NETFLIX, INC. (Exact Name of Registrant As Specified in Its Charter) ______Delaware 001-35727 77-0467272 (State Or Other Jurisdiction (Commission (I.R.S

Total Page:16

File Type:pdf, Size:1020Kb

NETFLIX, INC. (Exact Name of Registrant As Specified in Its Charter) ______Delaware 001-35727 77-0467272 (State Or Other Jurisdiction (Commission (I.R.S UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 __________________________________ FORM 8-K __________________________________ CURRENT REPORT Pursuant to Section 13 OR 15(d) of the Securities Exchange Act of 1934 Date of Report (Date of earliest event reported): April 20, 2021 __________________________________ NETFLIX, INC. (Exact name of registrant as specified in its charter) __________________________________ Delaware 001-35727 77-0467272 (State or other jurisdiction (Commission (I.R.S. Employer of incorporation) File Number) Identification No.) 100 Winchester Circle, Los Gatos, California 95032 (Address of principal executive offices) (Zip Code) (408) 540-3700 (Registrant’s telephone number, including area code) (Former name or former address, if changed since last report) __________________________________ Check the appropriate box below if the Form 8-K filing is intended to simultaneously satisfy the filing obligation of the registrant under any of the following provisions: ☐ Written communications pursuant to Rule 425 under the Securities Act (17 CFR 230.425) ☐ Soliciting material pursuant to Rule 14a-12 under the Exchange Act (17 CFR 240.14a-12) ☐ Pre-commencement communications pursuant to Rule 14d-2(b) under the Exchange Act (17 CFR 240.14d-2(b)) ☐ Pre-commencement communications pursuant to Rule 13e-4(c) under the Exchange Act (17 CFR 240.13e-4(c)) Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common stock, par value $0.001 per share NFLX NASDAQ Global Select Market Indicate by check mark whether the registrant is an emerging growth company as defined in Rule 405 of the Securities Act of 1933 (§230.405 of this chapter) or Rule 12b-2 of the Securities Exchange Act of 1934 (§240.12b-2 of this chapter). Emerging growth company ☐ If an emerging growth company, indicate by check mark if the registrant has elected not to use the extended transition period for complying with any new or revised financial accounting standards provided pursuant to Section 13(a) of the Exchange Act. ☐ Item 2.02 Results of Operations and Financial Condition. On April 20, 2021, Netflix, Inc. (the “Company”) announced its financial results for the quarter ended March 31, 2021. The Letter to Shareholders, which is attached hereto as Exhibit 99.1 and is incorporated herein by reference, includes reference to the non-GAAP financial measure of free cash flow. Generally, a non- GAAP financial measure is a numerical measure of a company’s performance, financial position, or cash flows that either excludes or includes amounts that are not normally excluded or included in the most directly comparable measure calculated and presented in accordance with generally accepted accounting principles in the United States. Management believes that the non-GAAP measure of free cash flow is an important liquidity metric because it measures, during a given period, the amount of cash generated that is available to repay debt obligations, make strategic acquisitions and investments and for certain other activities like stock repurchases. However, this non-GAAP measure should be considered in addition to, not as a substitute for or superior to, net income, operating income, diluted earnings per share and net cash provided by (used in) operating activities, or other financial measures prepared in accordance with GAAP. Reconciliation to the GAAP equivalent of this non-GAAP measure is contained in tabular form in Exhibit 99.1. The information contained in this Item 2.02 and the accompanying Exhibit 99.1 are “furnished” and shall not be deemed “filed” for purposes of Section 18 of the Securities Exchange Act of 1934, as amended (the “Exchange Act”), or otherwise subject to the liabilities of that section, and shall not be incorporated by reference in any filing under the Securities Act of 1933, as amended, or the Exchange Act regardless of any general incorporation language in such filing, unless expressly incorporated by specific reference in such filing. Item 8.01 Other Events. In March 2021, our Board of Directors authorized the repurchase of up to $5 billion of our common stock, with no expiration date. Stock repurchases may be effected through open market repurchases in compliance with Rule 10b-18 under the Exchange Act, including through the use of trading plans intended to qualify under Rule 10b5-1 under the Exchange Act, privately-negotiated transactions, accelerated stock repurchase plans, block purchases, or other similar purchase techniques and in such amounts as management deems appropriate. We are not obligated to repurchase any specific number of shares, and the timing and actual number of shares repurchased will depend on a variety of factors, including our stock price, general economic, business and market conditions, and alternative investment opportunities. The Company may discontinue purchases without notice at any time. Item 9.01 Financial Statements and Exhibits. (d) Exhibits Exhibit Number Description of Exhibit 99.1 Letter to Shareholders dated April 20, 2021 104 Cover Page Interactive Data File (embedded within the Inline XBRL document) SIGNATURES Pursuant to the requirements of the Securities Exchange Act of 1934, the registrant has duly caused this report to be signed on its behalf by the undersigned hereunto duly authorized. NETFLIX, INC. Date: April 20, 2021 /s/ Spencer Neumann Spencer Neumann Chief Financial Officer Exhibit 99.1 April 20, 2021 Fellow shareholders, Revenue grew 24% year over year and was in line with our beginning of quarter forecast, while operating profit and margin reached all-time highs. We finished Q1’21 with 208m paid memberships, up 14% year over year, but below our guidance forecast of 210m paid memberships. We believe paid membership growth slowed due to the big Covid-19 pull forward in 2020 and a lighter content slate in the first half of this year, due to Covid-19 production delays. We continue to anticipate a strong second half with the return of new seasons of some of our biggest hits and an exciting film lineup. In the short-term, there is some uncertainty from Covid-19; in the long-term, the rise of streaming to replace linear TV around the world is the clear trend in entertainment. (in millions except per share data) Q1'20 Q2'20 Q3'20 Q4'20 Q1'21 Q2'21 Forecast Revenue $ 5,768 $ 6,148 $ 6,436 $ 6,644 $ 7,163 $ 7,302 Y/Y % Growth 27.6 % 24.9 % 22.7 % 21.5 % 24.2 % 18.8 % Operating Income $ 958 $ 1,358 $ 1,315 $ 954 $ 1,960 $ 1,865 Operating Margin 16.6 % 22.1 % 20.4 % 14.4 % 27.4 % 25.5 % Net Income $ 709 $ 720 $ 790 $ 542 $ 1,707 $ 1,441 Diluted EPS $ 1.57 $ 1.59 $ 1.74 $ 1.19 $ 3.75 $ 3.16 Global Streaming Paid Memberships 182.86 192.95 195.15 203.66 207.64 208.64 Y/Y % Growth 22.8 % 27.3 % 23.3 % 21.9 % 13.6 % 8.1 % Global Streaming Paid Net Additions 15.77 10.09 2.20 8.51 3.98 1.00 Net cash provided by (used in) operating activities $ 260 $ 1,041 $ 1,264 $ (138) $ 777 Free Cash Flow* $ 162 $ 899 $ 1,145 $ (284) $ 692 Shares (FD) 452.5 453.9 455.1 455.3 455.6 Note: Figures are consolidated, including DVD. * Free cash flow represents Net Cash provided by (used in) operating activities less purchases of property and equipment and change in other assets. 1 Q1 Results and Q2 Forecast Average revenue per membership1 rose 6% year over year, or 5%, excluding a foreign exchange impact of +$80m. Operating income of $2 billion vs. $958 million more than doubled vs. Q1’20. This exceeded our guidance forecast primarily due to the timing of content spend. EPS of $3.75 vs. $1.57 a year ago included a $253m non-cash unrealized gain from F/X remeasurement on our Euro denominated debt. The extraordinary events of Covid-19 led to unprecedented membership growth in 2020, as it pulled forward growth from 2021, and delayed production across every region. In turn, we ended 2020 with a bigger membership and revenue base than we would otherwise have had, contributing to record Q1’21 revenues. And since we were still ramping production levels late last year, we had lower content spend in Q1’21 - content amortization only grew 9.5% year over year in Q1’21 vs. 17% in FY20. The result was a 10 percentage point year over year jump in our operating margin to 27% in Q1, which is an all-time high. As we discussed in past letters, these dynamics are also contributing to a lighter content slate in the first half of 2021, and hence, we believe slower membership growth. In Q1, paid net additions of 4m were below our 6m guidance (and the 16m net additions in the year ago quarter) primarily due to acquisition, as retention in Q1 was in line with our expectations. We don’t believe competitive intensity materially changed in the quarter or was a material factor in the variance as the over-forecast was across all of our regions. We also saw similar percentage year-over-year declines in paid net adds in all regions (see our Regional Breakdown table below), whereas the level of competitive intensity varies by country. As a reminder, the quarterly guidance we provide is our actual internal forecast at the time we report. That means in some quarters our results will be high relative to our guidance forecast and, in others, it will be low, as can be seen in the chart below. As our membership base continues to grow, there will naturally be more volatility in our absolute paid net additions performance vs. forecast. ___________________________________ 1 Average revenue per membership (ARM) is defined as streaming revenue divided by the average number of streaming paid memberships divided by the number of months in the period.
Recommended publications
  • February 26, 2021 Amazon Warehouse Workers In
    February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN;
    [Show full text]
  • Q2 2020 Letter to Shareholders
    July 16, 2020 Fellow shareholders, We live in uncertain times with restrictions on what we can do socially and many people are turning to entertainment for relaxation, connection, comfort and stimulation. In Q1 and Q2, we saw significant pull-forward of our underlying adoption leading to huge growth in the first half of this year (26 million paid net adds vs. prior year of 12 million). As a result, we expect less growth for the second half of 2020 compared to the prior year. As we navigate these turbulent circumstances, we’re focused on our members by continuing to improve the quality of our service and bringing new films and shows to people's screens. Our Q2 summary results and forecast for Q3 are in the table below. Ted Sarandos appointed co-CEO and elected to Board of Directors Ted joined Netflix over 20 years ago, and we are thrilled to appoint him to be co-CEO with Reed. “Ted has been my partner for decades. This change makes formal what was already informal -- that Ted and I share the leadership of Netflix,” says Hastings. Lead Independent director Jay Hoag says “Having watched Reed and Ted work together for so long, the board and I are confident this is the right step to evolve Netflix’s management structure so that we can continue to best serve our members and shareholders for years to come.” 1 Ted will also continue to serve as Chief Content Officer. In addition, Greg Peters has been appointed COO adding to his Chief Product Officer role.
    [Show full text]
  • 2021 Q1 NFLX Earnings
    BLUE ROOM TM Newsletter Number XXVI April 24, 2021 F2021 Q1 Earnings: April 20, 2021 By Nick Peart Netflix, Inc. 100 Winchester Circle Los Gatos, California 95032 Ticker: NFLX Market Capitalization: $224 Billion Shares Outstanding: 445,641,000 Share Price History April 12, 2021 $552.78 April 13, 2021 $553.73 April 14, 2021 $540.02 April 15, 2021 $549.22 April 16, 2021 $546.22 April 19, 2021 $554.44 April 20, 2021 $549.57 April 21, 2021 $508.90 ← -7.4% day after Q1 ‘21 Financial Results released April 22, 2021 $508.78 April 23, 2021 $505.55 Corporate Profile: Netflix, Inc. provides entertainment services. It offers TV series, documentaries, and feature films across various genres and languages. The company provides members the ability to receive streaming content through a host of internet-connected devices, including TVS, digital video players, television set-top boxes, and mobile devices. It also provides DVDs-by-mail membership services. The company has approximately 207 million paid members in 190 countries. Netflix, Inc. was founded in 1997 and is headquartered in Los Gatos California. BLUE ROOM TM Newsletter Number XXVI April 24, 2021 F2021 Q1 Earnings: April 20, 2021 Q1 2020 Earnings: Revenue: $5.768 B Net Income: $709 M Diluted EPS: $1.57 per share Global Streaming Paid Memberships: 182.86 M Q1 2021 Earnings Estimate via Zacks: Revenue Estimate: $7.14 B Diluted EPS Estimate: $2.98 per share Global Streaming Paid Memberships Estimate: 210.0 M Webcast Earnings Press Release Actual Q1 2021 Earnings: Revenue: $7.163 B (24% YoY increase compared to Q1 2020) Net Income: $1.707 B (141% YoY increase compared to Q1 2020) Diluted EPS: $3.75 per share Global Streaming Paid Memberships: 207.64 M (14% increase YoY, missed expectations) Q2 2021 Financial Forecast: Revenue: $7.302 B Net Income: $1.441 B Diluted EPS: $3.16 per share Global Streaming Paid Memberships: 208.64 M “Revenue grew 24% year over year and was in line with our beginning of quarter forecast, while operating profit and margin reached all-time highs.
    [Show full text]
  • Los Bridgerton, La Serie Más Vista De Toda La Historia De Netflix
    Image not found or type unknown www.juventudrebelde.cu Image not found or type unknown Los Bridgerton tendrá segunda temporada. Autor: Fotograma de la película Publicado: 28/01/2021 | 11:16 am Los Bridgerton, la serie más vista de toda la historia de Netflix La plataforma digital asegura que, según sus estadísticas, 82 millones de cuentas las visto a 28 días de su estreno, superando a otros fenómenos de popularidad del servicio «streaming» como The Witcher, Lupin, Gambito de Dama o incluso Stranger Things Publicado: Jueves 28 enero 2021 | 11:23:36 am. Publicado por: Juventud Rebelde Netflix aseguró este miércoles en un comunicado de prensa que Los Bridgerton, el último éxito televisivo de Shonda Rhimes, ha sido visto por 82 millones de cuenta en sus primeros 28 días tras su fantástico estreno en las Navidades, lo que la posiciona como la serie más vista en la historia del gigante digital. En el caso de los datos de audiencia de Netflix es recomendable andar con pies de plomo, ya que el método que usa la plataforma para definir un visionado resulta muy controvertido: basta con que un usuario vea un contenido concreto durante dos minutos para que se contabilice, advierte la agencia Efe, aunque reconoce que, por muy dudoso que sea la manera de Netflix a la hora de presentar sus éxitos, Los Bridgerton se ha situado por encima de otros fenómenos como del servicio de «streaming» como The Witcher, Lupin, Gambito de Dama o incluso Stranger Things. La semana pasada, Netflix confirmó que habrá una segunda temporada de Los Bridgerton por medio de la misteriosa narradora de la serie, Lady Whistledown.
    [Show full text]
  • Catalog 2009-2010
    International Technological University 2009-2010 _____________________________________ __ Student Handbook 1 This publication is an announcement of the current programs and course offerings of International Technological University. It is intended for information only and is subject to change without notice. Courses, faculty assignment, prerequisites, graduation or completion requirements, standards, tuition and fees, and programs may be changed from time to time. Courses are not necessarily offered each term or each year. International Technological University retains the exclusive right to judge academic proficiency and may decline to award any degree, certificate, or other evidence of successful completion of a program, curriculum, or course of instruction based thereupon. While some academic programs described herein are designed for the purposes of qualifying students for registration or certification, successful completion of any such program in no way assures registration or certification by any agency. State of California Department of Consumer Affairs Private Post Secondary and Vocational Educational Information approved International Technological University to offer the programs listed in the catalog in accordance with the provisions of California Education Code(s) 94900 and 94915. ITU obtained its re-approval by the State of California Department of Consumer Affairs on January 1st, 2006, effective to December 31 2009. International Technological University has applied for Eligibility from the Senior College Commission of
    [Show full text]
  • Film in São Paulo
    FILM IN SÃO PAULO Guidelines for your new scenario spcine.com.br [email protected] @spcine_ and @spfilmcommission /spcinesp PRODUCTION GUIDE 2020 1 2 FILM IN SÃO PAULO Guidelines for your new scenario PRODUCTION GUIDE 2020 Art direction and design: Eduardo Pignata Illustrations: Bicho Coletivo 3 4 CHAPTER 3 - FILMING IN SÃO PAULO _ P. 41 Partnership with Brazilian product company _ p. 43 CONTENT Current co-production treaties _ p. 44 Entering Brazil _ p. 45 Visa _ p. 46 ATA Carnet _ p. 51 Taxes _ p. 52 Remittance abroad taxes _ p. 53 IRRF (Withholding income tax) _ p. 53 Labour rights _ p. 54 CHAPTER 1 - SÃO PAULO _ P. 9 Workdays and days off _ p. 55 Offset time compensation _ p. 55 An introduction to São Paulo _ p. 11 Payment schedule _ p. 56 Big productions featuring São Paulo _ p. 17 Health & safety protocols _ p. 59 The Brazilian screening sector around the world _ p. 21 Filming infrastructure _ p. 61 São Paulo’s main events _ p. 23 Sound stages _ p. 62 São Paulo’s diversity _ p. 26 Equipment _ p. 62 Daily life in São Paulo _ p. 65 Locations _ p. 66 Weather and sunlight _ p. 69 Safety & public security _ p. 70 Logistics _ p. 70 Airports _ p. 71 Guarulhos Airport _ p. 71 CHAPTER 2 - SPCINE _ P. 27 Congonhas Airport _ p. 72 Who we are _ p. 29 Viracopos Airport _ p. 72 Spcine _ p. 30 Ports _ p.
    [Show full text]
  • Audience Affect, Interactivity, and Genre in the Age of Streaming TV
    . Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies.
    [Show full text]
  • Television Academy Awards
    2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth.
    [Show full text]
  • STEPHEN MOYER in for ITV, UK
    Issue #7 April 2017 The magazine celebrating television’s golden era of scripted programming LIVING WITH SECRETS STEPHEN MOYER IN for ITV, UK MIPTV Stand No: P3.C10 @all3media_int all3mediainternational.com Scripted OFC Apr17.indd 2 13/03/2017 16:39 Banijay Rights presents… Provocative, intense and addictive, an epic retelling A riveting new drama series Filled with wit, lust and moral of the story of Versailles. Brand new second season. based on the acclaimed dilemmas, this five-part series Winner – TVFI Prix Export Fiction Award 2017. author Åsa Larsson’s tells the amazing true story of CANAL+ CREATION ORIGINALE best-selling crime novels. a notorious criminal barrister. Sinister events engulf a group of friends Ellen follows a difficult teenage girl trying A husband searches for the truth when A country pub singer has a chance meeting when they visit the abandoned Black to take control of her life in a world that his wife is the victim of a head-on with a wealthy city hotelier which triggers Lake ski resort, the scene of a horrific would rather ignore her. Winner – Best car collision. Was it an accident or a series of events that will change her life crime. Single Drama Broadcast Awards 2017. something far more sinister? forever. New second series in production. MIPTV Stand C20.A banijayrights.com Banijay_TBI_DRAMA_DPS_AW.inddScriptedpIFC-01 Banijay Apr17.indd 2 1 15/03/2017 12:57 15/03/2017 12:07 Banijay Rights presents… Provocative, intense and addictive, an epic retelling A riveting new drama series Filled with wit, lust and moral of the story of Versailles.
    [Show full text]
  • As Writers of Film and Television and Members of the Writers Guild Of
    July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C.
    [Show full text]
  • Top Recommended Shows on Netflix
    Top Recommended Shows On Netflix Taber still stereotype irretrievably while next-door Rafe tenderised that sabbats. Acaudate Alfonzo always wade his hertrademarks hypolimnions. if Jeramie is scrawny or states unpriestly. Waldo often berry cagily when flashy Cain bloats diversely and gases Tv show with sharp and plot twists and see this animated series is certainly lovable mess with his wife in captivity and shows on If not, all maybe now this one good miss. Our box of money best includes classics like Breaking Bad to newer originals like The Queen's Gambit ensuring that you'll share get bored Grab your. All of major streaming services are represented from Netflix to CBS. Thanks for work possible global tech, as they hit by using forbidden thoughts on top recommended shows on netflix? Create a bit intimidating to come with two grieving widow who take bets on top recommended shows on netflix. Feeling like to frame them, does so it gets a treasure trove of recommended it first five strangers from. Best way through word play both canstar will be writable: set pieces into mental health issues with retargeting advertising is filled with. What future as sheila lacks a community. Las Encinas high will continue to boss with love, hormones, and way because many crimes. So be clothing or laptop all. Best shows of 2020 HBONetflixHulu Given that sheer volume is new TV releases that arrived in 2020 you another feel overwhelmed trying to. Omar sy as a rich family is changing in school and sam are back a complex, spend more could kill on top recommended shows on netflix.
    [Show full text]
  • O Imaginêrio De Antonio Carlos Jobim
    O IMAGINÁRIO DE ANTONIO CARLOS JOBIM: REPRESENTAÇÕES E DISCURSOS Patrícia Helena Fuentes Lima A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (Portuguese). Chapel Hill 2008 Approved by: Advisor: Monica Rector Reader: Teresa Chapa Reader: John Chasteen Reader: Fred Clark Reader: Richard Vernon © 2008 Patrícia Helena Fuentes Lima ALL RIGHTS RESERVED ii ABSTRACT PATRÍCIA HELENA FUENTES LIMA: Antonio Carlos Jobim: representações e discursos (Under the direction of Monica Rector) My aim with the present work is to describe the personal and creative trajectory of this artist that became known to his audience and people as a hero in the mythological sense—an individual that constructs a series of victories and defeats that continues until death, after which he is glorified by his community. Therefore, I approach the narratives that made him famous: the ones produced by the print press as well as those texts that negotiate meaning, memory, domain and identity created by his fans. I will place special emphasis on the fact that his public produced a definitive narrative about his figure, an account imbued with devotion, familiarity and creativity following his death. More specifically, I identify intertwined relations between the Brazilian audience and the media involved with creating the image of Antonio Carlos Jobim. My hypothesis is that Antonio Carlos Jobim’s image was exhaustively associated with the Brazilian musical movement Bossa Nova for ideological reasons. Specially, during a particular moment in Brazilian history—the Juscelino Kubitschek’s years (1955-1961).
    [Show full text]