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      How Much to See a Movie at AMC? It Will Soon Depend Where You Sit.

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      By the end of 2023, the movie theater chain will offer tickets at three different price tiers, with middle seats costing the most. You’ll pay less if you like the front row.Some middle seats at AMC movie theaters will be more expensive than others as part of the company’s new ticket-pricing strategy, announced this week.AMC Entertainment, the world’s largest cinema chain, said in a news release on Monday that this new pricing system, known as Sightline at AMC, would be in place at all of its United States theaters by the end of the year.The seats in the front row of the theater will be the least expensive and seats in the middle of the theater will be the most expensive, the company said. However, new prices will not affect showings before 4 p.m. or tickets sold at a special discount on Tuesdays, AMC said.AMC’s executive vice president and chief marketing officer, Eliot Hamlisch, said in the news release that the tiered system “more closely aligns” with the reserved seats and pricing models of other types of ticketed events, such as sporting events and concerts.Mr. Hamlisch said that the change would give people “more control over their experience.”Critics of the new system, including the actor Elijah Wood, have said it would give wealthy people an unfair advantage.“The movie theater is and always has been a sacred democratic space for all, and this new initiative by @AMCTheatres would essentially penalize people for lower income and reward for higher income,” Mr. Wood wrote on Twitter.Under the new system, the most common seats available, the Standard Sightline tickets, would be priced as traditional movie tickets, AMC said.If you’re willing to crane your neck to see the screen, you’ll be able to pay less to sit in the “Value Sightline” seats in the front row. Some accessible seating for people with disabilities will also be priced in the value tier. To access the value tier prices, people must register with the AMC loyalty program, which includes one free membership tier.The seats in the middle of the theater will become “Preferred Sightline” tickets. The extra cost of these tickets will be waived for members of AMC’s top-tier loyalty program, A-List.A map outlining seating options will be available when buying tickets online, through the company’s app and at the box office, the company said in its announcement.AMC did not specify what the price differences would be for each ticket or whether prices would be consistent across cities and films.In New York City, the price differences were about to take effect at some locations later this week. At AMC’s 34th Street location in Manhattan, tickets were listed under the new pricing system for Friday’s showings of films, including “Magic Mike’s Last Dance” and a 25th anniversary screening of “Titanic.”For the 6:45 p.m. showing of “Magic Mike’s Last Dance,” the front row seats, a space for a person in a wheelchair and a seat for the companion of someone in a wheelchair were described as “Value Sightline” seats and colored blue on the seating map.A key for the map explained that the value tickets were $2 off and that the preferred seats were $1 extra. Those were the five middle seats in each of the four back rows of the theater with gold-colored icons. Discounts for children and older moviegoers remain in effect.The “Standard Sightline” tickets for this showing included the two to three seats on either side of the preferred seats, the second-row seats and the six other seats made available for people in wheelchairs and their companions.Movie theaters have been experimenting with new tactics to boost ticket sales in response to two decades of weakening attendance, shutdowns during the first years of the coronavirus pandemic and the widening availability of digital streaming of first-run movies.In September, Cineworld, the London-based company that operates Regal Cinemas in the United States, filed for bankruptcy.Cineworld is the second-largest theater chain in the world behind AMC, and the company’s chief executive, Mooky Greidinger, said in the bankruptcy filing that “the pandemic was an incredibly difficult time for our business.”AMC said that by the end of the year, its new pricing system would be in place at all of the company’s theaters in the United States. AMC has about 950 theaters and 10,500 screens worldwide. More

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      Netflix Adds 2.4 Million Subscribers, Reversing a Decline

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      Netflix, which has about 223 million subscribers worldwide, will soon introduce a lower-priced service with ads in a bid to attract more customers.Netflix said Tuesday that it added more than 2.4 million subscribers in the third quarter — mainly from outside the United States — snapping a streak of customer losses this year that spurred unease among investors and questions about how much more the streaming business could grow.The streaming giant said it now has 223 million subscribers worldwide, after beating its earlier forecast of about one million additions for the quarter. Netflix lost 200,000 subscribers in the first quarter, and nearly one million in the second.“After a challenging first half, we believe we’re on a path to re-accelerate growth,” Netflix said in its quarterly letter to shareholders. “The key is pleasing members.”Netflix is preparing to introduce advertising on its service on Nov. 3, part of a bid to attract more customers with a lower-cost subscription. The advertising-supported tier, priced at $6.99 a month in the United States, will show subscribers four to five minutes of ads per hour of content they watch.Netflix generated about $7.9 billion in revenue in the third quarter, a nearly 6 percent increase from the same period last year. The company generated about $1.4 billion in profit, a 3 percent decrease from a year earlier.The Race to Rule Streaming TVNetflix Ads: The streaming company said it will soon offer a cheaper ad-supported subscription, which will show people four to five minutes of ads per hour of content they watch.Late-Night Talk Shows: TV executives are mulling the future of the genre, which is struggling to make the leap to the streaming world.Apple’s Will Smith Movie: After a long discussion, Apple said it will release the film “Emancipation” — the actor’s first since his infamous slap at the Oscars — in December.Cable Cowboy: The media mogul John Malone opened up about the streaming wars, the fast-changing news business and his own future.Netflix shares were up more than 10 percent in after-hours trading.Netflix said in its letter to shareholders that it expected to add 4.5 million subscribers in the fourth quarter, a 46 percent decrease from the 8.3 million subscribers it added during the same period last year. Netflix also said it would stop providing guidance to investors on its projected subscriber count beginning next quarter.Rich Greenfield, an analyst for Lightshed Partners, said the results indicated that Netflix would flourish as competitors continue to lag behind.“I think the reports of streaming’s death or maturity have been greatly exaggerated,” Mr. Greenfield said.The decision to introduce an advertising option on Netflix was an about-face for the company, which for years had highlighted its ad-free experience as a selling point for customers. But this year, after announcing subscriber losses on the company’s first-quarter earnings call, the co-chief executive Reed Hastings reversed course, saying that an advertising-supported plan would allow customers to choose their experience.Streaming has become an increasingly competitive industry in recent years. Disney, for instance, reported in August that it had about 221 million subscriptions across its bundle of services. It will start offering a lower-priced advertising tier for Disney+ in December.Mr. Hastings expressed relief about the company’s financial results during a video interview conducted by an analyst that was posted by Netflix on Tuesday evening.“Well, thank God we’re done with shrinking quarters,” Mr. Hastings said, laughing.Netflix is breaking with convention in other ways this fall. The company plans to release “Glass Onion: A Knives Out Mystery” in 600 theaters across the United States for one week beginning on Nov. 23 ahead of its streaming debut, the first time the company has struck a deal with the nation’s largest theater chains at once. The movie, written and directed by Rian Johnson, is the anticipated follow-up to the 2019 hit starring Daniel Craig as the Delphic detective Benoit Blanc.Netflix told employees this year that it was also planning to crack down on password sharing, which allows users to watch content without paying for a subscription. The research firm MoffettNathanson estimates that 16 percent of Netflix users share passwords, more than any other major U.S. streaming service. Netflix said in April that passwords were being shared with an additional 100 million households, according to its estimate.The company has also cracked down on costs. In May, Netflix laid off about 150 workers across the company, primarily in the United States, or about 2 percent of its total work force. Netflix said in a statement that the cuts had been spurred by the company’s slower revenue growth.Despite the changes, Netflix hasn’t yet been able to reverse a precipitous decline in its share price. The company’s stock has tumbled more than 60 percent over the last year amid a broader market slump, as investors and analysts grapple with the economics of streaming video.During the third quarter, Netflix released a mix of films and TV shows, including “The Gray Man,” a big-budget action film starring Ryan Gosling and Chris Evans and directed by Joe and Anthony Russo, the sibling filmmakers behind “Avengers: Infinity War.” Other popular titles included the serial killer show “Monster: The Jeffrey Dahmer Story”; the romantic drama “Purple Hearts”; and “Stranger Things,” which released the second half of Season 4 near the end of last quarter. More

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      in Music

      How Much Would You Pay to Hear Great Music?

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      With ticket prices for performing arts rising, could fresh approaches like pay-what-you-can increase access and foster more adventurous programming?“I’m a cellist, and I have played in orchestras my entire life,” Blake-Anthony Johnson, the president and chief executive of the Chicago Sinfonietta, said recently. “I used to ask the other musicians, ‘What is the most you would pay for your ideal concert?’ And it was nowhere near what our patrons actually pay.”Johnson was describing a slow-moving crisis in the performing arts: Ticket prices have risen far more precipitously than most Americans’ earnings — to say nothing of the seductively low cost of streaming services at home.This rise doesn’t just trouble short-term sales. It also affects the long-term health of arts organizations, which depend on the philanthropic support of patrons who have generally built close relationships with the objects of their giving.“I have long been concerned that ticket prices present a barrier to newcomers who are curious, and a barrier to inciting habitual attendance,” said Marc Scorca, the president and chief executive of the trade organization Opera America, noting that kind of habit can lead to later giving.“High ticket prices are a disincentive to experimentation, and they raise the level of expectation,” he added. “And the higher the price, the less likely that expectations will be met, leading to disappointment.”It’s axiomatic: High ticket prices are barriers at a time when organizations need their doors to be open ever more widely. And dependence on ticket sales also hobbles programming innovation. (In Europe, where arts institutions receive sometimes substantial public subsidies, ticket sales are a far smaller percentage of budgets, so artistic decisions don’t have to prioritize attendance.)But could new approaches to ticketing work to increase access and foster more adventurous programming?“Removing socioeconomic barriers is one of those things we have to be ahead of,” said Johnson, whose Chicago Sinfonietta introduced a pay-what-you-can ticketing approach last season. “I sleep really well at night, to have someone say, ‘I’m able to bring my family to these concerts.’”Experimentation in this area has been spreading in the theater world. Most recently Ars Nova, the prominent Off Broadway incubator, announced that it would move to a pay-what-you-want model for the coming season.In classical music, this kind of initiative has been far rarer, with the Sinfonietta leading the recent charge. But a much larger and more influential institution, Lincoln Center, threw down a gauntlet this summer, when it made the Mostly Mozart Festival Orchestra’s brief season choose-what-you-pay.The results were heartening. According to the center, 90.5 percent of tickets were sold for the concerts, which took place at Alice Tully Hall since the orchestra’s usual home, the larger David Geffen Hall, was being renovated.The suggested ticket price was $35, but the average paid was just over $19 — compared with almost $60 during the orchestra’s 2019 season, when face value ranged from $35 to $90. Sixty-three percent of Mostly Mozart ticket buyers this summer were first-timers to a Lincoln Center presentation (though not, perhaps, to the center’s constituents, like the Metropolitan Opera or New York Philharmonic).Of course, many institutions have reduced-price tickets available for students or seniors, or for last-minute buyers. And increasingly some have subscription-style programs that make cheaper tickets available for a monthly or annual fee. But those programs effectively penalize newcomers and occasional ticket buyers. And what about those who aren’t students or seniors, but are still challenged by rising prices?“I find it really odd that we subsidize tickets for youths and senior citizens,” Johnson said. “There is a very large group of people in between. What I’m suggesting is that we have the kind of relationship with the community in which we are a public service and want to be a part of your life regardless of whether you’re giving us money.”As Renee Blinkwolt, the producing executive director of Ars Nova, told The New York Times when that company’s new pricing policy was unveiled in August: “It’s not income based, it’s not age based, there’s no demographic basis. It’s just radically accessible — the doors are wide open to any and everyone to pay what they will.”The rise of dynamic pricing — in which ticket prices fluctuate based on demand — is spreading beyond the commercial theater world. This can help maximize revenue for institutions when they have a hit.But it can also do a disservice to audiences and the long-term fate of presenters. Aficionados are probably less likely to be purchasing tickets at the last minute, when in a dynamic pricing situation they’ll be most expensive. So relative newcomers will disproportionately be the ones stuck needing to pay a premium, when they should be most diligently targeted with discounts. (For this reason, the Metropolitan Opera did not employ dynamic pricing during its highly successful run of “Fire Shut Up in My Bones” last season.)The obvious solution would be for institutions simply to systemically lower prices — without expecting patrons to comb through websites for special ticketing programs or know how to game the dynamic pricing system.One way to lower prices is to eliminate ticket revenue as a factor in budgeting. Yes, that sounds extreme: When Emilee Syrewicze, the executive director of Opera Grand Rapids in Michigan, told her board earlier this year that their company was going in that direction, there was a little freakout.“Their first thought was, We’re no longer selling tickets,” Syrewicze said.What she was envisioning, though, was something different. Syrewicze had realized that the company’s ticket sales, as at many small and midsize institutions, were bringing in only a small portion of the budget: in the case of Opera Grand Rapids, around 15 percent. She also saw that the company consistently lacked a steady source of income to direct toward new projects and new works.What if, she thought, the opera reorganized its finances — and juiced its fund-raising to compensate — so that all of the money from ticket sales would be devoted to creative programming? In other words, as she put it: “What if we had a couple hundred thousand laying around?”When she explained to the board that the company was not simply disappearing the ticket revenue, but was planning to put it into other programs — and that the change would happen gradually over a few years, starting this fall — the members calmed down.“The freakout was only momentary,” Syrewicze said with a laugh.In Grand Rapids, the goal is not to lower prices, which are already cheap and addressed by several accessibility programs. But other organizations could use the same strategy as a model for price reductions: If ticket revenue doesn’t matter, tickets can be cheaper.Small or midsize institutions may well have an easier time experimenting, because if changes to ticket strategy are going to work without cutting budgets, donations will need to rise to fill the gap. That said, smaller organizations also tend to have less fund-raising prowess; the Stavros Niarchos Foundation supported the Mostly Mozart pilot program this summer, and Syrewicze and her new development director are confident that their city — which has a notably strong philanthropic record — will support their experiment.But it is still a gamble, and it requires a rethinking of the entire organization around a goal of lowering prices.For larger companies that sell more tickets, and those that still look to ticket sales as a bigger percentage of their budgets, the losses — and increased pressure on fund-raising — might not be workable. And as Johnson pointed out, the very configuration of most concert halls, in hierarchical tiers, resists truly democratic approaches to pricing.But Lincoln Center has shown that even the biggest organizations can at least experiment in this area, embracing the radical accessibility espoused by Ars Nova and opening the door to broader audiences of their own while providing inspiration for the rest of the field.There is still work to do. Syrewicze said she didn’t know of other organizations doing truly creative thinking in the pricing area, though a couple of her colleagues approached her to learn more after she had presented what she was working on in Grand Rapids at an Opera America meeting.“They liked the sound of it, but we like the sound of a lot of things,” she said. “How things translate to a budget is totally different. Because of our size and because we keep ourselves lean, we’re comfortable experimenting with this.”Of course, even if ticket prices came down, it wouldn’t solve all of the problems faced by orchestras and opera companies seeking to build their audiences and secure their donor bases.“When we’re talking about folks who have not come to the opera generally, price is not the only barrier,” Scorca said. “We should not kid ourselves that lower ticket prices will make people feel totally comfortable. But it is a potent, tangible, identifiable barrier.”Just the same, it would be unfortunate if the fact that lowering prices won’t solve everything keeps it from solving anything.“Let’s see what happens,” Scorca added. “It doesn’t have to be all or nothing in an experimental mind-set.” More

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      Ars Nova Introduces a Name Your Price Ticketing Model

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      For its upcoming season, audiences can pay what they wish. Tickets will start at $5 and increase in $5 increments up to $100 per ticket.The Off Broadway incubator Ars Nova will allow audience members to pay what they wish for theater tickets in a new initiative called “What’s Ars Is Yours: Name Your Price,” the company announced on Wednesday.“It’s not income based, it’s not age based, there’s no demographic basis,” said Renee Blinkwolt, the producing executive director of Ars Nova. “It’s just radically accessible — the doors are wide open to any and everyone to pay what they will.”Beginning on Oct. 6, theatergoers can choose their ticket price for any Ars Nova show at its base on West 54th Street in Hell’s Kitchen — as well as the company’s two productions at Greenwich House — for its 2022-23 season. Tickets will start at $5 and increase in $5 increments up to $100 per ticket.Ars Nova’s Off Broadway season includes the world premiere of “Hound Dog” (Oct. 6-Nov. 5), in which a young musician returns to her hometown, Ankara, Turkey, to look after her widowed father, and the world premiere of “(pray)” (March 9-April 15), a choreopoem that follows the form of a Sunday Baptist Church service while transporting audiences to an ancestral forest.Tickets to Ars Nova’s most recent production, “Oratorio for Living Things,” started at $35 and went up to $95 for premium seats. In a time of persistent drops in attendance, removing the financial barrier could be the extra incentive that gets people to the theater.Talks around a name-your-own price model started around this time last year, Blinkwolt said, knowing that audiences might feel nervous returning to in-person performances. After a year of planning and debating, the company is introducing the initiative for its 20th-anniversary season — and second in-person season since the start of the pandemic — during “a time of great change and transition,” Blinkwolt said.The pay-what-you-wish tickets idea is, of course, nothing new. For instance, in 2013, the Forum Theater in Silver Spring, Md., instituted “Forum for All,” under which patrons could attend performances for as little as 25 cents. And in 2017, the Off Broadway play “Afterglow” offered 10 pay-what-you-wish tickets to some performances at the Loft at the Davenport Theater.Still, having that ticketing for an entire season could signal a new standard in arts accessibility in New York City. Ars Nova says it will treat the effort as a learning experiment, with plans to assess the financial impact at the end of the year along with evaluating if the model succeeded in motivating attendance and diversifying the demographics of the audience.“My hope is that people are curious about it, they’re excited about it, and they build back that habit of getting together with friends, enjoying each other’s company in real time and space and taking in a show,” Blinkwolt said. More

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      From Harry Styles to BTS, Pop’s Biggest Stars Are Looking to Residencies

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      Extended runs in one venue, once associated with legacy acts, have become popular with stars including Harry Styles and BTS, lowering bills and building hype as touring costs rise.On Saturday, Harry Styles will take the stage at Madison Square Garden as part of the tour for his chart-topping new album, “Harry’s House.”Then, next Sunday, he will play the Garden again. Next Monday, too. And another 12 times through Sept. 21. At the Kia Forum in Inglewood, Calif., Styles will perform another 15 times in October and November. The entire North American leg of the singer’s latest tour, which opened in Toronto this week, consists of 42 shows in just five cities.Styles’s tour is the most prominent example of a bubbling trend of concert residencies: extended runs by artists in a limited number of cities and venues. In a rebounding touring market, with concert-starved audiences buying tickets in record numbers — and at higher prices than ever — these bookings are deliberate choices by prominent artists to reduce their time on the road and set up shop in far fewer places than they could on a traditional tour.Besides Styles’s, high-profile residencies have been completed recently by the K-pop phenom BTS and the Mexican rock band Maná, which has booked 12 dates since March at the Forum, the group’s only performances in the United States all year. In Las Vegas, the place that arguably birthed the residency format, Adele will begin a 32-date weekend engagement at Caesars Palace in November, and Katy Perry and Miranda Lambert also have dates lined up for the fall.“We thought doing a whole tour would be really challenging, maybe impossible, given all the variables,” said Fher Olvera, the lead singer of Maná.Frederick M. Brown/Getty ImagesAccording to talent agents and industry observers, the reasons include clever branding, the protection of artists and crews in the pandemic and a cold calculation of financial efficiencies. More concerts in fewer cities means fewer trucks on the road and lower bills all around.Those financial advantages are key at a time when gas prices are high and the concert world must deal with the same supply-chain shortages that have hit other businesses, said Ray Waddell, who covered the touring business for decades for Billboard magazine and now runs the media and conferences division of the Oak View Group, which operates sports and entertainment venues around the world.“The math is challenging right now,” Waddell said. “It costs way more to tour, more to produce the shows for everybody, more for labor. At the same time, inflation is going to impact discretionary income and force fans to make choices. That’s bad calculus.”For artists like Adele, Harry Styles and BTS, whose vast fan bases seem to have unquenchable demand, asking fans to come to them — and perhaps incur travel expenses of their own — may not be a great risk. But this model does not translate well below the superstar level, agents say.Of course, extended bookings are nothing new. Bruce Springsteen played Giants Stadium 10 times in the summer of in 2003. Prince played 21 shows around Los Angeles in 2011, most at the Forum. But the pandemic may have led to a critical mass.For artists and venues, touring has had a much-needed return to full capacity this year. According to Pollstar, a trade publication that follows the concert industry, gross ticket sales for the top 100 tours in North America reached $1.7 billion for the first six months of 2022, up 9 percent from the same period in 2019. Live Nation, the global concert giant that owns Ticketmaster, recently reported that the company had already sold 100 million tickets for the full year, more than in 2019. Still, the tightening of the wider economy has many in the industry worried about the rest of the year.On the road, and in venues packed with unmasked fans, the threat of Covid-19 still lingers, leading to occasional postponements and cancellations. A residency plan can limit the risk of exposure, and also give an artist a temporary break from the rigors of the road. In one recent Instagram post from a tour stop in Germany, Styles showed himself collapsed in an ice bath. (Styles and his representatives declined to comment for this article.)Adele will begin a 32-date weekend engagement at Caesars Palace in Las Vegas in November.Gareth Cattermole/Getty Images for AdeleThe complications of touring in the age of Covid-19 were behind Maná’s decision to limit its U.S. shows to the Forum. Last year, as the group began making its plans for 2022, the rise of the Omicron variant, and the tangle of local health regulations across the country, made a nationwide tour seem daunting.So they decided to stick to one spot in the Los Angeles area, the group’s biggest worldwide market. The band has already played eight sold-out shows at the Forum, drawing 110,000 fans, and has four more announced through October.“We just wanted to get out and play, to be with our fans,” said Fher Olvera, Maná’s lead singer. “We thought doing a whole tour would be really challenging, maybe impossible, given all the variables.”“After everything that’s happened over the last few years,” Olvera added, “the residency is more than a series of concerts for us — it’s a celebration of life.”The origins of the contemporary concert residency go back to Celine Dion’s decision to set up in Las Vegas in 2003, a time when that city was still seen as a pasture for fading acts.“It was a very big risk at the time — everybody thought we were fools,” said John Meglen of Concerts West, Dion’s promoter, which is part of the AEG Live empire. “At the time, Vegas was like the end of your career. It was like, ‘Come die with us.’”But Dion’s two residencies sold about $660 million in tickets to more than 1,100 shows, according to Pollstar. Dion’s engagements, as well as two by Elton John, recalibrated the industry’s approach to Las Vegas, and were followed by residencies there with Garth Brooks, Britney Spears, Jennifer Lopez, Lady Gaga, Drake and many others.The crucial artist for expanding the residency outside of Las Vegas, however, was Billy Joel. After being named the Garden’s first “music franchise” in late 2013, Joel began playing there monthly in 2014, and, aside from a hiatus during the pandemic, never stopped; his 86th concert in the series was recently announced for Dec. 19.Through his June show, the Garden residency has sold about $180 million in tickets. If the rest of his concerts there this year sell out — a fair bet, since every other night of the residency has — the cumulative gross will be around $200 million.“It’s basically the Super Bowl of music events,” said Dennis Arfa, Joel’s longtime booking agent. Joel has said he would continue the engagement “as long as the demand continues,” and there is no sign of that letting up.For Arfa, the scale of engagements like Joel’s and Dion’s raises a question of nomenclature. Do 15 shows over a few weeks count as a “residency” compared to 86, or to 1,100? If not, then what is it?“The word residency is kind of undefinable,” Arfa said. “Now everything is a residency. People do four nights and they can call it a residency. It’s a matter of verbiage and perception. I think the accomplishment is more important than the title.”Whatever these are, they are likely to continue. Omar Al-joulani, Live Nation’s president of touring, said he expected around 30 residency-type engagements in 2023. “That’s including a big Vegas year.”But talent agents and music executives say that these kinds of events cannot replace full-scale touring as a way to satisfy demand and cultivate audiences. When Styles announced his tour dates, Nathan Hubbard, a longtime ticketing executive who is the former chief executive of Ticketmaster, on Twitter declared the strategy “the future of live.” But in a recent interview, he took a more nuanced view.“This is not the new touring model,” Hubbard said. “This doesn’t mean nobody’s going to Louisville — indeed, most artists are still going to have to go market to market to hustle it.”And when a major venue announces its next block booking, what do we call it? Is it a residency, or something else? Arfa, Joel’s agent, pointed to Styles’s dates at the Garden.“It’s a run,” he said. “It’s a great run.” More

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      La Scala Woos a Younger Audience

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      Like so many cultural institutions, opera houses need to instill passion in the ticket holders of the future.Even an iconic opera house like La Scala must create programming to build the audience of tomorrow. One-third of today’s audience is under 55 years old. But Dominique Meyer, the artistic director and chief executive, is determined to make the house even younger.Since 2009, the theater has offered operagoers under 30 the possibility of attending previews of performances, which are usually reserved for private audiences, and a pass, which gives access to backstage tours, workshops and more. The subscription package, Under30, grants four performances for the price of one and the opportunity to meet artists at a happy hour.Mr. Meyer credited the efforts of his predecessors Stéphane Lissner and Alexander Pereira for their efforts, noting that the subscribers are “very faithful.” He wants to make sure, however, that they remain so: The house’s internal surveys have revealed that audience members between 30 and 40 are the hardest to retain.“It is not as if one’s salary suddenly becomes three times as big when you turn 30,” he explained. “All of a sudden, they have to pay full price, and the tickets are not as good as before.”As such, starting next season, the house will offer loges to those 35 and under at 50 percent of the normal price (370 euros to 920 euros, or $396 to $986, for a four-person loge). There will also be weekly performances offering half-priced tickets — including the opportunity to enjoy free drinks and socialize in specially reserved areas. (Tickets at normal price run up to €150 euros for ballet and €250 for opera.)“Every opera lover has made friends during a performance,” said Mr. Meyer. “We want to support this kind of communal environment.”He also hopes to “open the theater’s doors” to new potential audience members. Last July, the house orchestra, chorus and ballet toured different parts of the city as part of the initiative La Scala in Città (La Scala in the City), offering free tickets. On one occasion, in the Porta Romana District, dancers performed at Mysterious Baths, the swimming pool and cultural event center, in a program of excerpts from works by Tchaikovsky, Stravinsky, Léo Delibes, Ólafur Arnalds and more.Dominique Meyer, La Scala’s artistic director and chief executive, in the theater next to a statue dedicated to the Italian conductor Arturo Toscanini. Alessandro Grassani for The New York TimesMr. Meyer recalled that the only problem were the mosquitoes, which pestered the dancers, especially when they had to hold still. La Scala in Città will be repeated this September on a larger scale, including the young singers of the opera house’s academy, ballet school and children’s choir.This season also saw the launch of the subscription package Un palco in famiglia (A loge for the family), for which adults pay full price and can bring their children for €10 to €15 a head. Materials designed especially for minors are distributed at performances.Meanwhile, since 2014, the theater has mounted productions made for children, welcoming more than 200,000 visitors. This season featured a children’s version of Rossini’s “La Cenerentola” (“Cinderella”), which was also streamed on La Scala’s website.Next season will, for the first time, feature a newly commissioned work, “Il Piccolo Principe” (“The Little Prince”), based on the classic French children’s novel by Antoine de Saint-Exupéry. All productions are under one hour so that young visitors don’t grow bored, and they include child performers to further stimulate interest in the art form.The house has welcomed back most of another audience sector: tourists. They now make up 22 percent of total listeners, down from 30 percent before the pandemic.Mr. Meyer says that while visitors from Asia and Russia have not returned, the Europeans — and the Americans — are back. Of this group, the largest fraction (18 percent) is from Switzerland, followed by France (14 percent) and the United States (13 percent). The cities best represented are Vienna, Paris, London and New York.“If we are diligent and continue,” said Mr. Meyer, “we are certain to win a new audience.” More

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      in Television

      Netflix Tells Employees Ads May Come by the End of 2022

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      Netflix could introduce its lower-priced ad-supported tier by the end of the year, a more accelerated timeline than originally indicated, the company told employees in a recent note.In the note, Netflix executives said they were aiming to introduce the ad tier in the final three months of the year, said two people who shared details of the communication on the condition of anonymity to describe internal company discussions. The note also said Netflix planned to begin cracking down on password sharing among its subscriber base around the same time, the people said.Last month, Netflix stunned the media industry and Madison Avenue when it revealed that it would begin offering a lower-priced subscription featuring ads, after years of publicly stating that commercials would never be seen on the streaming platform.But Netflix is facing significant business challenges. In announcing first-quarter earnings last month, Netflix said it lost 200,000 subscribers in the first three months of the year — the first time that has happened in a decade — and expected to lose two million more in the months to come. Since the subscriber announcement, Netflix’s share price has dropped sharply, wiping away roughly $70 billion in the company’s market capitalization.Reed Hastings, Netflix’s co-chief executive, told investors that the company would examine the possibility of introducing an advertising-supported platform and that it would try to “figure it out over the next year or two.”The Race to Rule Streaming TVA New Era: Companies like Netflix, HBO, Hulu and Amazon ushered out the age of “prestige TV” and ushered in an age of anything goes.Netflix’s Woes: The streaming star lost subscribers for the first time in a decade as competitors continue to expand. What explains its poor performance?A Warning Sign?: Netflix’s sudden problems may be an indication that other streaming services are heading toward an unstable future.Commercials: Streaming executives are having a change of heart about ads and offering lower-priced versions in exchange for commercials.The recent note to staff signaled that the timeline has sped up.“Yes, it’s fast and ambitious and it will require some trade-offs,” the note said.A Netflix spokeswoman declined to comment.Netflix offers a variety of payment tiers for streaming access; its most popular plan costs $15.49 a month. The new ad-supported tier will cost less. Other streaming services have similar plans. HBO Max, for instance, offers a commercial-free service for $15 a month, and charges $10 a month for the service with advertising.Indeed, in the note to employees, Netflix executives invoked their competitors, saying HBO and Hulu have been able to “maintain strong brands while offering an ad-supported service.”“Every major streaming company excluding Apple has or has announced an ad-supported service,” the note said. “For good reason, people want lower-priced options.”Netflix has discussed its interest in building out an advertising infrastructure externally as well, including with a company called The Trade Desk, which helps advertisers place ads on various internet-enabled platforms, said a person familiar with the discussions who spoke on condition of anonymity in order to describe them. The Trade Desk counts David Wells, the former chief financial officer of Netflix, as a board member, and has been in touch with Netflix for years, this person said, but discussions ramped up recently, after Netflix said publicly that it would create an advertising tier.Last month, Netflix also announced that it intended to begin charging higher prices to subscribers who shared their account with several people.“So if you’ve got a sister, let’s say, that’s living in a different city — you want to share Netflix with her, that’s great,” Greg Peters, Netflix’s chief operating officer, said on the company’s earnings call. “We’re not trying to shut down that sharing, but we’re going to ask you to pay a bit more to be able to share with her.”Mr. Peters said the company would go “through a year or so of iterating” on password sharing before it rolled out a plan.In the note to employees, Netflix executives said the advertising-supported tier would be introduced “in tandem with our broader plans to charge for sharing.”Tiffany Hsu More

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      Times Newsletters Director Announces Changes

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      A new portfolio from Opinion and the newsroom will expand our ambitions in an age-old medium.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.Newsletters have a history even longer than newspapers, and email is several decades older than the web. Despite this lengthy pedigree, email newsletters are having a very buzzy moment — and here at The New York Times, we’re striving to bring even more depth, ambition and scale to our lineup.This summer marks 20 years since The Times published its first newsletters. We started off in 2001 covering technology, books and finance, among other topics. Some of those newsletters are still thriving, in various incarnations, as part of a portfolio that reaches some 15 million people every week — a number that has surged over the last two years. Flagships such as The Morning and DealBook serve as a destination for readers and a crucial gateway and guide to our journalism, while offering original reporting and analysis.As the editorial director of Times newsletters, I’ve been thinking with my colleagues about what comes next. How can we break new ground in the inbox and deliver sophisticated coverage of the topics that our readers care about most? Newsletters are already a core part of our subscriber experience: Nearly half of our subscribers engage with a newsletter every week. This week, we’re pulling back the curtain on a new kind of Times journalism: more than 15 newsletters that will be available only to our subscribers. The goal is to continue developing the inbox as a destination for our journalism, and to add value to a Times subscription.The first batch focuses on topics that our readers are passionate about, is staffed by journalists with deep expertise and features exciting, diverse new voices. It includes newsroom favorites Well, On Tech, At Home and Away, On Soccer and Watching, and columnists like Paul Krugman and Jamelle Bouie.It also features a new set of newsletters in Opinion (which remains a completely separate, independent entity, apart from our news operation):John McWhorter, a Columbia University linguist, will explore how race and language shape our politics and culture.Kara Swisher, host of the “Sway” podcast, will open her notebook to track the changing power dynamics in tech and media.Tressie McMillan Cottom, a professor at the University of North Carolina at Chapel Hill, will offer a sociologist’s perspective on culture, politics and the economics of our everyday lives.Tish Harrison Warren, an Anglican priest, will reflect on matters of faith in private life and public discourse.Peter Coy, a veteran business and economics journalist, will use his decades of expertise to unpack the biggest headlines.Jay Caspian Kang, a wide-ranging cultural critic and New York Times Magazine contributor, will tackle thorny questions about politics, culture and the economy.Jane Coaston, host of “The Argument” podcast, will offer context to and analysis on the biggest debates in sports, politics and history.All of these subscriber-only newsletters represent a unique collection of talent and expertise in Opinion and the newsroom, assisted by editors, designers, developers, product managers and other specialists.We’ve spent most of the last year working toward this launch, and more new and revamped newsletters — including a new version of On Politics and a revamped Smarter Living focused on back-to-work issues — will join this initial batch in the coming months.You can subscribe to Times newsletters here. More