Wij willen met u aan tafel zitten en in een openhartig gesprek uitvinden welke uitdagingen en vragen er bij u spelen om zo, gezamelijk, tot een beste oplossing te komen.
Oftewel, hoe kan de techniek u ondersteunen in plaats van dat u de techniek moet ondersteunen.
Het afgelopen jaar heeft Netflix er 37 miljoen abonnees bijgekregen. Het bedrijf heeft daarnaast de mijlpaal van meer dan 200 miljoen gebruikers bereikt. Net als andere streamingplatforms profiteert het bedrijf van mensen die veel thuis zijn vanwege de coronapandemie.
De jaaromzet kwam uit op omgerekend 20 miljard euro. De groei was aan het begin van het jaar het grootst, maar desondanks kwamen er in de laatste drie maanden van 2020 ook nog ruim 8 miljoen nieuwe abonnees bij, mogelijk gestuwd door de kerstperiode waarbij mensen nog meer thuis waren.
Om de mijlpaal te vieren, heeft het bedrijf volgens The Wall Street Journal werknemers champagne en confetti gestuurd. Iedereen werkt thuis en een groot personeelsfeest is door de coronabeperkingen niet mogelijk.
100 miljoen huishoudens zien The Crown
Het gaat financieel zo goed met Netflix, dat het bedrijf verwacht geen geld meer te hoeven lenen voor de dagelijkse bedrijfsvoering. Er blijft naar verwachting een schuld van ongeveer 8 tot 12 miljard euro, schrijft het in een brief aan aandeelhouders.
Het vierde seizoen van The Crown was voor Netflix het belangrijkste seizoen tot nu toe. Inmiddels hebben meer dan 100 miljoen huishoudens de serie gezien. Ook kostuumdrama Bridgerton wordt genoemd als populaire serie.
Netflix zegt dat veel producties weer draaien. “We hebben geleerd dat flexibiliteit en aanpassingsvermogen heel belangrijk zijn in deze snel veranderende omgeving.” Het bedrijf heeft 500 titels die in productie zijn of binnenkort op het platform worden uitgebracht.
Concurrentie wordt groter
In de brief aan aandeelhouders, die allereerst ingaat op hoe moeilijk en zwaar het afgelopen jaar is geweest, wordt verder onder meer benoemd dat de concurrentie groter is geworden. “We hebben dit jaren zien aankomen”, zegt het bedrijf hierover.
Met name Disney is een geduchte tegenspeler aan het worden. Dat mediaconglomeraat maakte in december bekend dat Disney+ inmiddels 87 miljoen abonnees heeft. Het kondigde toen ook aan ook meer Marvel- en Star Wars-series te gaan produceren.
Disney is lang niet het enige bedrijf dat de concurrentie aangaat met Netflix. Ook platforms van Apple, WarnerMedia en NBCUniversal bewegen zich op de markt voor streaming video. Een gevolg hiervan is dat het aanbod steeds meer fragmenteert.
Netflix is picking up “The Lovebirds,” an upcoming romantic comedy starring Kumail Nanjiani and Issa Rae.
“The Lovebirds” reunites Nanjiani with director Michael Showalter. Their previous collaboration, “The Big Sick,” was distributed by Amazon Studios, who gave it a theatrical release before moving to streaming.
Paramount has already delayed a number of its releases, including “The Lovebirds” (originally scheduled for April 3) and “A Quiet Place II.” This is the first time the outbreak has prompted one of the major studios to have cancel a theatrical release entirely in favor of Netflix, but Paramount had an existing deal with the streamer and previously chose to distribute “The Cloverfield Paradox” via Netflix rather than theaters.
This approach likely makes more sense for a mid-budget romantic comedy like “The Lovebirds” than it does for a big-budget blockbuster — but according to The Wrap, Warner Bros. is even considering a streaming release for this summer’s “Wonder Woman.”
It’s perhaps not for nothing that The Great Hack – the new Netflix documentary about the connections between Cambridge Analytica, the US election and Brexit, out on July 23 – opens with a scene from Burning Man. There, Brittany Kaiser, a former employee of Cambridge Analytica, scrawls the name of the company onto a strut of ‘the temple’ that will eventually get burned in that fiery annual ritual. It’s an apt opening.
There are probably many of us who’d wish quite a lot of the last couple of years could be thrown into that temple fire, but this documentary is the first I’ve seen to expertly unpick what has become the real-world dumpster fire that is social media, dark advertising and global politics which have all become inextricably, and, often fatally, combined.
The documentary is also the first that you could plausibly recommend those of your relatives and friends who don’t work in tech, as it explains how social media – specifically Facebook – is now manipulating our lives and society, whether we like it or not.
As New York Professor David Carroll puts it at the beginning, Facebook gives “any buyer direct access to my emotional pulse” – and that included political campaigns during the Brexit referendum and the Trump election. Privacy campaigner Carroll is pivotal to the film’s story of how our data is being manipulated and essentially kept from us by Facebook.
The UK’s referendum decision to leave the European Union, in fact, became “the petri dish” for a Cambridge Analytica experiment, says Guardian journalist Carole Cadwalladr She broke the story of how the political consultancy, led by Eton-educated CEO Alexander Nix, applied techniques normally used by ‘psyops’ operatives in Afghanistan to the democratic operations of the US and UK, and many other countries, over a chilling 20+ year history. Watching this film, you literally start to wonder if history has been warped towards a sickening dystopia.
The petri-dish of Brexit worked. Millions of adverts, explains the documentary, targeted individuals, exploiting fear and anger, to switch them from ‘persuadables’, as CA called them, into passionate advocates for, first Brexit in the UK, and then Trump later on.
Switching to the US, the filmmakers show how CA worked directly with Trump’s “Project Alamo” campaign, spending a million dollars a day on Facebook ads ahead of the 2016 election.
The film expertly explains the timeline of how CA had first worked off Ted Cruz’s campaign, and nearly propelled that lack-luster candidate into first place in the Republican nominations. It was then that the Trump campaign picked up on CA’s military-like operation.
After loading up the psychographic survey information CA had obtained from Aleksandr Kogan, the Cambridge University academic who orchestrated the harvesting of Facebook data, the world had become their oyster. Or, perhaps more accurately, their oyster farm.
Back in London, Cadwalladr notices triumphant Brexit campaigners fraternizing with Trump and starts digging. There is a thread connecting them to Breitbart owner Steve Bannon. There is a thread connecting them to Cambridge Analytica. She tugs on those threads and, like that iconic scene in ‘The Hurt Locker’ where all the threads pull-up unexploded mines, she starts to realize that Cambridge Analytica links them all. She needs a source though. That came in the form of former employee Chris Wylie, a brave young man who was able to unravel many of the CA threads.
But the film’s attention is often drawn back to Kaiser, who had worked first on US political campaigns and then on Brexit for CA. She had been drawn to the company by smooth-talking CEO Nix, who begged: “Let me get you drunk and steal all of your secrets.”
But was she a real whistleblower? Or was she trying to cover her tracks? How could someone who’d worked on the Obama campaign switch to Trump? Was she a victim of Cambridge Analytica, or one of its villains?
British political analyst Paul Hilder manages to get her to come to the UK to testify before a parliamentary inquiry. There is high drama as her part in the story unfolds.
Kaiser appears in various guises which vary from idealistically naive to stupid, from knowing to manipulative. It’s almost impossible to know which. But hearing about her revelation as to why she made the choices she did… well, it’s an eye-opener.
Both she and Wylie have complex stories in this tale, where not everything seems to be as it is, reflecting our new world, where truth is increasingly hard to determine.
Other characters come and go in this story. Zuckerburg makes an appearance in Congress and we learn of the casual relationship Facebook had to its complicity in these political earthquakes. Although if you’re reading TechCrunch, then you will probably know at least part of this story.
Created for Netflix by Jehane Noujaim and Karim Amer, these Egyptian-Americans made “The Square”, about the Egyptian revolution of 2011. To them, the way Cambridge Analytica applied its methods to online campaigning was just as much a revolution as Egyptians toppling a dictator from Cario’s iconic Tahrir Square.
For them, the huge irony is that “psyops”, or psychological operations used on Muslim populations in Iraq and Afghanistan after the 9/11 terrorist attacks ended up being used to influence Western elections.
Cadwalladr stands head and shoulders above all as a bastion of dogged journalism, even as she is attacked from all quarters, and still is to this day.
What you won’t find out from this film is what happens next. For many, questions remain on the table: What will happen now Facebook is entering Cryptocurrency? Will that mean it could be used for dark election campaigning? Will people be paid for their votes next time, not just in Likes? Kaiser has a bitcoin logo on the back of her phone. Is that connected? The film doesn’t comment.
But it certainly unfolds like a slow-motion car crash, where democracy is the car and you’re inside it.
“Point Blank,” a new Netflix original film, stars Frank Grillo and Anthony Mackie as a criminal and a nurse thrown together by circumstances — Abe (played by Grillo) is struck by a car while fleeing a murder scene, and he’s brought to the hospital where Paul (Mackie) works. Soon, Paul finds himself coerced into to breaking Abe out of the hospital.
Despite the presence of two Marvel stars (Grillo had a brief-but-memorable run in the Captain America movies as Brock Rumlow, while Mackie’s Falcon is about to become the new Captain America), “Point Blank” is a decidedly modest affair, focusing on these two men as they drive through the streets of Cincinnati, on the run from both the police and criminals.
There’s nothing wrong with trying to deliver a straightforward crime movie, but as we discuss in the latest episode of the Original Content podcast, we found ourselves underwhelmed by the results, largely because the film was so by-the-numbers.
Yes, there are moments when “Point Blank” tries to surprise the audience, but most viewers will see the twists coming a mile away. And while the movie (based on a French film of the same name) seems to owe a debt to buddy cop movies like “48 Hours” and “Lethal Weapon,” it lacks the finesse needed to balance its jokes with high-stakes violence.
We also discuss AT&T/WarnerMedia’s announcement that it’s taking “Friends” off Netflix, so that it can bring the show to its upcoming streaming service, now called HBO Max.
July 4 is American Independence Day, but it also marks the arrival of Stranger Things season three — a release that might just be the most-anticipated in the history of Netflix.
Season three dropped at 12:01 PDT which means, dear reader, that it is now online and ready for your viewing pleasure.
The series has been an enormous hit for Netflix. Beyond a litany of awards, it has proven to be a smash with Netflix subscribers. More than 15 million watched the season 2 opener within three days of its release, while every episode of the second season had racked up more than four million views within that early window.
Netflix has gone to town promoting season three — with teasers in popular Roblox and Fortnite and an international promotion campaign — so you can expect that the numbers will be even higher this time around. The only question is whether it can deliver on the hype?
Netflix is testing out a new feature that could mean you never have to stop watching, not even while you work – it’s a pop-out video player, similar to the one you may be used to from iOS and macOS for any website or app that supports Safari’s native video player. Basically, that means you can choose to ‘pop out’ the video and then reposition it anywhere on your screen for a picture-in-picture effect that remains visible over any other apps you might be using.
The streaming company told Engadget, which found this experimental feature, that it’s only a test, but you can see why this might be a useful feature for users. Netflix could offer this already to iOS and Mac users using built-in system tools, but because it uses is own player (in part likely for copyright protection), it instead has to build its own feature. The benefit of this is that it should be coming to both Windows PCs and Macs should it graduate from being an experiment to being a full-fledged product.