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    How Disney is Chipping Away at Netflix's Dominance

    The cracks are showing in Netflix’s worldwide dominance.Netflix is still king of streaming video, but audiences are slowly shifting toward new rivals, namely the Walt Disney Company’s Disney+, according to research from Parrot Analytics.Netflix’s share of worldwide demand interest — a measure, created by Parrot, of the popularity of shows and a key barometer of how many new subscribers a streaming service is likely to attract — fell below 50 percent for the first time in the second quarter of the year.The company’s “lack of new hit original programming and the increased competition from other streamers is going to ultimately have a negative impact on subscriber growth and retention,” Parrot said in a news release before Netflix announced its quarterly earnings on Tuesday.Netflix said it had attracted 1.5 million new subscribers in the second quarter of the year, beating the low bar it had set when it told Wall Street that it anticipated adding just one million.The company said it expected to add about 3.5 million new subscribers in the third quarter, lower than the approximately 5.5 million that investors were expecting. Netflix shares fell as much as 4 percent in after-hours trading on Tuesday before bouncing back a little.The company now has 209 million subscribers, but it lost 430,000 in the United States and Canada, its most lucrative region, over the period. It now has 73.9 million subscribers in that market, with about 66 million in the United States.In a letter to shareholders, Netflix said that “Covid-related production delays in 2020 have led to a lighter first-half-of-2021 slate.” Netflix relies on creating as many different shows and films for as many different audiences as possible, and the pandemic upset that formula, forcing the shutdown of productions around the world.Traditional media players have started to consolidate, again, potentially setting off another race for talent, studio space and production resources. In May, Discovery announced that it would buy WarnerMedia from AT&T, creating the second-largest media giant, behind Disney and ahead of Netflix. Less than two weeks later, Amazon announced that it would buy Metro-Goldwyn-Mayer, home to the James Bond franchise, for $8.45 billion, a price many analysts considered rich.In the earnings call after the report, Reed Hastings, Netflix’s co-chief executive, said he didn’t think it made sense for Netflix to jump into the consolidation game. He even offered his own analysis of some of the industry’s biggest deals, including Disney’s acquisition of the bulk of Rupert Murdoch’s 21st Century Fox.“Certainly Disney buying Fox helps Disney become more of a general entertainment service rather than just a kids and family,” he said. “Time Warner-Discovery — if that goes through — that helps some, but it’s not as significant, I would say, as Disney-Fox.”Mr. Hastings’s co-chief executive, Ted Sarandos, offered a sharper critique of these megadeals. “When are they one and one equals three? Or one and one equals four?” he asked. “Versus what most of them tend to be, which is one and one equals two.”Netflix has downplayed competition concerns even as newer entrants have chipped away at its long-held grip. Disney+ more than doubled its share of demand interest in the second quarter compared with a year earlier, and Amazon Prime Video, AppleTV+ and HBO Max are also gaining, according to Parrot.In its letter to shareholders, Netflix said the industry overall was “still very much in the early days” of the transition from traditional pay television to streaming.“We are confident that we have a long runway for growth,” it said. “As we improve our service, our goal is to continue to increase our share of screen time in the U.S. and around the world.”Mr. Hastings said competition would further stoke streaming across all companies.“As you get new competition in, you get validation — more reasons to get a smart TV or unlimited broadband,” he said. “So for at least the next several years, the growth story of streaming as a whole is very intact.”But Netflix hasn’t seen any impact from the “secular competition,” Mr. Hastings said, referring to Disney or HBO. “So that gives us comfort,” he added.Netflix, he said, is really competing against traditional television, and the “shakeout” won’t happen until streaming makes up the majority of viewing. He cited the latest study from Nielsen, which showed that streaming accounts for about 26 percent of television viewing in the United States, with Netflix making up about 6 percent. Disney+ is far behind at 1 percent.In other words: If Disney+ is hurting us, we haven’t seen it.The argument that Netflix has been competing with regular television and other streamers for a long time overlooks the fact that new rivals like Disney+ and AppleTV+ are much cheaper than Netflix (and subscription television). And although those services produce far fewer originals than Netflix, they appear to be getting more bang for their buck.In the second quarter, Disney+ got a big boost of demand interest from “The Falcon and the Winter Soldier,” a series based on the Marvel Cinematic Universe, which has thoroughly dominated the box office in recent years. “Loki,” another Marvel spinoff, also helped, according to Parrot.Amazon Prime Video got a boost in the period with “Invincible,” an animated superhero series for adults. And AppleTV+ attracted new customers with three originals: “Mosquito Coast,” a drama based on the 1981 novel; “For All Mankind,” a sci-fi series; and “Mythic Quest,” a comedy series that takes place in a game developer studio.Speaking of, Netflix said this month that it planned to jump into video games. It has hired a gaming executive, Mike Verdu, formerly of Electronic Arts and Facebook, to oversee its development of new games. It’s a potentially significant move for the company, which hasn’t strayed far from its formula of television series and films.The company called gaming a “new content category” that will be a “multiyear effort” and said it would be included as part of a subscribers’ existing plans at no extra cost. Games will first appear on its mobile app, an environment that already allows for interactivity. The vast majority of Netflix’s customers watch on big-screen televisions.Gaming isn’t meant to be a stand-alone or a separate element within Netflix. “Think of it as making the core service better,” Mr. Hastings said. “Really, we’re a one-product company with a bunch of supporting elements.” More

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    Nielsen Introduces New Ratings for Streaming Services

    The company known for measuring television ratings said Netflix and YouTube are far ahead of their digital rivals, but viewers still spend more time watching cable and network TV.Nielsen on Thursday announced that it had moved a step closer toward cracking one of the great questions of the modern entertainment world: How big, exactly, is streaming? More

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    Netflix Online Shop to Sell Products Tied to Shows Like 'Lupin'

    You streamed it. Now you can buy it at Netflix.shop, a new site that will offer everything from a “Lupin” side table to a “Yasuke” clock.There will be “Lupin” pillows and Netflix-branded boxer shorts.There will be caps, necklaces, charms and hoodies, all of it for sale at Netflix.shop, a site that goes live on Thursday, when the world’s biggest streaming company plants a flag in the territory of e-commerce. More

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    Comcast Earnings Beat Expectations Amid Shift to Streaming

    #styln-signup .styln-signup-wrapper { max-width: calc(100% – 40px); width: 600px; margin: 20px auto; padding-bottom: 20px; border-bottom: 1px solid #e2e2e2; } If you want a clear picture of the state of the media industry in upheaval, Comcast offers a good snapshot. The company, which includes NBC, Universal Pictures, several theme parks, and the Peacock streaming service, beat […] More

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    Harlan Coben, Suburban Dad With 75 Million Books in Print

    #masthead-section-label, #masthead-bar-one { display: none }What to ReadNew Books to Watch For This Month25 Book Review GreatsHow to Raise a ReaderListen: The Book Review PodcastAdvertisementContinue reading the main storySupported byContinue reading the main storyHarlan Coben, Suburban Dad With 75 Million Books in PrintWith a 33rd novel on the way and deals with Netflix, Amazon and Apple, the prolific author writes in Ubers, at Stop & Shop and just about anywhere else he can.“Every book I write, I still say, each time, ‘This book sucks, and the one I did before was great. How did I lose it?’ And then five minutes later, I’m like, ‘This book is great!’” Harlan Coben said.Credit…Vincent Tullo for The New York TimesMarch 10, 2021, 5:00 a.m. ETRIDGEWOOD, N.J. — The thriller writer Harlan Coben has some free advice for anyone who cares to ask: “If it produces pages: good. If it doesn’t produce pages: bad.”With 32 published books and an estimated 75 million copies in print worldwide, he has produced many pages during the course of his career. His 33rd novel, “Win,” will be published by Grand Central on Tuesday. He recently added streaming media to his portfolio in the form of a 14-project deal with Netflix.For all his success, Coben, 59, remains as unfussy as his favorite writing tip. A 6-foot-4 former college basketball player with a Bic’d head and an oeuvre full of kidnapping, murder and narrative twists, he is also a menschy suburban dad who likes to talk about his four children and dotes on his two shaggy Havanese, Winslow and Laszlo, who trail him around his New Jersey house like eager little mops.“You meet him, and he’s really tall and maybe a little intimidating,” said his eldest daughter, Charlotte Coben. “But I’ll walk down the stairs, and he’ll be lying on the floor with the dogs around him going, ‘Who’s the cutest dog in the world? Who’s a puppy? Who’s a puppy?’”“Win,” the latest from Harlan Coben, is out on March 16.Harlan Coben met his wife, Anne Armstrong-Coben, when they were starting power forwards on their respective teams at Amherst College. (“She was better than I was,” he said.) They celebrated the 39th anniversary of their first kiss on Feb. 10.They married in 1988, and about a decade later moved to an old Victorian in Ridgewood. The gray and white home is accented with friendly touches of royal blue, but from the curb it still looks like it could be the set for a vintage horror movie. (When you Google “Victorian houses,” one of the related questions supplied by the algorithm is: “Why are Victorian houses so creepy?”) The house was maybe a little “on the nose” as a place for a mystery writer to live, he said, but he and his wife bought it anyway and have lived there ever since.Because Armstrong-Coben is a pediatrician — today, she is also a senior associate dean for admissions at Vagelos College of Physicians and Surgeons at Columbia University — before the pandemic, she had a daily commute. Coben stayed home, so he drove the kids to school, picked them up and took them wherever they needed to be.And in between, he would write.“I’m not great at writing in the house, though I’m better now,” Coben said in an interview last month, nearing the one-year anniversary of the Covid-19 shutdowns in the United States. “I would take them off to whatever school, and then I would find a coffee shop or a library or any weird place. I keep changing places. Most writers have a set routine, a set place. My routine is to not have a routine.”While one of his sons was in high school, Coben spent six months writing at a Stop & Shop deli counter with a coffee stand next to it. “I came home smelling like olive loaf,” he said, but the pages were good. For his book “The Stranger,” he spent three weeks taking Ubers everywhere he went because he found he was writing well in the back seat. He finished the book that way.“I like to ride a horse until the horse collapses, and then I look for another horse,” he said.Siobhan Finneran and Kadiff Kirwan in “The Stranger,” a Netflix series based on Coben’s 2015 novel.Credit…NetflixCoben starts each book with an idea, rather than a character, and by the time he sits down to write, he already has the ending in his head, a habit that he said allows him to plot out better surprises for the reader. He takes about nine months to write a novel, with the ending often pouring out of him because he has imagined it for so long. He said he wrote the last 40 pages of “Win” in a day.“At the end of a book, I’m crazy,” he said. “I grow a playoff beard. I don’t shower.”“Win” is a new spin on an old franchise for Coben. The title character, Windsor Horne Lockwood III, has been the sidekick in Coben’s 11-part Myron Bolitar series since the first of those books was published in 1995.Coben describes Myron as “me with wish fulfillment.” They are both tall Jewish guys who play basketball, he said, but Myron is funnier, better on the court, smarter, stronger. The character of Win was originally modeled on Coben’s best friend from Amherst, a handsome blond who was a member of all the right golf clubs.In the new book, Win acts as a rich vigilante untangling a murder mystery that has ensnared his extended family. It is peppered with Coben’s customary bombshells and surprises, from dark secrets to a fearsome gangster who has lost his taste for revenge, and that page-turning special something that keeps readers up too late.Coben tries to stick to a schedule of publishing at least a book a year, a timetable he has kept up even as he’s added a new dimension to his working life: TV and streaming. In addition to Netflix, he has deals with Amazon Studios, MGM International and Apple.Coben in his New Jersey home. He tries to stick to publishing a book a year, a schedule he has maintained even as he’s struck streaming deals.Credit…Vincent Tullo for The New York TimesThe Netflix deal takes advantage of Coben’s international appeal. He sells more books abroad than in the United States, he said, and is one of the biggest contemporary writers in France, period, according to his agent.“I’m the Jerry Lewis of crime fiction,” he proclaimed from the sunroom at the back of his home, Winslow and Laszlo asleep in warm patches of light near his feet.His 2007 novel “The Woods” (as Coben described it, “20 years ago, four kids disappeared, and now one of them comes back”) became a show on Netflix Poland last year. “The Innocent,” from his 2005 book about a former inmate’s attempt to shed his past, was produced by Netflix Spain. “The Stranger,” from 2015, was produced by Netflix in the United Kingdom, as was “Stay Close,” from 2012, which is filming now.Coben is an executive producer on these shows, not a writer, but his daughter Charlotte has written for “The Stranger” and “Stay Close.” “Adding that professional aspect was a lot easier than I think either of us expected,” she said of working with her father on the Netflix shows. “He’s so supportive of my ideas, but not the bad ones. I appreciate that.”Larry Tanz, who oversees Netflix’s original programming for Europe, the Middle East and Africa, said that most people who have achieved Coben’s level of success tend to surround themselves with associates and handlers who get things done. But Coben does the work himself, Tanz said. He comes up with the ideas, he watches the rough cuts of scenes, he joins the phone calls.“He’s very flexible, and you don’t see that a lot with creators of his stature,” Tanz said. “There’s quite a lot that gets added or modified from the original book, and Harlan is always like, ‘Great, I love it!’”“Stay Close” started filming in the north of England last month, Covid protections and all. Coben regularly jumps on calls to field questions from actors or the writers’ room, even as he works on his 34th novel. “It does not get easier,” he said from behind a black mask decorated with a pink, red and white XO pattern.“Every book I write, I still say, each time, ‘This book sucks, and the one I did before was great. How did I lose it?’ And then five minutes later, I’m like, ‘This book is great!’” he said. “All that insecurity goes on and on and on. I don’t think that’s ever going to go away. I think when that goes away, it’s probably time to stop.”Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.AdvertisementContinue reading the main story More

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    Why Oprah’s Meghan and Harry Special Won’t Have a Streaming Home

    #masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyInterview and FalloutWhat Meghan and Harry DisclosedWhat We LearnedMemories of DianaAdvertisementContinue reading the main storySupported byContinue reading the main storyWhy Oprah’s Meghan and Harry Special Won’t Have a Streaming HomeThe three participants’ ties to Netflix and Apple, along with Ms. Winfrey’s desire to reach a big live-viewing audience, paved the way to an old-school deal with CBS.Oprah Winfrey’s interview of Meghan Markle and Prince Harry was a rarity in the age of streaming: a cultural event powered by network TV.Credit…Rebecca Smeyne for The New York TimesEdmund Lee and March 9, 2021, 6:28 p.m. ETOprah Winfrey pulled off what has become a rare television event: the tell-all interview that turns into a cultural moment. On Sunday, an audience of more than 17 million watched bombshell revelations tumble out of the mouths of Meghan Markle and Prince Harry as they described their lives under the palace gaze in a two-hour CBS special that rivaled any of the royal dramas on the Netflix series “The Crown.”Social-media discussion of the show has continued since the credits rolled, leaving many people who missed it wondering where they could stream it. For the next 30 days, the special will be available on CBS.com and the CBS app. But after that, it will not have a home on any streaming platform.That’s because, from the start of negotiations, Ms. Winfrey’s company, Harpo Productions, the owner of the program, envisioned the special as something suited to a big broadcast network, three people with knowledge of the deal said. Harpo did not even attempt to sell the streaming rights to Netflix or Paramount+, the streaming platform owned by CBS’s parent company, ViacomCBS, the people said.Harpo’s old-school strategy of avoiding subscription-video-on-demand services came about partly because of the complications presented by Ms. Winfrey’s deal to make programs for Apple’s streaming platform, AppleTV+, the people said. Ms. Winfrey’s AppleTV+ deal includes an interview series, “The Oprah Conversation,” which has featured Barack Obama, Dolly Parton and Mariah Carey. Another wrinkle was the roughly $100 million production deal that Meghan, Duchess of Sussex, and Prince Harry struck last year with Netflix, the people said.Ms. Winfrey’s company also did not approach cable networks when seeking the right venue for the special, the people said. Hoping for the greatest possible reach, she sought a deal with one of the major broadcast networks, which do not require a subscription and consistently draw the largest audiences for live viewing. Harpo also liked the idea of appearing in the Sunday night slot after “60 Minutes,” the highly rated CBS News show where Ms. Winfrey was a special correspondent in 2017 and 2018, the people said.As part of the $7 million deal, ViacomCBS won something valuable: the rights to broker international distribution on behalf of Harpo. The program aired Monday on ITV in Britain and will be available in more than 80 countries.Prince Harry and Meghan, Duchess of Sussex, cut a deal with Ms. Winfrey in 2019 to produce a series on mental health. Credit…Joe Pugliese/Harpo ProductionsMs. Winfrey revealed during the interview that she had spent about three years trying to land the exclusive. Along the way, she went into business with Meghan and her husband. Adding to the jumble of media alliances, the couple in 2019 cut a deal with Ms. Winfrey to produce a documentary series about mental health that is scheduled to stream on AppleTV+.Some industry observers were surprised by the CBS deal because of another corporate entanglement: Ms. Winfrey’s long relationship with Discovery Communications, the cable giant that invested in her cable network, OWN, over a decade ago. David Zaslav, Discovery’s intensely competitive chief executive, decided to continue the investment even after OWN experienced growing pains early on. The company now controls the network, which has become a ratings success. Discovery also recently launched its own streamer, Discovery+, where Ms. Winfrey hosts an interview series, “Super Soul.” (The company bought advertising time on the CBS special and provided a commercial featuring Ms. Winfrey.)It turns out that digital television, originally meant as a convenient alternative to clunky cable, can be just as knotty and cumbrous as the business it’s trying to replace.The morning after her interview with the Sussexes, Ms. Winfrey appeared on “CBS This Morning,” a program anchored by her close friend, Gayle King, where she presented extra material that didn’t make the special. CBS announced on Tuesday that it will show the special again Friday night at 8.John Koblin More