,” Ms. Cuoco said of her deal to star in and produce “The Flight Attendant,” a thriller series based on the novel of the same name. “It is a little scary.”

The new streaming launches are around the corner. Disney, which already controls Hulu, in November will debut a new low-cost service, Disney+, which will feature its major Marvel and Star Wars franchises and a bevy of kids content, some of which is coming from outside suppliers, including “Diary of a Female President,” from CBS Studios. Apple Inc. around the same time is launching with a handful of premium shows featuring big stars. WarnerMedia’s HBO Max and Comcast’s Peacock will debut next year, adding to the already fierce competition between Netflix, Inc., Hulu and CBS’s “All Access.” In just the past several weeks the companies have collectively committed several billion dollars to secure deals with top producers and rights to popular old shows.

On set at ‘Diary of a Female President,’ a series from CBS Studios that will run on Disney’s streaming service, Disney+.l PHOTO: ALEX WELSH FOR THE WALL STREET JOURNAL
Upfront Money
For decades, the formula for producers to make big money in TV was for a show to stay on the air long enough to have 100 episodes or more—enough to sell reruns to other TV networks. The bulk of the profits for production studios and show creators have come from those “syndication” deals, not the initial fees to produce and air the show. The creators of “Seinfeld,” “Friends” and “The Simpsons” made hundreds of millions of dollars this way, as stakeholders who were entitled to a cut of the profits.

“Television used to be about bulk and volume and you fought to keep your show alive to get to that magic number,” said producer Josh Schwartz, whose credits include the teen drama hits “Gossip Girl” and “The O.C.”

Netflix signed prolific producer Shonda Rhimes, shown above in Cannes, France, this past June, to a lucrative multiyear deal. PHOTO: CHRISTIAN ALMINANA/GETTY IMAGES
Netflix did away with that model when it started wooing superstar producers to make content exclusively for the service, including “Grey’s Anatomy” creator Shonda Rhimes and “Glee” producer Ryan Murphy. Netflix paid nine-figure upfront fees to Ms. Rhimes and Mr. Murphy. Netflix doesn’t sell reruns of its shows to other platforms, so there weren’t any syndication profits to be had for the producers, and the producers wanted a bigger check to work for Netflix.

Now, Warner Bros., Disney and other studios are embracing the Netflix approach with some of their top producers. When Warner Bros. signed Mr. Berlanti for $300 million last year, the deal was structured similarly to those Netflix pacts. He gets a large amount of upfront money that essentially buys him out as a “profit participant”—or financial stakeholder—in the shows he has made with the studio, a person familiar with the deal said. He will also receive bonuses based on how long a show runs.

Messrs. Berlanti and Fogelman declined to comment on their deals.

These ideas aren’t just being applied to the superstar producers. At Disney, the TV business unit has developed a new set of standard deal terms that gives producers big upfront fees but no back-end profits. The stakeholders can be rewarded during a show’s run based on ratings, longevity and even awards, an executive familiar with the system said.

Netflix signed producer Ryan Murphy, shown above at the Tony Awards in New York in June, to a multiyear exclusive deal. PHOTO: JENNY ANDERSON/GETTY IMAGES
“This is a massive switch in the business and we’re seeing that all over right now,” said Ari Greenburg, president of the talent agency WME. New buyers are driving up costs and traditional studios “are paying more for writers and producers than ever before,” he added.

In traditional TV deals, creators face the risk that their show might not live long enough to get into syndication—or, even worse, they could create 80 or 100 episodes of a show, but never get a big financial payoff because there wasn’t a market for its reruns. Mr. Schwartz, who is making shows for Disney’s Hulu and WarnerMedia’s HBO Max, said that was the predicament after he produced the NBC comedy “Chuck” for five seasons.

By guaranteeing creators a good amount of money early on, those risks go away, he said. On the other hand, there are possible downsides. If a show becomes a monster hit and does generate a windfall in profits from reruns, “you’re probably leaving a lot of money on the table,” he said.

In essence, it’s a hedge.




In the age of Netflix, a lot of well-known actors have signed up with the video streaming service thereby competition large networks and regular entertainment shows.

Time Spent Watching Online Video Expanding To 100 Minutes Daily

Time spent watching online video is predicted to expand more than 20% over the next 2 years. The time spent watching online video has been growing at an average rate of 32% a year between 2013 and 2018. The amount of time watching these videos online has continiously increased due to the improvements in the media devices that displays them. Marshall McLuhan coined the phrase, “The medium is the massage ” meaning that the channel that the message is transmitted is more important than the content/message. The power of computers increase every 2 years according to Moore’s Law, so the devices to indulge in media will continue to get better.

The content creators like Netflix, Hulu, Premium cable channel’s, put a lot of money and time into original content designed to keep you hooked. In the ending season of Game of Thrones, HBO spent upwards to $15 million in each episode. I’d assume that if a company is willing to put that much money into one episode they are pretty confident that they will make that money back and then some. It is going to be interesting to see who is at the top of the streaming charts in about 5-10 years. Netflix has been the king for the past couple of years, and has created serious buzz with their original content. However, a lot of their subscribers use the service for network TV shows like The Office, Friends, Breaking Bad, Marvel shows and movies. If those networks, and companies were to take their content back like Marvel started to, will Netflix still be at the top of the list. Media giants like Apple, and Disney are coming out with their own streaming service in the near future so it will be interesting to see how things shake up.

Netflix Snags ‘Seinfeld’ Starting In 2021


With the recent expansion of streaming services available, competition for content is at an all time high. NBCU and Apple Streaming are just two of the many streaming services challenging Netflix, and threatening the content available to subscribers. One of the more recent headlines, as explored in a article, is the acquisition of the legendary series Seinfeld. Netflix is losing two of their most popular series, Friends and The Office to alternate services, so they secured Seinfeld for an approximate $500 million dollar 5 year deal starting in 2021. The sitcom was previously available on Hulu, and is expected to compensate for the losses, despite Netflix’s overall subscriber rate slowing.

A recent survey also reports 45% of Netflix users would reconsider their subscriptions if alternate sources pull their favorite content from the renowned watching application. In the same breath, 45% of people associate Netflix with the streaming brand, showing its dominance in the scene. In the future, it will be interesting to see how other brands develop, and reclaim their content, and the affects that has on the original streaming services.

This article struck my interest because streaming media content has become a regular part of my daily routine, and the scene is currently changing. The Office is among my favorite shows of all time, and it is upsetting to me it will no longer be available on Netflix. The expansion of streaming services is inconvenient as a consumer, because if I want to be able to access specific shows, I will have to consider paying for yet another subscription. Netflix Original movies are entertaining, but the series can not compare to the iconic staples that have been available on the platform. I, among other users, would consider cancelling the subscriptions if too many of the quality series are removed. If another platform presents itself to be superior, I would definitely consider paying for that instead. I am also curious as to what Apple’s content will consist of on their new streaming platform, and how successful it will be.

The scene for television and movie consumption has certainly changed in the last decade, and continues to adapt and provide the consumers with more options. It will be interesting to see the future potential for these companies.

Dave Chapelle’s special divides audiences and critics

DaveyImage source :
In recent years Netflix has gone through many changes. Of theses one of the most interesting is going form simply hosting television and movie content to producing their own shows. This Netflix created content has ranged wildly form documentaries to animated action shows. But of this vast array of choices it is the comedy special that remains the most popular. This may change however, with the most recent special by famed comedian Dave Chappelle noted for becoming highly controversial.

The special, entitled Dave Chapelle: Sticks and Stones, has come under the scrutiny of many critics. The focus of these criticisms where largely regarding the topics Chapelle decided to discuss in the special, such as the cases of sexual assault leveled at Michael Jackson or the LGBT community. Chapelle’s jokes where often seen as insensitive or unnecessarily cruel when discussing their subject matter. As a result of this many critics panned the series and tore it to shreds on online forms.

Surprisingly, the general audience has had the complete opposite reaction. Dave Chapelle’s show has received a ninety-nine percent audience score on Rotten Tomatoes. This indicates that the audience may be clued into a point of view mentioned in the article, that the offensive tone of the special was a strategic move on Mr. Chapelle’s part in an attempt to generate interest, in one form or another, in the several other specials he has upcoming. Another possibility is that this gauge of the audience’s opinion is misrepresented or exaggerated. Whatever the case may be, several experts both in comedian and media marketing mentioned in the article feel the critics view is unlikely to stop Chapelle from having more specials on Netflix, especially considering the host of other streaming services that would gladly Add him to their roster.

Considering the time, we live in and the content in the special, Netflix took a calculated risk in airing it. However, judging by audience reaction it has paid off. But it is worth noting that such gambles may not always pay off, and the resulting backlash could be catastrophic in the cut-throat world of streaming services.

Article Link :