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to "think" |
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this article is unreadable. that's my point. good day |
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Bajaria met, seemingly for my benefit, with a group of aspiring Spanish screenwriters and filmmakers from the company’s “Grow Creative” initiative, a program to “up-level local talent pools,” including crew workers, many of whom are then put to use staffing Netflix productions. Dean Garfield, the company’s Jamaican-born, Singapore-based V.P. of public policy, told me that when cultivating relationships with new countries he promises that Netflix will foster both economic growth and “a deeper affinity for their culture around the world.” When this pitch doesn’t work, Netflix has sometimes been able to pay its way to coöperation. In 2020, after years of tense diplomacy with France’s proudly insular entertainment industry, including a standoff with the Cannes Film Festival, the company achieved a delicate détente by committing to investing heavily in what a press release called “French series and films for French people.” Netflix is now one of the country’s largest producers of content, releasing about twenty films and series a year, though perhaps its best-known program set in France is still Darren Star’s American ex-pat rom-com “Emily in Paris,” which is about as French as a Starbucks croissant. it's comforting that even the person writing this begins to become nauseous herself towards the end |
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Raphael Bob-Waksberg recalled that when “BoJack Horseman” débuted, in 2014, Netflix promoted it generously. The series skewered the cynical self-justifications of Hollywood types, and there was something poetic about it airing on the upstart platform seeking to transform the industry. nope, we're back to me wanting to beat you with a sack full of nickels. -1/5 stars |
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Bajaria pointed out that TV shows have always sunk or swum with the ratings. Michael Schur told me that what feels different in streaming is the capriciousness of the platforms’ data-driven demands. “The sands are shifting all the time,” he said. “It’s very hard to learn what the rules are.” why not just be honest and write "the netflix people spouted a bunch of obvious generalities and i'm going to weave a bunch of buzzwords in on top of that so we all sound smart" |
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"and they also basically said they had no idea about" THE CAPRICIOUSNESS OF THE PLATFORMS' DATA-DRIVEN DEMANDS you want some writing? here is some genuine US govt copy: Jimmy Carter will be configured with an advanced communications mast to support the high-volume data requirements of network-centric warfare you are trying to write this sort of crap in a new yorker article and you can't even do that properly |
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someone, please continue and quote something else terrible from this article; i just can't do it anymore |
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“People love to click on stories about us,” she said. “Netflix has great S.E.O.” why am i doing this to myself |
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obviously people are simple machines that will increase your profit margins forever if you have good S.E.O. -- and good S.E.O. means people like you, clearly. alternate freaking universe |
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fuller quote “People love to click on stories about us,” she said. “Netflix has great S.E.O.” She was advising her content teams to tune out the “noise” and the financial pressures and focus instead on what they could control. As she put it, “What we can do is be always audience-centric: Who is this show for? If you like this show, then we’re gonna give you this other thing you like. If you do that, people are gonna watch the shows, and all of those things will help the stock.” Netflix’s stock price has not recovered from its springtime slump. But by the end of the year Bajaria was reminding me that three recent series—the new season of “Stranger Things,” “Dahmer,” and Tim Burton’s Addams Family spinoff, “Wednesday”—had become its biggest English-language releases of all time. “Look at the hit rate,” she told me. “That’s all I’m saying.” so what you're saying is, "look at all the web hits news stories about netflix series are getting," and that's all you're fucking saying. i skimmed through a few articles about the latter two, but i haven't seen any of these shows, nor their others getting "hits," nor do i plan to. it's just... well, they have good SEO, so stories about shows, show up spammed in the news; i read them sometimes. this does not mean i like the shows. it's more like: oh, hmm, what'd they do with that? oh ok. still never in hell subscribing. this does not mean i like you |
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