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Tom said “If you’re a new service and you’re not spending as much on content as Netflix, you can’t feasibly argue to the consumer that you’re offering something better. You certainly can’t offer more, so you have to undercut them.” He added: “It’s an artificial price environment that can’t last for ever — and not everyone will win.”
Tom said “content on screen doesn't directly translate to real-world harm” and the leaking of Chappelle’s deal – $24 million for one stand-up special. “Netflix is no longer a disruptor – they’re an established multinational,” he argues. “They may have scaled up everything but they’re still reacting like a start-up sending round memos not realising they’ll be leaked. Warner and Disney wouldn’t send that kind of memo and five years ago this sort of content wouldn’t have been as big a deal.”
Part of the staff fury is down to the way Netflix runs a more open, start-up style internal culture that it describes as “radical transparency.” It is acceptable practice to be brutally honest when offering feedback to co-workers as long as “you only say things about fellow employees that you say to their face.”
Gill said "Advanced booking deadlines may seem anachronistic given the flexibility when planning and booking digital campaigns. But the comparison is unfair: digital players offer fixed audiences with no set time or day requirements, nor for specific programmes, nor quality metrics, such as position-in-break. As TV deals are struck against so many parameters, sales houses need sufficient time to schedule and traffic all campaigns to best optimise the airtime for everyone."
She added "Reducing the deadline to four weeks last year was welcomed, and shouldn’t be reversed, but shortening it further will require significant tech investment and may be problematic."
Tom said “An actor is intellectual property. When you sign up Adam Sandler for multiple films, you know what you are buying. When that property comes in, viewers know what they are going to get. But if you can only make films for Netflix, creatively it can be quite restrictive."
He added “There may be only one person there who decides what you are making. Previously, you would find that Netflix might not want to take a film, but you could sell it to Amazon or the BBC instead.”
Gill said there is "a huge generational divide" in linear TV watching habits. She said: "The younger generation will watch less than one hour a day with some not watching at all this week."
She added "Online video is going to be half of Gen Z’s consumption this year and is only going to go up."
Netflix has moved into the third stage of its COVID narrative, with growth back and residual benefits from lockdown banked
Squid Game proves that the Netflix UI can set the zeitgeist but with that power comes sobering responsibilities, such as increased regulatory obligations and an understanding that internal issues have the potential to become very public problems
With subscriber growth no longer the most effective story to emphasise in maturing markets, it appears that a shift in narrative from subscriber adds to engagement has begun
Our UK-wide analysis of Google data on travel to work and to other destinations, at the granular level of Local Authority Areas, reveals the early return to pre-pandemic levels of mobility in smaller urban and rural areas, driving the UK’s economic recovery to date, while travel within cities remains depressed 18 months into the pandemic
On weekdays, work-from-home (WFH) for office workers is a core driver of reduced mobility in London and other cities reliant on public transport, recovering on weekends, but mainly to local destinations. Outside cities, the car is used for transportation, explaining the faster recovery of mobility there
Disposable income inequalities have widened between office workers that saved due to WFH and essential workers and those in B2C activities in cities have not had the privilege of WFH. The quicker return to offices in smaller urban and rural areas has restored pre-pandemic expenditure patterns
Francois said "So far I am on the wait and see side," he says. "I have not been impressed by Business Insider. I don’t understand where they want to take them - populist or investigative? Can they do better at international expansion than following the failed model of Huffington Post? Certainly Politico will give them insights on what they could do with Insider, if the brand has not been too much already."
