NEWS/
L'EDICOLA DI LOU -
Netflix fa terra bruciata attorno a HBO (e la supera con 2 milioni di abbonati in più): analisi coi controcazzi del brand tv più in auge degli ultimi anni (anche se a Hollywood si mormora: "to read the press and hear the comments, you
would think Netflix had found the cure for cancer...")
Fastcompany.com
Netflix: The Red Menace
Just when
Hollywood thought it had Netflix figured out, that "red envelope"
company flipped the script, creating a playbook for any business that
aspires to upend an industry. It's about to do it again.
On the August evening that opens the Edinburgh International Television Festival,
Kevin Spacey
is giving the keynote speech, a jeremiad against his hosts delivered
with all the fervor of a Tea Party populist railing against Washington.
The Oscar-winning thespian looks like a politician, his hair
perfectly in place and his suit a somber charcoal. He emotes like a
politician, too, as he launches into a withering takedown of the
traditional way that Hollywood makes television, lambasting everything
from the pilot process to TV executives ("those network people") who are
always "sticking their fingers in creative decisions and having
opinions about everything." And like the scheming pol he plays on
House of Cards,
the Netflix drama whose first season debuted in February 2013 and for
which Spacey earned an Emmy nomination, Spacey offers his speech in
silky soundbites uttered in his perfect, Juilliard-trained diction. It's
the sweet sound of impending doom.
This firebrand futurist of television doles out praise to just a
single company: Netflix. He credits the streaming-video service for
daring to let creative talent run the show without interference, and for
empowering viewers as well. "Clearly, the success of the Netflix model .
. . proved one thing: The audience wants the control," he says of the
streaming service's willingness to do such once-heretical things as
release all episodes of a season simultaneously. Viewers want "freedom,"
Spacey loftily proclaims. "If they want to binge . . . then we should
let them binge."
Spacey hasn't always been so passionate about the future of TV--or even about Netflix. Indeed, back in early 2011, when
House of Cards director David Fincher
called him at his Malibu home with the news that Netflix was offering
to guarantee to make and air a mind-boggling two seasons of the show
without a pilot (at a widely reported $100 million), Spacey turned to
his producing partner, Dana Brunetti, and whispered, "Does that mean
we're going straight to DVD?" Back then, Netflix was still that company
that mailed DVDs of mostly indie flicks to its customers in those
convenient red envelopes. Now Netflix is the hottest player in
Hollywood. In the creative community that drives that town, Netflix has
stolen a step on HBO, cable's most pedigreed channel.
To hear Hollywood types rave about Netflix these days, you'd half
expect to hear that the new phrase is "
It's not TV. It's Netflix."
Everything that makes Netflix's programming distinctive--surrendering
control to creators, releasing all episodes of a season at once, keeping
its viewership data private rather than participate in the ratings
game--is a modern twist on the original, universally admired HBO game
plan. Netflix even has more U.S. subscribers than HBO, surpassing the venerable network last fall when
it reached 31 million, versus HBO's 29 million.
But Netflix is doing more than threatening HBO--what really has
Hollywood worried is that the company seems in a hurry to redefine the
very rules of the entertainment industry. Its willingness to sign up
shows for entire seasons without first ordering a pilot (the one-shot
episodes that TV honchos have for decades demanded before backing a
show) has forced network executives to rethink a system that has defined
television since its inception. And as the company has rolled out
House of Cards, season four of
Arrested Development, and
Orange Is the New Black,
Netflix's stock has soared--it almost quadrupled between January and
Thanksgiving 2013. "
There have only been a half-dozen shows," gripes one
media executive, "and yet
to read the press and hear the comments, you
would think Netflix had found the cure for cancer."
In case you're wondering, Netflix has not done that. In fact, it hasn't
really even revamped Hollywood. Take that idea of dealing a death blow
to HBO, or, as chief content officer Ted Sarandos
told GQ, "to become HBO faster than HBO can become us." Netflix may
have edged ahead of HBO in U.S. subscribers, but HBO makes some $1.7
billion in annual profits for parent company Time Warner,
according to the media analyst SNL Kagan, versus the comparatively
paltry $100 million Netflix is on track to report for 2013. The largely
acclaimed shows that Netflix has licensed may have helped it add almost 4
million subs through the first nine months of 2013, but HBO owns the
majority of its shows, giving it a long stream of ancillary revenue
(selling rights to other networks, merchandise, and so forth) that
Netflix can only dream of.
Netflix has certainly benefited from Hollywood's paranoid vision of
it as the red menace from that barbaric region to the north known as
Silicon Valley. As one industry observer recently said, "Nobody knows
what the hell is going on inside Netflix. And that's the way Netflix
likes it." Being seen as an outside force armed with superior technology
gives it a cachet that can't be matched by mere content providers. It
also gives investors, who are partial to tech companies, a tale that
might justify the potential they've now priced into the stock. But the
real story of Netflix's Hollywood success is simultaneously less
understood, simpler, and more instructive than the data-driven
disrupter's tale that the company likes to peddle. (Netflix execs
declined to be interviewed for this article, and encouraged talent,
producers, and partners to stay mum.) Like all great Hollywood stories,
it's got a final twist that brings it all together: If you want to
disrupt an industry, you've ultimately got to beat it at its own game.
Continua a leggere e scopri i 4 punti vincenti di Netflix QUI
«La prima serie televisiva al mondo con Gerard Depardieu»: lo ha
annunciato la tv privata russa Tnt presentando il seguito della sit-com
“Zaitsev+1”, molto popolare tra i giovani, con la partecipazione del
celebre attore francese, al suo debutto in una serie televisiva comica. Depardieu, che da circa un anno ha la cittadinanza russa,
interpreterà il ruolo di Jora, il padre del personaggio principale, un
giovane che soffre di sdoppiamento della personalità. «Partecipare a questa serie mi ha portato un grande piacere. È
magnifico sentire lo spirito della giovinezza. È un onore per me
recitare in “Zaitsev+1” » ha commentato la star, aggiungendo di
sentirsi “molto bene” in Russia. L’attore ha girato in francese e le sue battute saranno doppiate ma,
ha sottolineato ,«le frasi chiave che bisognava dire in russo sono state
trascritte per me su dei grandi fogli di carta».
+2+-+Esquire.jpg)
+3+-+Esquire.jpg)
.jpg)
+vert.jpg)
.jpg)
Post
.jpg)
.JPG)
.jpg)
.JPG)
.JPG)
.JPG)
.JPG)
