Netflix Case Study: Recovering from the Global Cuties Crisis
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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; -
The Perfect Mix Getting Engaged in College
05 07 10 | reportermag.com GETTING ENGAGED IN COLLEGE The other kind of RIT Rings. THE PERFECT MIX Remember: intro, rising action, climax, denouement and conclusion. ROADTRIP TO THE FUTURE Four men. Four cities. One mission. EDITOR’S NOTE TABLE OF CONTENTS 05 07 10 | VOLUME 59 | ISSUE 29 EDITOR IN CHIEF Madeleine Villavicencio | [email protected] My Innovative Mixtape MANAGING EDITOR Emily Mohlmann Every few weeks or so, I abandon the “shuffle play all” function on my MP3 player, turn off Genius on | [email protected] iTunes, and make a playlist. I spend hours listening to track after track, trimming down the set list and COPY EDITOR Laura Mandanas attempting to get the transitions just right. Sometimes, it just comes together; other times, I just can’t | [email protected] quite get it right. But one thing’s for certain: each mix is a reflection of who I am at the time of its creation. NEWS EDITOR Emily Bogle And if it’s good enough and means something, I’ll share it with someone special. | [email protected] LEISURE EDITOR Alex Rogala It crossed my mind to share a complete and perfected mix, but I decided that would take away from its | [email protected] original value. Instead, I’ve decided to share something unfinished and challenge you to help me find the FEATURES EDITOR John Howard perfect mix. Add or cut tracks as you please, and jumble them up as you see fit. And when you think you’ve | [email protected] got it, send that final track list my way. -
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. -
Castellitto Pietro
NUOVO! LA TUA NUOVA GUIDA A FILM E SERIE TV STREAMING032021 THE UNDOING SECONDO ZEROCALCARE PIETRO CASTELLITTO È NELLA SERIE SKY ORIGINAL SPERAVO DE MORÌ PRIMA TOTTITUTTE LE NOVITÀ DI MARZO DA GUARDARE DOVE VUOI IL GLOSSARIO DI FILM E SERIE TV GUIDA ALLA TERMINOLOGIA SULLO STREAMING INTRODUZIONE DA CONOSCERE Binge Watching: indica l’atto di “abbuffarsi” di una serie Tv, guardando 1 COS’È BEST STREAMING? compulsivamente un episodio dietro l’altro per È un mensile dedicato al mondo dei servizi streaming cercare di terminarla il prima possibile. come Disney+, Netflix, Amazon Prime Video, Infinity, Cliffhanger: è un nodo narrativo non risolto TIMVISION, RaiPlay, StarzPlay. Queste piattaforme forniscono che lascia il finale di un episodio in sospeso, contenuti (film, serie Tv, reality, eccetera) attraverso la Rete, amplificando il desiderio di vedere il successivo. gratuitamente o dietro pagamento di un abbonamento. Reunion: una riunione in grande stile del cast originale di una serie Tv o di un film, organizzata sia per lanciare un episodio celebrativo extra che per festeggiare insieme al 2 COME SI CONSULTA BEST STREAMING? pubblico anniversari ed eventi speciali. Best Streaming è una guida mensile ai programmi di nuova Showrunner: è il creatore di una serie Tv. generazione che supera il concetto di palinsesto, tipico della Tv lineare. Sarai tu a costruire la tua programmazione, decidendo cosa Sneak Peek: ovvero, una “sbirciatina”. È un assaggio di un trailer o un’anticipazione vedere e quando vederlo, consultando i menù messi a disposizione di una serie, di solito più breve e più mirata dalle singole piattaforme. Nelle prossime pagine troverai questi rispetto al trailer. -
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. -
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. -
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. -
“Canned History”: American Newsreels and The
“Canned History”: American Newsreels and the Commodification of Reality, 1927-1945 By Joseph E.J. Clark B.A., University of British Columbia, 1999 M.A., University of British Columbia, 2001 M.A., Brown University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May, 2011 © Copyright 2010, by Joseph E.J. Clark This dissertation by Joseph E.J. Clark is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date:____________ _________________________________ Professor Susan Smulyan, Co-director Date:____________ _________________________________ Professor Philip Rosen, Co-director Recommended to the Graduate Council Date:____________ _________________________________ Professor Lynne Joyrich, Reader Approved by the Graduate Council Date:____________ _________________________________ Dean Peter Weber, Dean of the Graduate School iii Curriculum Vitae Joseph E.J. Clark Date of Birth: July 30, 1975 Place of Birth: Beverley, United Kingdom Education: Ph.D. American Civilization, Brown University, 2011 Master of Arts, American Civilization, Brown University, 2004 Master of Arts, History, University of British Columbia, 2001 Bachelor of Arts, University of British Columbia, 1999 Teaching Experience: Sessional Instructor, Department of Gender, Sexuality, and Women’s Studies, Simon Fraser University, Spring 2010 Sessional Instructor, Department of History, Simon Fraser University, Fall 2008 Sessional Instructor, Department of Theatre, Film, and Creative Writing, University of British Columbia, Spring 2008 Teaching Fellow, Department of American Civilization, Brown University, 2006 Teaching Assistant, Brown University, 2003-2004 Publications: “Double Vision: World War II, Racial Uplift, and the All-American Newsreel’s Pedagogical Address,” in Charles Acland and Haidee Wasson, eds. -
21 July 2017
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Another!? Food Truck Is Absolutely No Joke
The Charlotte Post Life! THURSDAY, SEPTEMBER 17, 2020 SECTION B JCSU esports adds digital partnerships By Ashley Mahoney [email protected] Johnson C. Smith University is building partner- POPROCK PHOTOGRAPHY ships for its esports and gaming program. JCSU’s Metropolitan College of Professional Studies Kristen Bandoo and Chef Anthony Denning are partners in Another!? Food Truck. They’re also engaged. introduced an esports and gaming management pro- gram as a minor this semester, becoming the first historically Black college to offer one. The school an- nounced Tuesday a partnership with Riot Games, a Los Angeles-based esports organization, less than Another!? Food Truck two weeks after announcing a partnership with Nacon Gaming, an international video gaming equip- ment company. JCSU also offers a four-course non- credit bearing certificate program which provides professionals with insight into esports and gaming is absolutely no joke industries. An esports lab and an esports club, as well as the minor are also part of JCSU’s offerings. Branding hook aside, mobile food service carves a unique path “We are excited and thankful for the ongoing sup- By Ashley Mahoney “She was like, ‘just call it another but average cuisine with the initial port, continued growth and educational/industry [email protected] food truck.’ We started thinking menu including: Carolina Patriot, recognition of what we are building with our es- about all the trucks in Charlotte. a Carolina-style shrimp roll with Charlotte has Another!? Food ports/gaming educational program and ecosystem,” We wanted the name to kind of be Carolina slaw; house-made Aver- Truck. -
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. -
48 Annual Daytime Emmy Awards NOMINATIONS – June 25Th
48th Annual Daytime Emmy Awards NOMINATIONS – June 25th Please read below and check your entries for the correct spelling, title, and to make sure nobody who is eligible is missing. This list marks everyone who is officially a Daytime Emmy nominee in these categories and is the list we will use to verify statue orders in the event of a win. To make changes to this list, please read below carefully for the instructions: Please send an email to Daytime Administration at [email protected] with the subject line “Nominee Corrections and Additions – June 25th” and list the following information in the body of the email: Category Show Title Entrant’s Name Entrant’s Title # of Episodes in 2020 (if a Series) Job Description (if an off-list title)** **All off-list titles, or individuals with less than the required minimum percentage of episodes, are subject to approval by the Awards Committee. All changes made prior to the ceremony on June 25th will be gratis for this year. We accept changes for $150 per change for 30 days after the ceremony. Changes beyond 30 days after the ceremony will not be accepted under any circumstances. Deadlines are established by the ceremony date in which that category is rewarded. This list will be updated with accepted changes once a week on Fridays at 5pm ET! OUTSTANDING DRAMA SERIES The Bold and the Beautiful CBS Bradley P. Bell, Executive Producer Edward J. Scott, Supervising Producer Casey Kasprzyk, Supervising Producer Cynthia J. Popp, Producer Mark Pinciotti, Producer Ann Willmott, Producer Days of Our Lives