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Vittoria Pretlow
A few years back, I began to wonder about Netflix. Sure, the streaming service offered plenty of box sets but new high quality movies? Well, not so much. The films available were largely older releases and fresh additions to the site did not inspire huge excitement. As a result, at that time, I seriously considered giving up my Netflix subscription.
I am, of course, not alone. There are over 130 million Netflix members worldwide. In the third quarter of 2018, Netflix added a further 6.96 million global subscribers and posted a 36% increase in revenue to $4 billion.
Of course, the value of these Netflix Original films is subjective. The point is that Netflix is willing to take a risk on films that may well prove divisive. In recent weeks, for example, the streaming service has released a number of potentially divisive movies - including Hold The Dark, 22 July and Apostle - prompting debate and discussion that (just on its own) more than justifies the subscription fee.
Netflix is also hugely valuable to me because of its support of the documentary genre. The company offers an incredible range of documentaries from Black Fish to Amanda Knox, from Into The Inferno to City Of Joy, from Reversing Roe to The White Helmets. I could go on...
Global audiences are not the only ones to realise the spike in quality at Netflix. The major festivals and film awards are also starting to take notice. It took Netflix a couple of years to learn how to play the game but now it is seriously cooking.
Last year, for example, the streaming service received four Oscar nominations (for Icarus, Heroin(e) and Mudbound) and celebrated its first Oscar win for a feature film with Icarus - a gripping documentary exploring the alleged Russian Olympic doping programme.
The lists on Reelgood are separated into TV and movie watchlists. According to Chamberlin, users, on average, do not interact with 75% of the movies and 74% of the TV shows they have added to their lists.
The completion rate is calculated based on member's self-reported numbers, in other words, it's based on the number of movies members have marked as seen on their watchlist, rather than the tracking of outbound links.
do you offer access to Netflix in your listing? If so do you use your own account? Pay for another account? Make them sign in with THEIR account? I have a Netflix account myself and a ROKU I can hook up -- I just today got my first inquiry about Netflix in the unit. I'm wondering how others do it.
I have an additional device account, one for guests. If a guest doesn't have their own account, they can request me to set up access to ours as a guest viewer. Although after 2 years and many bookings, I have had only 2 requests for me to set them up. Most have their own account these days.
We have a guest account for Netflix and Hulu and an old iPhone with nothing else on it signed in for guests to cast to the tv, via google chrome-cast. Old fashioned but does the job at low cost. (We have no tv service.)
Hi Emilia, I'll just be starting to offer Netflix for my guest this coming month and thinking of the same set-up as yours (guest will have access to my account, but with a different user profile). I'd like to ask if you had any instances where your guests have messed with the other profiles on your Netflix account. If yes, what did you do? Or if not, what have you done to prevent this.
@Jose-Feliciano0, just this week I noticed the Grinch was watched on my specific Netflix profile and there were two young children staying in one of my Airbnbs at that time. It doesn't bother me and doesn't happen often. No one has ever messed with my settings or anything like that. I would say it is more frustrating when they log out of my account and into their own. I have to check every time I am turning over the space for a new guest that Netflix is correctly logged into the right account. I would never give my password to a guest so if they get logged out it would require me going over to the apartment to log them back in (luckily, no one has asked me to do that.)
Hi Jose, So I'm a little behind on this thread & I've been looking into all this stuff with Netflix & if you offer up your own account could the guest potentially mess with the other accounts on it. Anyway, their is a way you can lock your other profiles so they would only have access to the one you want them to have..
I have a "guest profile" for Netflix/Hulu/Amazon but it is still my account. The account requires a password to be modified in any way, including ordering movies that are not included in the subscription so there's no way guests could change or charge anything.
The only issue I had once was someone signed in on their own account, then messaged me claiming that someone was watching stuff on their account after they checked out. We didn't have any guests during the time they claimed this was happening and we had logged them out anyways, so I think they had left their account logged in elsewhere.
@Kelly1126 I have the Netflix account that allows for streaming on 4 devices at once. I just leave the account signed in. Same with Amazon: I'm actually not sure how many people can log in at once, but there has never been a conflict, maybe because Amazon Prime is pretty poor in Canada and there isn't much to watch. Some people choose to use their own account, but I do provide mine also so they can use it if they want.
We have Smart TVs and/or Roku's so that guests can access their own accounts. We remind them to sign out when they leave. We've also been using YouTubeTV instead of cable TV in some properties. So far, so good. The savings are great. Good luck with whatever you decide!
I got a message that I am almost out of storage on my iPad. Wen I looked at the Manage Storage I see that the Amazon Prime Video App has used up 1.5GM on my iPad. When I click on it it shows 1.4 GB of documents and storage. I don't download movies but rather stream them. I compared it to my Netflix App which used only 87.7 MB or SHO Anytime which used 11.6 MB. What should I do to remove this excessive storage ? Should I delete the App and reload it ?
I was able to free up about 700Mb from my Amazon Prime Video app without uninstalling and reinstalling the app. Inside the app, click on the downloads button on the bottom and look for any content that you have downloaded to your device. I had three TV shows and was able to delete each of them from my device one-by-one. It would be helpful if they added a feature to delete all downloaded content with a single button.
Amazon Prime Video creates a watchlist for you and adds shows through some logic. I'm not sure how. I deleted a lot of these items off of my watch list and the size for Amazon Prime was reduced by several hundred Mb. This may work for you.
In my graduate proseminar on media theory and methods, I spend a great deal of time getting students to think about how they can draw on their own personal experiences and interactions with media to inform their scholarship. This was a central theme in Hop on Pop: The Politics and Pleasures of Popular Culture, which I co-edited with Jane Shattuc and Tara McPherson, which urges scholars to address the "culture that sticks to your skin," (a phrase inspired by Bruce Sterling's reference in Mirrorshades to "tech that sticks to your skin.") By this, we meant culture that is part of our everyday life, culture which provokes us either positively or negatively. The goal is to move cultural studies away from a language of distanced observation and towards an engagement that is up front and personal. It doesn't mean that we want only writing from fans (though of course it's no secret that I value the kinds of perspectives which fans bring to a topic.) It could also be a perspective that is antagonistic but open about its antagonism. It means being honest about where you are writing from and using a language which reflects your personal stakes in your topic. Popular culture is defined in part by its immediacy and it is not clear that one can meaningfully understand how it works or what it does without stepping at least temporarily into the realm of the proximate and the passionate. But it is not an easy thing to combine autobiography and theory effectively. I want to have my students struggle with what it means to balance these two pulls, to learn to reconcile these different languages and genre expectations through their writing. The students tell me that this is often the most challenging assignment they confront in the course. I have been grading these papers this weekend.Today, I wanted to share with you one of the papers to emerge from this assignment, with the permission, of course, of its author -- Debora Lui, who is a first years masters student in the Comparative Media Studies Program and one of the filmmakers working on the Project nml exemplar library. I felt that this particular essay would be of interest to my regular readers.
In the midst of two extensive knee surgeries in 2003, I discovered Netflix. Pumped up on painkillers, feeling groggy and uninspired, I went online one day to check out the service. I had vaguely heard of Netflix before, but had never been motivated to join. At the time, I had just graduated from college and was too busy with my "real" life to let my usually rampant movie-watching aspirations tie me down. When I moved back home in the Fall following graduation however, I was in a totally different situation. I had just injured both of my knees (tearing both Anterior Cruciate Ligaments - an amazing feat, I assure you) and my parents convinced me to move home in order to have the surgery I required. I was unemployed and living in the suburbs; watching movies suddenly became appealing again. I received my first Netflix DVD shortly after my first knee operation.
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