Written by Amanda Smith
If you’re a performing artist or producer in Hollywood, it’s difficult to miss the banner Netflix has planted in Tinseltown. The organization’s new 14-story tower can be seen from miles away in Los Angeles, topped by the Netflix logo.
Inside, Chief Content Officer Ted Sarandos is enrolling some of TV’s best producers and directors. Since Netflix Inc. streamed its first unique series “Lilyhammer” in 2012, the organization has become a standout amongst the most profitable TV networks by purchasing shows from others.
Presently, with a $16 billion spending plan, Netflix means to end up on top as the world’s biggest creator of amusement, creating programs simply like current top-notch VOD platforms including CBS Corp.
Recently, Netflix has signed Shonda Rhimes, maker of ABC’s VOD content such as Grey’s Anatomy and Scandal, to a long term deal; employed an official to create unique children shows; and purchased a graphic novel distributor. Netflix Studios is delivering around 75 percent of the organization’s new ventures, as per Sarandos, the key structure of a lineup this year that incorporates 200 comedies, dramatizations, stand-up acts, kid shows, movies, and of course Netflix originals.
The organization doesn’t reveal what number of individuals watch its shows, a key metric for TV networks. Be that as it may, the hits and awards jury continued applauding VOD content like Daredevil, Narcos and Master of None. Perhaps no show caught a larger number of viewers and critics off guard than Stranger Things, a fantasy cum horror-based TV show about a missing kid. Matt and Ross Duffer, the creators of Stranger Things, have said they were concerned the show would come up short on the grounds that Netflix didn’t promote it. Yet it was an instant sensation, and numerous critics listed its October return every year as the most anticipated show of the fall season.
Because of Netflix, customers now hope to have the capacity to watch videos where and when they want to. Analysts and critics concluded that the organization’s sales will hit $11.5 billion in 2017.
Netflix is burning cash to procure cash, trusting each new flick will persuade individuals to sign up. As Wells (CFO of Netflix) noted. Netflix has even spawed its own fan podcasts, like Netflix Reviews & Coverage, and the Netflix Campfire Podcast. But can the Netflix subscription model work for podcasting?
Some organizations are betting big that the answer is yes. E.W. Scripps purchased the podcast application Stitcher for $4.5 million in June 2016, and they’re as of now calling their new Stitcher Premium administration the “Netflix of podcasts. ” Howl, made by Midroll Media (also owned by Scripps) has been known as precisely the same. Audible has another subscription based podcast beta channel which launched in July, 2016.
In 2017, with social media platforms getting more and more competitive, an engaged group of viewers is crucial to any platform’s success. Any distributer or platform that has accumulated a truly committed group of viewers will be progressively effective in the years to come. Subscription services in the Netflix model may indeed be the answer.
Month to month podcast listening audiences now constitute 24 percent, or 67 million of Americans, a number that is up three points from last year’s 21 percent, or 57 million. The U.S. podcast crowd has grown 14 percent year-by-year.
Like books, podcasts remain an economical medium to produce and deliver content, in contrast to TV.
About the Author.
Amanda Smith is a marketing professional with expertise in strategies to engage customers and improve business opportunities. Interested in marketing communications and likes to keep abreast of new trends and developments.