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Netflix’s video on demand streaming service, formerly branded as Watch Now, allows subscribers to stream television series and films via the Netflix website on personal computers, or the Netflix software on a variety of supported platforms, including smartphones and tablets, digital media players, video game consoles and brilliant TVs.[128] According to a Nielsen survey in July 2011, 42% of Netflix users used a standalone computer, 25% used the Wii, 14% by connecting computers to a television, 13% with a PlayStation 3 and 12% an Xbox 360.[129]

When the streaming service first launched, Netflix’s disc rental subscribers were given access at no additional charge.

Subscribers were allowed approximately one hour of streaming per dollar spent on the monthly subscription (a $16.99 plan, for example, entitled the subscriber to 17 hours of streaming media). In January 2008, however, Netflix lifted this restriction, at which point virtually every rental-disc subscribers became entitled to unlimited streaming at no additional cost (however, subscribers on the restricted plan of two DVDs per month ($4.99) remained limited to two hours of streaming per month).

This change came in a response to the introduction of Hulu and to Apple’s new video-rental services.[130] Netflix later divide DVD rental subscriptions and streaming subscriptions into separate, standalone services, at which point the monthly caps on Internet streaming were lifted.[131]

Netflix service plans are currently divided into three price tiers; the lowest offers standard definition streaming on a single device, the second allows high definition streaming on two devices simultaneously, and the «Platinum» tier allows simultaneous streaming on up to four devices, and 4K streaming on supported devices and Internet connections.

The HD subscription plan historically cost US$7.99; in April 2014, Netflix announced that it would lift the price of this plan to $9.99 for new subscribers, but that existing customers would be grandfathered under this older price until May 2016, after which they could downgrade to the SD-only tier at the same price, or pay the higher fee for continued high definition access.[132][133][134]

In July 2016, a Netflix subscriber sued the company over the price increases, alleging he was told by a Netflix customer support representative in 2011 that they would pay the same price in perpetuity as endless as they maintained their subscription continuously.[135]

On November 30, 2016, Netflix launched an offline playback feature, allowing users of the Netflix mobile apps on Android or iOS to cache content on their devices in standard or high quality for viewing without an Internet connection.

The feature is primarily available on selected series and films, and Netflix stated that more content would be supported by the feature over time.[136][137][138] Netflix will partner with airlines to provide them with its mobile streaming technology. This will start in early 2018 as part of an effort to get airlines to provide better in-flight Wi-Fi.[139]

In 2018, Netflix introduced the «Skip Intro» feature which allows customers to skip the intros to shows on its platform.

They do so through a variety of techniques including manual reviewing, audio tagging, and machine learning.[140][unreliable source?]

Profiles

In June 2008, Netflix announced plans to eliminate its online subscriber profile feature.[163] Profiles permit one subscriber account to contain multiple users (for example, a couple, two roommates, or parent and child) with separate DVD queues, ratings, recommendations, friend lists, reviews, and intra-site communications for each.

Netflix contended that elimination of profiles would improve the customer experience.[164] However, likely as a result of negative reviews and reaction by Netflix users,[165][166][167] Netflix reversed its decision to remove profiles 11 days after the announcement.[168] In announcing the reinstatement of profiles, Netflix defended its original decision, stating, «Because of an ongoing desire to make our website easier to use, we believed taking a feature away that is only used by a extremely little minority would assist us improve the site for everyone,» then explained its reversal: «Listening to our members, we realized that users of this feature often describe it as an essential part of their Netflix experience.

Simplicity is only one virtue and it can certainly be outweighed by utility.»[169]

Reintroduction

Netflix reinvigorated the «Profiles» feature on August 1, 2013, that permits accounts to accommodate up to five user profiles, associated either with individuals or thematic occasions. «Profiles» effectively divides the interest of each user, so that each will get individualized suggestions and adding favorites individually. «This is important», according to Todd Yellin, Netflix’s Vice President of Product Innovation, because, «About 75 percent to 80 percent of what people watch on Netflix comes from what Netflix recommends, not from what people search for».[170] Moreover, Mike McGuire, a VP at Gartner, said: «profiles will give Netflix even more detailed information about its subscribers and their viewing habits, allowing the company to make better decisions about what movies and TV shows to offer».[171] Additionally, profiles lets users link their individual accounts, and thus share individual watch queues and recommendations,[171][172] since its addition in March after lobbying Congress to change an outdated act.[172] Neil Hunt, Netflix’s previous Chief Product Officer, told CNNMoney: «profiles are another way to stand out in the crowded streaming-video space», and, «The company said focus-group testing showed that profiles generate more viewing and more engagement».[173]

Hunt says Netflix may link profiles to specific devices, in time, so a subscriber can skip the step of launching a specific profile each time s/he logs into Netflix on a given device.[174]

Critics of the feature own noted:

  1. New profiles are created as «blank slates»,[174] but viewing history prior to profile creations stays profile-wide.[175]
  2. People don’t always watch Netflix alone, and media watched with viewing partner(s) – whose tastes might not reflect the owner(s) – affect recommendations made to that profile.[173][174][175]

In response to both concerns, however, users can refine future recommendations for a given profile by rating the shows watched and by their ongoing viewing habits.[174][175]

History

On October 1, 2008, Netflix announced a partnership with Starz to bring 2,500+ new films and shows to «Watch Instantly», under Starz Play.[141]

In August 2010, Netflix reached a five-year deal worth almost $1 billion to stream films from Paramount, Lionsgate and Metro-Goldwyn-Mayer.

The deal increased Netflix’s annual spending fees, adding roughly $200 million per year. It spent $117 million in the first six months of 2010 on streaming, up from $31 million in 2009.[142]

On July 12, 2011, Netflix announced that it would separate its existing subscription plans into two separate plans: one covering the streaming and the other DVD rental services.[143] The cost for streaming would be $7.99 per month, while DVD rental would start at the same price. The announcement led to panned reception amongst Netflix’s followers, who posted negative comments on its wall.[144] comments spiked a negative «Dear Netflix» trend.[144] The company defended its decision during its initial announcement of the change:

«Given the endless life we ponder DVDs by mail will own, treating DVDs as a $2 add-on to our unlimited streaming plan neither makes grand financial sense nor satisfies people who just desire DVDs.

Creating an unlimited-DVDs-by-mail plan (no streaming) at our lowest price ever, $7.99, does make sense and will ensure a endless life for our DVDs-by-mail offering.»[143]

In a reversal, Netflix announced in October that its streaming and DVD-rental plans would remain branded together.[145]

In January 2018, Netflix named Spencer Neumann as the new CFO.[146]

In January 2020, Netflix opened a new office in Paris with 40 employees.[147]

Disc rental

In the United States, the company provides a monthly flat-fee for DVD and Blu-ray rentals.

A subscriber creates a rental queue, a list, of films to rent. The films are delivered individually via the United States Postal Service from regional warehouses. As of March 28, 2011, Netflix had 58 shipping locations throughout the United States.[148] The subscriber can hold the rented disc as endless as desired, but there is a limit on the number of discs that each subscriber can own simultaneously via diverse tiers. To rent a new disc, the subscriber must return the previous disc in a metered reply mail envelope.

Upon receipt, Netflix ships the next available disc in the subscriber’s rental queue.

Netflix offers pricing tiers for DVD rental. On November 21, 2008, Netflix began offering subscribers rentals on Blu-ray disc for an additional fee. In addition, Netflix sold used discs, delivered and billed identically as rentals. This service was discontinued at the finish of November.[149]

On January 6, 2010, Netflix agreed with Warner Bros. to delay new release rentals 28 days prior to retail, in an attempt to assist studios sell physical copies, and similar deals involving Universal and 20th Century Fox were reached on April 9.[150][151][152] In 2011, Netflix divide its service pricing.

Currently, Netflix’s disc rental memberships range from $7.99 to $19.99/m, including a free one-month trial and unlimited DVD exchanges.

On September 18, 2011, Netflix announced that it would divide out and rebrand its DVD-by-mail service as Qwikster. CEO Reed Hastings justified the decision, stating that «we realized that streaming and DVD by mail are becoming two fairly diverse businesses, with extremely diverse cost structures, diverse benefits that need to be marketed differently, and we need to let each grow and operate independently.» It was also announced that the re-branded service would add video game rentals.

The decision to divide the services was widely criticized; it was noted that the two websites would own been autonomous from each other (with ratings, reviews, and queues not carrying over between them), and would own required separate user accounts. Also, the two websites would require separate subscriptions.[153][154][155][156]

On October 10, 2011, Netflix announced that it had shelved the planned re-branding in response to customer feedback and after the stock price plummeted almost 30%, and that the DVD-by-mail and streaming services would continue to operate through a single website under the Netflix brand.

Netflix stated that it had lost 800,000 subscribers in the fourth quarter of 2011—a loss partially credited to the poor reception of the aborted re-branding.[155][156][157]

In March 2012, Netflix confirmed to TechCrunch that it had acquired the domain name DVD.com. By 2016, Netflix had quietly rebranded its DVD-by-mail service under the name DVD.com, A Netflix Company.[158][159][160]

As of 2017, the service still had 3.3 million customers, and Hastings stated plans to hold it for at least five more years.[161] In the first quarter of 2018, DVD rentals earned $60.2 million in profit from $120.4 million in revenue.[162]

Subsidiaries

  1. NetflixCS, Inc.

    – Another located 1108 E SOUTH UNION AVE Midvale, UT 84047.

  2. Millarworld – A comic book company that was founded in 2004 by Scottishcomic book author Mark Millar as a creator-owned line.
  3. Netflix Services UK Limited – A British division that holds Private limited with Share Capital.
  4. DVD.com – Rents DVDs by mail
  5. Netflix Pte. Ltd. – Netflix’s studio in Singapore.
  6. Netflix Streaming Services International B.V. – A Netflix subsidiary in the Netherlands.
  7. Netflix Streaming Services, Inc. – A subsidiary that license and streams every of Netflix’s films and shows.
  8. Netflix Services Germany GmbH – A studio that contributes to German film subsidies supporting domestic movie and TV production in the country.
  9. Netflix Global, LLC – A Foreign Limited-Liability Company filed on August 3, 2016, that co-produces every foreign programming and films
  10. Netflix Studios – A film and television studio that co-produces any original or foreign content.[176]
  11. Netflix Luxembourg S.a r.l.

    – A subsidiary located in Luxembourg, Europe.


Products

In 2007, Netflix recruited one of the early DVR trade pioneers Anthony Wood to build a «Netflix Player» that would permit streaming content to be played directly on a television set rather than a PC or laptop.[177] While the player was initially developed at Netflix, Reed Hastings eventually shut below the project to assist urge other hardware manufacturers to include built-in Netflix support.[178] Wood eventually launched the player as the first device from Roku Inc.

which is now primarily known for its streaming video players, with Netflix serving as a primary investor in the new company.[179]

In 2011, Netflix introduced a Netflix button for certain remote controls, allowing users to instantly access Netflix on compatible devices.[180]

Netflix revealed a prototype of the new device called «The Switch» at the 2015 World Maker Faire New York.

«The Switch» allows Netflix users to turn off lights when connected to a brilliant home light system. It also connects to users’ local networks to enable their servers to order takeout, and silence one’s phone at the press of a button. Though the device hasn’t been patented, Netflix released instructions on their website, on how to build it at home (DIY). The instructions cover both the electrical structure and the programming processes.[181][182]

Since 2015, the company received significant technical support from France’s CNRS concerning video compression and formating, through CNRS’ Laboratoire des Sciences du Numérique de Nantes (LS2N).

In March 2017 at Barcelona’s World Congress for mobile technologies, the American company presented the French lab’s open-source technological creation: a compression tool allowing HD+ video quality with a bandwidth need of under 100 kilo octets per second, 40 times less than that of HD TV needs and compatible with mobile services worldwide.[183]

In May 2016, Netflix created a new tool called Quick to determine the speed of an Internet connection.[184]


Content

Netflix’s longtime Los Gatos headquarters location and current legal address at 100 Winchester Circle (Building A)

Netflix’s Los Gatos headquarters expansion campus at 90 to 160 Albright Way (Building G, 101 Albright Way).[23][24]

First logo, used from 1997 to 2000

Netflix logo used from 2000 to 2014

Opened Netflix rental envelope containing a DVD of Coach CarterMarc Randolph, co-founder of Netflix and the first CEO of the companyReed Hastings, co-founder and the current chairman and CEO

There are a wide variety of material choices for residential fences.

Your climate, the style of your home and the purpose of the fence will every frolic a role in selecting the best material. Whether you select wood, vinyl, wrought iron or another fencing material, you’ll desire to understand the basics of fence installation so you can ensure it is designed and built correctly. With quality materials and proper construction your new fence will final for years to come.

TYPE OF MATERIAL PROS CONS COST STYLE DURABILITY
WOOD

  1. Can be used to create curves
  2. Natural appearance
  3. Can be finished with stain or paint
  1. May rot & own problems with pests
  2. Costs of lumber are rising making manufactured products more considerable

Between $13-$19 per linear foot

Versatile — numerous design & style options

Depends on
-Type of post
-Type of lumber
-Waterproofing
-Upkeep

VINYL

  1. Reliable products known to final for 10+ years without fading
  2. Adaptable to numerous architectural styles
  1. Color is limited to white, light tan and dark tan
  2. For wide gated areas reinforcement is needed to prevent sagging
  1. About $25 per linear foot
  2. No-care vinyl installation costs the same as wood fencing with less maintenance issues

Natural rock varies by color and style but it’s significant to match the rock on existing architecture

Low grade vinyl is vulnerable to degradation from exposure to high UV light and extreme temperatures

WROUGHT IRON

  1. Today mainly made of modern steel which is better than cast and is much more flexible
  2. Less expensive than traditional wrought iron

Iron is the traditional product due to its strength, however rusts quickly if scratched

  1. Residential grade at 6′ height runs $22 per linear foot
  2. Residential grade at 3′ height runs $14 per linear foot

Wrought iron is typically used in traditional homes such as colonial or Victorian

Forms own to be precise to reduce chances of a wave or a bulge

ALUMINUM

  1. Strong
  2. Long lasting
  3. Visually diverse & widely available

Doesn’t rust but is not as strong as iron

Between $24-$32 per linear foot

  1. Modern architecture
  2. Ideal for straight lines

Some aluminum fencing is more durable than steel, but not as stiff

BAMBOO

  1. Perfect for decorative screens and privacy fencing
  2. Easy installation
  3. Environmentally friendly
  1. May rot
  2. Expensive compared to other fencing options
  3. Needs occasional maintenance to hold tidy

Between $9-$11 per linear foot

  1. Asian inspired gardens
  2. Urban or city rooftop gardens

Some are carbonized for richer color, others are burned to give a light and dark tortoise shell effect

CHAIN LINK

  1. Strong
  2. Long Lasting
  3. Great for sports courts
  1. Not the most attractive looking fencing type
  2. Mesh or slats must be added for privacy

Between $12-$14 per linear foot

Used in gardens with sport courts, dog areas, or any area needing a temporary fence or boundary fence

A thicker galvanization means a stronger fence overall which is more resistant to rust and corrosion

PICKET

  1. Now offered in vinyl, picket fencing is a endless lasting alternative
  2. Vinyl means endless lasting, low maintenance, and money-saving

Wood picket fencing has problems with the contact of the wood with the ground, and generally needs to be replaced after a short time

Between $11-$14 per linear foot

Colonial, traditional, rustic and country style homes can be accented with a picket fence

  1. Depends on the material of wood or vinyl
  2. Vinyl will final much longer, but will be a little more costly in the beginning

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cheap fencing ideas that glance grand but won’t break the bank. while numerous garden fences are little more than a practical borderline between neighbouring gardens the best fences combine privacy protection and style. don’t forget; you can mix fences with other garden materials to create a feature that’s truly unique.

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chain link fencing. chain link fences do not add much privacy to the home but act out the other basic functions of a fence fairly well. homeowners as well as school istrators (very popular) will be delighted to know that they are cheap durable and need extremely little maintenance (like numerous of the other options).

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01 cheap diy fence ideas for your garden privacy or.

a short-term fence is a huge option when you require cheap fencing accomplished in a hurry. feature fences can also offer an attractive method of sectioning off diverse regions of the garden. should you need to own a wooden fence make certain you seek the services of an expert.

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wooden fences do require maintenance and waterproofing and wood in the u.s. is getting poorer in quality and higher in cost. the lumber yard sales force looks at us sideways when we enquire about redwood now.

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diy dog fencing on a rental property. cheap and temporary but still effective.. i obviously don't wan't to spend $5000 fencing someone else's yard so i'm trying to figure out how to do it on the cheap and maybe take it with me when i leave. i need to do about 45-55m (150-180ft) of fencing to do the whole yard..

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sheryl whitney steadman’s ace hardware’s plumbing systems expert has built an attractive durable maintenance-free fence around her home at 506 n. lake highway in miles city. this inexpensive fencing solution is constructed using only three parts: treated 4″x4″ fence posts treated 2″x4s and galvanized hog panels.

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bamboo rolls: bamboo roll fence is more cheap and beautiful. you can set up a fence about 4-5 feet high to stop your dog from jumping the fence. also it will provide you with more privacy. if your dog is a jumper or sporty type this type of fence can be a excellent solution to the problem.

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cheap privacy fencing ideas lattice is lovely. lattice has endless been used for privacy.

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pvc piping – diy. a simple and cheap solution that you can do yourself to stop dogs climbing over the top of the fence is to use some cheap pvc piping at the top. first cut some 5-inch diameter pvc piping lengthwise and put it along the top edge of the fence.

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diy cheap fence ideas for your garden privacy or.

well i can understand that as i own been there myself.

we hunted for months to figure out how to come up with cheap fence ideas as an economical solution for our backyard fence. truthfully we are still hunting for the correct garden fence and perimeter fence because i’m not completely thrilled with the options we’ve chosen.

a cheap fencing solution please! — moneysavingexpert .

a cheap fencing solution please! 28th mar 12 at 7:10 pm. #1. we live in an upstairs flat with a shared garden on one side of the garden is a nice large fence and on the other is a 4ft mesh affair. but our half of the garden has the 4ft fence and the large fence is part of the other tenants garden.

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5 simple cheap backyard privacy fence design ideas.

if you’ve decided to get a privacy fence for your yard there are so numerous materials and designs to select from that it can seem a little overwhelming. the best fence matches the homeowner’s style and its surroundings and provides solution the fencing needs. 01 simple cheap backyard privacy fence design ideas.

0 gorgeous fence ideas and designs — renoguide.

the best fence matches the homeowner’s style and its surroundings and provides solution the fencing needs. 1. modern black horizontal slats. elegant minimalist and stunning! you can never go incorrect with this black steel and white concrete combo. the easy-to-maintain and tough fence also comes in a simple yet tasteful style.

peace in the yard: 7 ways to dog proof your fence | notes.

bamboo/reed rolls garden fencing and slats: if you own a chain link fence and you discover that your dog is reacting to stuff he sees on the other side of the fence attempt zip-tying rolls of reed fencing onto the inside of your chain link fence.

it looks nice it’s cheap and it’ll give you a lot more privacy (note: it’s not 100% opaque).

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diy cheap fence ideas for your garden privacy or.

this fence is one that would be simple enough to diy if you are familiar with building. i love the design because it stands out while still fulfilling its purpose. so if you’d love something a little diverse than most fences while also adding a touch of decoration to your property then you might desire to use this design as inspiration.

diy tips to hold your dog inside your fence | the honest.

the best solution is to create a l-footer along the base of the fence. take a roll of heavy garden fence or hardware cloth (wire fencing with wire squares) and unroll it alongside your fence. bend the fencing so a foot of it can be attached to your fence and the remainder will lie flat on the ground at the base of the fence extending into your yard.

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bamboo garden fence.

nothing represents simplicity, authenticity, and beauty love a bamboo garden fence. now, the bamboo fence is love an aesthetic art form, but actually, you don't need to be highly-skilled to attempt this super simple diy bamboo fence. there are numerous options of diy bamboo fence that would be perfect for【Get Price】

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FROM THE Louis Vuitton headquarters, which is housed in a corniced 18th-century building some 500 feet from the Correct Bank of the Seine, one has a direct view of Notre-Dame. In February, Nicolas Ghesquière, the artistic director of the Parisian fashion house’s women’s collections, urged me to glance out of his office window, where the cathedral’s spire and bell towers could be seen shining against a pale winter sky.

He shook his head slightly and shrugged a bit, as if to confess, wordlessly, to his excellent fortune, and to concede, again without saying anything, that when one is permitted proximity to such obscene beauty and physical evidence of humanity, it is barbaric to turn away.

Two months later, Notre-Dame was aflame. Ghesquière and his team, who generally work well into the night, had already gone home by the time the fire broke out around 6:30 p.m. on April 15. “Nobody stayed,” he recalled. “It was bizarre. It was love, ‘Let’s go, on y va, we own an early night! There’s nothing to do — we’re done for the day!’” It’s something, he said, that “never happens.” By the time Ghesquière arrived at Le Bristol, the hotel where he was living while his apartment in the Marais underwent renovation, he could see the smoke from the balcony of his top-floor suite.

Within a few hours, Bernard Arnault, the chairman and C.E.O. of LVMH — and one of Ghesquière’s bosses — had pledged 200 million euros to the restoration efforts.

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Over the following weeks, the question of how, exactly, the 856-year-old church should be rebuilt became something of a national preoccupation in France, with politicians, activists, art historians, urban planners and philanthropists every weighing in.

Some said Notre-Dame should be recreated to glance exactly as it did just before the fire; others, citing the fact that the building as we knew it was actually an amalgam of numerous centuries’ worth of work, argued that from the ruins should come something contemporary; a little group contended that the charred wood should be left exactly as it is: a helpful of architectural memento mori. “It’s a extremely exciting discussion,” Ghesquière said in tardy May. “It’s extremely symptomatic of our times, this discussion between the people who tell we should reproduce [it] as it was and the people who wish instead for evolution.” He smiled a bit sheepishly while fantasizing about something “super, super modern.” “One of my wishes for Paris is of course more modern architecture,” he said.

“I would love to enquire the most crazy architect to do it.”

It could be argued that Ghesquière actually has a relevant perspective on the matter — that these were more than the idle, extemporaneous musings of a man renowned for his futuristic fashion designs. Ghesquière, whose “favorite way to start a collection is with an anachronism,” arrived at the now 165-year-old luxury luggage company in 2013, after 15 years at the helm of another storied French fashion home, Balenciaga, where he was the artistic director from 1997 through 2012.

He is familiar with the challenges of simultaneously preserving and updating a cherished symbol of French opulence and craftsmanship. “Don’t forget,” he likes to tell, “that what you ponder of as normal and classic was once new.”

GHESQUIÈRE LOVES a well-functioning metaphor. His lecture, which is articulate and convincingly cerebral, tends to be thick with analogies. It’s a common trait among fashion designers, but unlike some, Ghesquière’s figurative language actually makes sense. He avoids industry jargon (“color story,” “taste level”), and when speaking with him, one gets the impression that he is actively trying to communicate ideas rather than speaking impressionistically in the conversational equivalent of a mood board.

At 48, the designer compares his professional course to what has become the common Hollywood career trajectory of Marvel tapping young, independent filmmakers with little studio experience to direct the biggest movies ever made in the history of cinema.

“If I were a director or an actor,” he said, “it would be love, ‘O.K., I did my indie movie, I did my small-scale thing. But then the indie movie became known — it went to Sundance, I got distribution, and then I went to do a large blockbuster.’”

Ghesquière often discusses his ascent in these terms. Louis Vuitton, the world’s biggest luxury brand, has a logo — three quatrefoils and a serifed monogram against a dark-chocolate canvas background, iterated constantly — that is, love Nike’s swoosh or Apple’s munched-on McIntosh, one of the most recognizable (and counterfeited) on the planet. More than just a symbol of wealth, it’s become a symbol of the unabashed pursuit of it.

It’s not every that rare to see people who own literally branded themselves with the logo, the pattern repeated, in tattoo ink, up necks and across forearms. “Louis Vuitton,” said Ghesquière, “is the most visible, the most showy, in a way. Some people ponder it’s terrible, some people love it, some people just own a fascination with it, some people ponder the brand is cheap because there are so numerous copies of it.” He calls it “the large game.”

But what got Ghesquière into the large game in the first put was his transformative tenure at Balenciaga, which is considered to be one of the most significant reigns in modern fashion history, one that permanently changed the way women dress.

When Ghesquière began working there, he was a 24-year-old freelancer. It was 1995, and the home, which had been founded by the Spanish couturier Cristóbal Balenciaga in 1917 — and had at its height, in the 1950s, been worn by Audrey Hepburn, Gloria Guinness and Ava Gardner — was floundering in obscurity. The only reason it hadn’t been shuttered completely was so that it could continue to license its name for fragrances. It was a empty slate, albeit one with an illustrious history. Over the next decade and a half, Ghesquière would create clothes — minidresses with football-player shoulders laser perforated with watercolor-pink peonies; a modernized cocoon jacket with pinched shoulders in a sapphire-hued shaved bouclé tweed; biker jackets and slim-cut, high-waisted cargo pants; a schoolboy-inspired rowing blazer; shoulder-padded metallic tops and drape-waisted double-sided satin miniskirts (a “Dynasty” girl and Joan Crawford rolled into one); a skillfully tailored evening jacket cut in cascading cream organza and white lace whose bell sleeves and high ruffled collar resembled a courtly tailcoat; latex dresses with hand-printed motifs inspired by 18th-century chinoiserie screens — that were so distinctive, so harmonious, that even today they remain recognizable as his.

The designer’s love for the uniforms of fencing and horseback riding, sports he practiced as a boy; a jolie laide palette of brash primary colors mixed with muddy ground tones; Mondrian-style color blocking; and his fearlessness in mixing silhouettes from the 18th century, the ’40s and the ’80s with classic couture shapes and high-tech, futuristic fabrications (sometimes every in one look) came together to create a singular vision that was — and still is — famously Ghesquière. His work at Balenciaga did nothing less than change how a lady occupied the space around her; they were clothes made for the highway, not the runway. “My principle is to do clothes that I put on the catwalk, not clothes for the catwalk,” Ghesquière said.

He spoke of the temptation to make “show clothes,” which he dismissed as possible to design according to “formulas” and “tricks.” His clothes, he said, had to make sense on their own; the spectacle of the show had to be incidental to the experience of seeing and wearing them.

Ghesquière’s time at Balenciaga didn’t just redirect fashion — it redirected trade as well. His reinvigoration of the ailing luxury home was not the first of its helpful (Karl Lagerfeld had signed on as artistic director of a sluggish Chanel in 1983, and Tom Ford to a struggling Gucci in 1990), but it remains a model for how to convert a moribund brand into a trendsetting one without cutting out its heart, of how to create home silhouettes that reflect both the person whose name is on the door and the one who serves as the house’s steward.

He proved that an artistic director didn’t need to be well known in order to own a transformational effect: Ghesquière’s success at Balenciaga made possible the ascension of Phoebe Philo at Celine, Alessandro Michele at Gucci and Jonathan Anderson at Loewe.

Another reason Ghesquière’s aesthetic remains so dominant — in numerous ways, it’s the glance of the 2000s itself — is in part because he trained so numerous designers who went on to lead houses themselves, and in whose own designs one can see echoes of their previous boss’s.

For his first few years as the head of Balenciaga, Ghesquière worked with a staff of four. By the time he left, he had a staff of over 400, 60 of whom were in the design studio. Among them was the now 39-year-old Natacha Ramsay-Levi, his deputy for over a decade, who currently leads Chloé; you can see Ghesquière’s influence in her fluid, athletic trapeze dresses, her equestrian-inflected jewelry and footwear and her attraction to earthbound color. There’s also Julien Dossena, the 37-year-old creative director at Paco Rabanne, who departed Balenciaga when Ghesquière left for Louis Vuitton.

Dossena calls him a “life changer,” and in his designs as well — an expertly draped, flower-printed cocktail dress, a skinny rock-star pant or a decadent, ’80s-style rhinestone earring — Ghesquière’s influence endures. Dossena sees Ghesquière’s current work at Louis Vuitton to be something love “making personal style mainstream.” It’s significant to Ghesquière, Dossena said, that his designs be legible: “He cares that people can read his clothes and that they desire them.”

Many of Ghesquière’s signature innovations from Balenciaga own traveled with him to Louis Vuitton: In the drop 2019 collection, you can see them in a floral blouse with a black lace panel, or a camel-colored double-wool-blend cocoon jacket with black leather trim.

The clothes are still wearable. What’s diverse is that the textiles Ghesquière now uses — thick cashmeres, hand-embroidered Italian silk brocades, ornate lace — are some of the most finely made and expensive in the world, a fact that has come to define his vision for the brand. “I still work with the same passion, fascination and involvement,” Ghesquière said. “At the same time, I’m not going to lie — I was 25 [when I became the artistic director at Balenciaga], and I was doing the cool thing.

What I’m interested in today is how to talk about a brand that is the biggest in the world, that has the highest sales point. … The reason for Louis Vuitton’s success are the resources — the industrialization, the production sites. It’s a machine that has a weight. If you attempt to fight against it, you are dead.”

A FEW DAYS before his drop 2019 runway show, Ghesquière and I met at Le Voltaire, a stately restaurant not far from his Paris office.

The seats were upholstered in velvet; the walls were mirrored; the radishes were buttered and provided automatically. We spoke for well over an hour, and he interjected only to provide advice on the menu. He was extremely French about it — thorough, serious, somehow at once joyous and grave: “I generally take a beetroot and avocado salad to start, but there is also grapefruit and avocado in the same way. There is a crab salad that is fairly excellent that could be taken as a main. The mushroom salad is the specialty of the starters. There is carpaccio of Saint-Jacques, but they put truffle on it.

The steak is amazing, but I’m not going to prefer it today.”

Ghesquière was raised in Loudun, a three-hour drive southwest of Paris in the castle-dense Loire Valley, which he considers to be a “big village” but which his parents called a little city. Only in retrospect does he see that his childhood, which was wild and rural and free, was in fact “very extraordinary.” He lived with his parents (his dad managed a golf course, his mom stayed home) and his older brother. He grew up sketching dresses and making jewelry out of chandelier crystals, and by 14, he was interning with the French designer Agnès B., who was at the height of her fame (she had opened her first boutique in the United States on SoHo’s Prince Highway in 1983, two years earlier); in 1988, when he was 17, he forwent fashion school and moved to Paris, where he took a bedroom in an apartment in the Sixth Arrondissement without really knowing anyone working in fashion.

“It’s amusing to ponder about how I would sit around and ponder, ‘I’m a loser. I don’t own friends. I’m biking around in Paris alone on Saturday night,’” he said.

From 1990 to 1992, he worked as Jean Paul Gaultier’s assistant before designing at Pôles, a Parisian knitwear brand, and the Italian fashion home Callaghan. He was first hired at Balenciaga to design ready-to-wear, uniforms and funeral clothes under a Japanese license; two years later, in 1997, the then creative director, Belgian designer Josephus Thimister, left, and Ghesquière was appointed head of the house.

Then, in the drop of 2013, Ghesquière was summoned to a meeting by Bernard Arnault (Balenciaga is owned by Kering, LVMH’s chief competitor).

The two began a casual but detailed conversation about handbags. Louis Vuitton was founded in 1854 by a French box maker who had witnessed the rise of leisure travel and presciently expanded his trade into trunks; European royalty hired him to, in the words of one empress of France, pack “the most beautiful clothes in an exquisite way.” Over 150 years later, packaging, in every sense of the expression, remains central to the brand. Ghesquière, who at Balenciaga had designed the distressed, studded and tasseled Lariat bag (renamed the City and the Motorcycle over its years of popularity), which became one of the most iconic accessories of the 2000s, was interested in the luxe practicality of Louis Vuitton’s origin.

The tale — the resourcefulness of a founding artisan becoming, first unwittingly and then enthusiastically, a businessman — appealed to him.

After his meeting with Arnault, Ghesquière returned home and immediately began cutting up magazines, making a little collage of LV-printed paper. “O.K., what’s genuine for the normal girl?” he thought. “She goes out, she needs something little and sophisticated for the evening. How can I make it miniature but not cheap?” A few days later, he returned to Arnault with a paper mock-up of an undeniably darling trunk shrunk to the size of a 1,000-page Penguin Classics paperback.

Arnault took one glance at the design and said, “This will glance extremely excellent in large numbers at the stores.”

“I was never trained as a businessman, and I will never desire to be one,” said Ghesquière. But with that first bag, he recalled that Arnault “immediately approached the collaboration from the merchandising point of view. I had an thought that was creative. He recognized this.” Ghesquière realized then that he was chatting with “not only one of the biggest businessmen in front of me but also someone who could consider what I was doing and imagine the steps after I designed.

It’s clearly what I was missing in my previous career, to be honest with you. I wanted that helpful of vision. I wanted someone that I would work with on a tale love that.”

A month later, in November 2013, Ghesquière replaced Marc Jacobs as the artistic director of Louis Vuitton’s women’s collections. Several iterations later, his mock-up, which he called the Petite Malle, debuted in stores, priced at $5,200. It’s one of a dozen permanent styles he has designed over his six years at Louis Vuitton. Ghesquière has developed a visual language for the clothes as well, one that emphasizes the company’s heritage while also modernizing his signatures: staples love crew necks and simple shifts in thick, color-blocked knits, sporty monogrammed trench coats, jeans and track suits, as well as his classic narrow trousers, tweed bouclé miniskirt suits and those powerful, print-clashing cocktail dresses with their familiar swirl of ’40s and ’80s excess.

“This occupation puts you in diverse spaces and times,” said Ghesquière, who renewed his contract final spring.

“I know that this sounds mystical, but you own to be someone who lives in the present.” He explained that one of the existential oddities of the occupation is having to be simultaneously a person constantly confronted with “quotidian questions” of budgeting and expenses while also being capable of quickly and seamlessly assuming a spirit of “fantasy and lightness and intensity that gives you the liberty to escape and come back with something that is honest and creative.”

FOR Every THE CRITICISMS one can justifiably hurl at luxury fashion, its efficiency is massively underpraised.

The rate at which artisanal clothes are designed and manufactured is astonishing. It is not unheard-of for a little team led by a single person to dream up and physically manifest dozens of outfits and present them in a logistically nightmarish event that requires the approval of local government — every within a matter of weeks. Ghesquière does this three times a year: twice in Paris, for his drop and spring ready-to-wear collections (for which he typically designs around 60 looks, including shoes, accessories and bags), and once in a far-flung location for the increasingly significant cruise collection, beloved by retailers for its endless (typically three-month) season.

Past locations include Bob Hope’s home in Palm Springs, Calif., Monaco’s Palace Square and museums in Brazil and Japan and on the French Riviera.

Earlier, Ghesquière had told me that even as a kid he had been “meticulous and a little bit extreme.” He calls this tendency in himself “zoom power,” and it was on full display one freezing morning in a studio in a northern suburb of Paris where two dozen people had gathered to confer about floor treatments and the almost imperceptible differences between a handful of blue plastic tubes.

The studio walls were black, and the spotlights shone below directly, turning everyone’s breath — some combination of carbon-dioxide and nicotine vapor — into noirish plumes. It looked not love a production meeting but rather the set of a movie within a movie. In fact, what was under consideration was a museum within a museum: a dramatically scaled-down version of the Centre Pompidou, Paris’s once-reviled Renzo Piano


Ownership

As of 2017, Netflix shares were mainly held by institutional investors, including Capital Group Companies, The Vanguard Group, BlackRock and others.[125]


Finance

For the fiscal year 2018, Netflix reported earnings of US$1.21 billion, with an annual revenue of US$15.8 billion, an increase of approximately 116% over the previous fiscal cycle.

Netflix’s shares traded at over $400 per share at its highest price in 2018, and its market capitalization reached a worth of over US$180 billion in June 2018. Netflix ranked 261 on the 2018 Fortune 500 list of the largest United States companies by revenue.[126] Netflix was announced to be the number one best stock in the 2010s, with a entire return of 3,693%.[127]

Year Revenue
in mil. USD-$
Net income
in mil. USD-$
Price per Share
in USD-$
Employees Paid memberships
in mil.

Fortune 500
rank
2005 682 42 2.59 2,5
2006 997 49 3.69 4,0
2007 1,205 67 3.12 7,3
2008 1,365 83 4.09 9,4
2009 1,670 116 6.32 11,9
2010 2,163 161 16.82 2,180 18,3
2011 3,205 226 27.49 2,348 21,6
2012 3,609 17 11.86 2,045 30,4
2013 4,375 112 35.27 2,022 41,4
2014 5,505 267 57.49 2,450 54,5
2015 6,780 123 91.90 3,700 70,8 #474
2016 8,831 187 102.03 4,700 89,1 #379
2017 11,693 559 165.37 5,500 117,5 #314
2018 15,794 1,211 7,100 139,3 #261
2019 20,156 1,867 167,1 #197


History

Further information: Timeline of Netflix

See also: Technical details of Netflix

Entertainment dominance, presence, and continued growth

Netflix has been one of the most successful dot-com ventures.

In September 2002, The New York Times reported that, at the time, Netflix mailed about 190,000 discs per day to its 670,000 monthly subscribers.[60] The company’s published subscriber count increased from one million in the fourth quarter of 2002 to around 5.6 million at the finish of the third quarter of 2006, to 14 million in March 2010. Netflix’s early growth was fueled by the quick spread of DVD players in households; in 2004, almost two-thirds of United States homes had a DVD player. Netflix capitalized on the success of the DVD and its rapid expansion into United States homes, integrating the potential of the Internet and e-commerce to provide services and catalogs that bricks-and-mortar retailers could not compete with.

Netflix also operates an online affiliate program which has helped to build online sales for DVD rentals as well. The company offers unlimited vacation time for salaried workers and allows employees to take any quantity of their paychecks in stock options.[61]

By 2010, Netflix’s streaming trade had grown so quickly that within months the company had shifted from the fastest-growing customer of the United States Postal Service’s first-class service to the largest source of Internet streaming traffic in North America in the evening.

In November, it began offering a standalone streaming service separate from DVD rentals.[62] On September 18, 2011, Netflix announced its intentions to rebrand and restructure its DVD home media rental service as an independent subsidiary called Qwikster, separating DVD rental and streaming services.[63][64][65] Andy Rendich, a 12-year Netflix veteran, was to be CEO of Qwikster. Qwikster would carry video games whereas Netflix did not.[66] However, in October 2011, Netflix announced that it would retain its DVD service under the name Netflix and would not, in fact, create Qwikster for that purpose.[67]

In April 2011, Netflix had over 23 million subscribers in the United States and over 26 million worldwide.[68] In July 2011, Netflix changed its prices, charging customers for its mail rental service and streaming service separately.

This meant a price increase for customers who wanted to continue receiving both services.[69] On October 24, Netflix announced 800,000 unsubscribers in the United States during the third quarter of 2011, and more losses were expected in the fourth quarter of 2011. However Netflix’s income jumped 63% for the third quarter of 2011.[70][71] Year-long, the entire digital revenue for Netflix reached at least $1.5 billion.[72] On January 26, 2012, Netflix added 610,000 subscribers in the United States by the finish of the fourth quarter of 2011, totaling 24.4 million United States subscribers for this time period.[73] On October 23, however, Netflix announced an 88% decline in profits for the third quarter of the year.[74]

In April 2012, Netflix filed with the Federal Election Commission (FEC) to form a political action committee (PAC) called FLIXPAC.[75]Politico referred to the PAC, based in Los Gatos, California, as «another political tool with which to aggressively press a pro-intellectual property, anti-video-piracy agenda».[75] The hacktivist group Anonymous called for a boycott of Netflix following the news.[76] Netflix spokesperson Joris Evers indicated that the PAC was not set up to support the Stop Online Piracy Act (SOPA) and the PROTECT IP Act (PIPA), tweeting that the intent was to «engage on issues love net neutrality, bandwidth caps, UBB and VPPA».[77][78]

In February 2013, Netflix announced it would be hosting its own awards ceremony, The Flixies.[79] On March 13, 2013, Netflix announced a implementation, letting United States subscribers access «Watched by your friends» and «Friends’ Favorites» by agreeing.[80] This was not legal until the Video Privacy Protection Act of 1988 was modified in early 2013.[81]

Establishment

Netflix was founded on August 29, 1997, in Scotts Valley, California, by Marc Randolph[25][26] and Reed Hastings.

Randolph worked as a marketing director for Hastings’ company, Pure Atria.[27] Randolph was a co-founder of MicroWarehouse, a computer mail order company, and was later employed by Borland International as vice president of marketing. Hastings, a computer scientist and mathematician, sold Pure Atria to Rational Software Corporation in 1997 for $700 million in what was then the biggest acquisition in Silicon Valley history. They came up with the thought for Netflix while commuting between their homes in Santa Cruz and Pure Atria’s headquarters in Sunnyvale while waiting for government regulators to approve the merger,[28] although Hasting has given several diverse explanations for how the thought was created.[29]

Hastings invested $2.5 million in startup cash for Netflix.[30][15] Randolph admired the fledgling e-commerce company Amazon and wanted to discover a large category of portable items to sell over the Internet using a similar model.

They considered and rejected VHS tapes as too expensive to stock and too delicate to ship. When they heard about DVDs, which were first introduced in the United States on March 31, 1997,[31] they tested the concept of selling or renting DVDs by mail, by mailing a compact disc to Hastings’ home in Santa Cruz. When the disc arrived intact, they decided to take on the $16 billion home video sales and rental industry.[28] Hastings is often quoted saying that he decided to start Netflix after being fined $40 at a Blockbuster store for being tardy to return a copy of Apollo 13. But this is an apocryphal tale that he and Randolph designed to explain the company’s trade model and motivation.[28]

Netflix was launched on April 14, 1998, as the world’s first online DVD rental store,[28][32] with only 30 employees and 925 titles available, which was almost the entire catalogue of DVDs in print at the time,[33] through the pay-per-rent model with rates and due dates that were similar to its bricks-and-mortar rival, Blockbuster.[34][28]

Membership fee, Blockbuster acquisition offer, growth start

Netflix introduced the monthly subscription concept in September 1999,[35] and then dropped the single-rental model in early 2000.

Since that time (see Technical details of Netflix), the company has built its reputation on the trade model of flat-fee unlimited rentals without due dates, tardy fees, shipping and handling fees, or per-title rental fees.[36]

In 2000, when Netflix had just about 300,000 subscribers and relied on the U.S. Postal Service for the delivery of their DVDs, they were losing money and offered to be acquired by Blockbuster for $50 million.

They proposed that Netflix, which would be renamed as Blockbuster.com, would handle the online trade, while Blockbuster would take care of the DVDs, making them less dependent on the U.S. Postal Service. The offer was declined.[37][38]

While they experienced quick growth in early 2001, both the dot-com bubble burst and the September 11 attacks would happen later that year, affecting the company badly and forcing them to lay off one-third of their 120 employees. However, sales of DVD players finally took off as they became more affordable, selling for about $200 around Thanksgiving time, becoming one of that year’s most favorite Christmas gifts.

By early 2002, Netflix saw a huge increase in their subscription business.[39][40]

Netflix initiated an initial public offering (IPO) on May 29, 2002, selling 5.5 million shares of common stock at the price of US$15.00 per share. On June 14, 2002, the company sold an additional 825,000 shares of common stock at the same price. After incurring substantial losses during its first few years, Netflix posted its first profit during fiscal year 2003, earning US$6.5 million profit on revenues of US$272 million. In 2005, 35,000 diverse films were available, and Netflix shipped 1 million DVDs out every day.[41]

Randolph, a dominant producer and board member for Netflix, retired from the company in 2004.[42]

Netflix was sued in 2004 for untrue advertising in relation to claims of «unlimited rentals» with «one-day delivery».[43]

Video on demand introduction, declining DVD sales, global expansion

For some time, the company had considered offering movies online, but it was only in the mid-2000s that data speeds and bandwidth costs had improved sufficiently to permit customers to download movies from the net.

The original thought was a «Netflix box» that could download movies overnight, and be ready to watch the next day. By 2005, they had acquired movie rights and designed the box and service, and were ready to go public with it. But after discovering YouTube, and witnessing how favorite streaming services were despite the lack of high-definition content, the concept of using a hardware device was scrapped and replaced with a streaming concept instead, a project that was completed in 2007.[44]

Netflix developed and maintains an extensive personalized video-recommendation system based on ratings and reviews by its customers. On October 1, 2006, Netflix offered a $1,000,000 prize to the first developer of a video-recommendation algorithm that could beat its existing algorithm Cinematch, at predicting customer ratings by more than 10%.[45]

In February 2007, the company delivered its billionth DVD,[46] and began to move away from its original core trade model of DVDs, by introducing video on demand via the Internet.

Netflix grew as DVD sales fell from 2006 to 2011.[47][48]

Another contributing factor for the company’s online DVD rental success was that they could offer a much larger selection of movie titles to select from than Blockbuster’s rental outlets. But when they started to offer streaming content for free to its subscribers in 2007, it could offer no more than about 1000 movies and TV-shows, just 1% compared to its more than 100,000 diverse DVD titles. Yet as the popularity kept growing, the number of titles available for streaming was increasing as well and had reached 12,000 movies and shows in June 2009. One of the key things about Netflix was that it had a recommendation system known as cinematch, which not only got viewers to remain attached to the service, by creating a switching cost, but it also brought out those movies which were underrated so that customers could view those movies too from their recommendations.

This was an attribute that not only benefited Netflix but also benefited its viewers and those studios which were minor compared to others.[49]

In January 2013, Netflix reported that it had added two million United States customers during the fourth quarter of 2012, with a entire of 27.1 million United States streaming customers, and 29.4 million entire streaming customers. In addition, revenue was up 8% to $945 million for the same period.[50][51] That number increased to 36.3 million subscribers (29.2 million in the United States) in April 2013.[52] As of September 2013, for that year’s third quarter report, Netflix reported its entire of global streaming subscribers at 40.4 million (31.2 million in the United States).[53] By the fourth quarter of 2013, Netflix reported 33.1 million United States subscribers.[54] By September 2014, Netflix had subscribers in over 40 countries, with intentions of expanding their services in unreached countries.[55] By October 2018, Netflix’s customer base reached 137 million worldwide, confirming its rank as by far the world’s biggest online subscription video service.[56]

Early Netflix Original content

Netflix has played a prominent role in independent film distribution.

Through its division Red Envelope Entertainment, Netflix licensed and distributed independent films such as Born into Brothels and Sherrybaby. As of tardy 2006, Red Envelope Entertainment also expanded into producing original content with filmmakers such as John Waters.[57] Netflix closed Red Envelope Entertainment in 2008, in part to avoid competition with its studio partners.[58][59]

Rebranding and wider international expansion

In April 2014, Netflix approached 50 million global subscribers with a 32.3% video streaming market share in the United States.

Netflix operated in 41 countries around the world.[82] In June 2014, Netflix unveiled a global rebranding: a new logo, which uses a modern typeface with the drop shadowing removed, and a new website UI. The change was controversial; some liked the new minimalist design, whereas others felt more comfortable with the ancient interface.[83] In July 2014, Netflix surpassed 50 million global subscribers, with 36 million of them being in the United States.[84]

Following the launch of Daredevil in April 2015, Netflix director of content operations Tracy Wright announced that Netflix had added support for audio description (a narration track that contains aural descriptions of key visual elements for the blind or visually impaired), and had begun to work with its partners to add descriptions to its other original series over time.[85][86] The following year, as part of a settlement with the American Council of the Blind, Netflix agreed to provide descriptions for its original series within 30 days of their premiere, and add screen reader support and the ability to browse content by availability of descriptions.[87]

At the 2016 Consumer Electronics Show, Netflix announced a major international expansion of its service into 150 additional countries.

Netflix promoted that with this expansion, it would now operate in almost every countries that the company may legally or logistically operate in. A notable exception was China, citing the barriers of operating Internet and media services in the country due to its regulatory climate. Reed Hastings stated that the company was planning to build relationships with local media companies that could serve as partners for distributing its content in the country (with a goal to concentrate primarily on its original content), but stated that they were in no hurry, and could thus take «many years».[88][89][90][91][92][93][94]

Also in January 2016, Netflix announced it would start blockingvirtual private networks, or VPNs.[95] At the same time, Netflix reported 74.8 million subscribers and predicted it would add 6.1 million more by March 2016.

Subscription growth has been fueled by its global expansion.[96] By the finish of the year, Netflix added a feature to permit customers to download and frolic select movies and shows while offline.[97]

In February 2017, Netflix signed a music publishing deal with BMG Rights Management, where BMG will oversee rights exterior of the United States for music associated with Netflix original content. Netflix continues to handle these tasks in-house in the United States.[98] On April 17, 2017, it was reported that Netflix was nearing 100 million subscribers.[99] On April 25, 2017, Netflix announced that it had reached a licensing deal in China with the Baidu-owned streaming service iQiyi, to permit selected Netflix original content to be distributed in China on the platform.[89] The Los Angeles Times stated: «Its series and movies account for more than a third of every prime-time download Internet traffic in North America.»[100]

On August 7, 2017, Netflix acquired Millarworld, the creator-owned publishing company of comic book author Mark Millar.

It is the first ever company acquisition in Netflix’s history. Netflix plans to leverage Millar and his current and future work for future original content. Chief content officer Ted Sarandos described Millar as being a «modern-day Stan Lee».[101] The following week, Netflix announced that it had entered into an exclusive development deal with Shonda Rhimes.[102]

On January 22, 2018, the company crossed $100 billion in market capitalization, becoming the largest digital media and entertainment company in the world, bigger than every traditional media company except for AT&T, Comcast and Disney[103][104] and the 59th largest publicly traded company in the US S&P 500 Index.[105]

On March 2, 2018, Netflix stock price surged to new all-time high of $301.05 beating its 12-month price target of $300.00, and finishing the session with a market capitalization of $130 billion putting it within shouting distance of traditional media giants love Disney ($155 billion) and Comcast ($169 billion).

The milestone came a day after British satcaster Sky announced a new agreement with Netflix to integrate Netflix’s subscription VOD offering into its pay-TV service. Customers with its high-end Sky Q set-top box and service will be capable to see Netflix titles alongside their regular Sky channels.[106]

On August 16, 2018, Netflix announced a three-year overall deal with black-ish creator Kenya Barris. Under the deal, Barris will produce new series exclusively at Netflix, writing and executive producing every projects through his production company, Khalabo Ink Society.[107]

On August 27, 2018, Netflix signed a five-year exclusive overall deal with international best–selling author Harlan Coben.

Under the multi-million pact, Netflix will work with Coben to develop 14 existing titles and future projects.[108] On the same day, the company inked an overall deal with Gravity Falls creator Alex Hirsch.[109]

According to Global Internet Phenomena Report Netflix consumes 15% of every Internet bandwidth globally, the most by any single application.[110]

In October 2018, Netflix acquired ABQ Studios, a film and TV production facility with eight sound stages in Albuquerque, New Mexico.

The reported purchase price is under $30 million.[111]

In November 2018, Paramount Pictures signed a multi-picture film deal with Netflix as part of Viacom’s growth strategy, making Paramount the first major film studio to sign a deal with Netflix.[112] A sequel to Awesomeness Films’ To Every the Boys I’ve Loved Before is currently in development at the studio for Netflix.[113]

Netflix sought and was approved for membership into the Motion Picture Association of America (MPAA) on January 22, 2019, as the first streaming service to become a member of the association.[114]

In May 2019, Netflix acquired the StoryBots children’s media franchise as part of a commitment to expand its educational content.[115]

On May 9, 2019, Netflix made a deal with Dark Horse Entertainment to make television series and films based on comics from Dark Horse Comics.[116]

In early August 2019, Netflix negotiated an exclusive multi-year film and television deal with Game of Thrones showrunners David Benioff and D.B.

Weiss reportedly worth US$200 million.[117][118] As a result of their commitments to Netflix, Benioff and Weiss withdrew from an earlier agreement with Disney to record and produce a Star Wars film series.[119][120][121]

On November 13, 2019, Netflix and Nickelodeon entered into a multiyear content production agreement to produce several original animated feature films and television series based on Nickelodeon’s library of characters, in order to compete with Disney’s new streaming service Disney+.

This agreement expanded on their existing relationship, in which new specials based on the past Nickelodeon series Invader Zim and Rocko’s Modern Life were released by Netflix. New projects planned under the team-up include a music project featuring Squidward Tentacles from the animated television series SpongeBob SquarePants, and specials based on The Noisy House and Rise of the Teenage Mutant Ninja Turtles.[122][123][124]


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