...Macro Environmental Forces Analysis, Economic Trends, and Ethical Concerns ..15 II D. Competitor Analysis ..17 II D. 1 Netflix’s Competitors ..17 II D. 2 Netflix’s Primary Competitors ..17 II D. 3 Primary Competitors’ Business Level and Corporate Level Strategy ..18 II D. 4 How Competitors Achieve Their Strategic Position ..18 II D. 5 Willingness to Pay ..21 II D. 6 Comparative Financial Analysis ..22 II D. 7 Implications of Competitor Analysis ..23 II E. Intra-Industry Analysis ..24 III. Internal Analysis ..24 III A. Business Definition/Mission ..24 III B. Management Style ..24 III C. Organizational Structure, Controls and Values ..25 III C. 1 Organizational Structure ..25 III C. 2 Organizational Controls ..25 III C. 3 Organizational Values ..25 III D. Strategic Position Definition ..26 III D. 1 Corporate Level ..26 III D. 2 Business Level ..27 III D. 3 Resource & Capability Level ..28 Value Minus Cost Profile ..28 Value Chain ..28 VRIO Analysis ..28 Consumer Retention Analysis ..29 4Ps Analysis ..29 Product Life Cycle ..30 III E. Financial Analysis ..31 III E. 1 Netflix Financial Performance Analysis ..31 III E. 2 Valuation of Netflix ..32 III E. 3 Scenario Analysis ..33 IV. Analysis of the Effectiveness of the Strategy ..34 V. Recommendations ..35 V A. Short-Term and Long-Term Recommendations ..35 V A. 1 Short-Term Recommendations ..35 V A. 2 Long-Term Recommendations ..36 V B....
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...umbrella of the movies and home entertainment industry. The company has been part of the wave that is taking this industry into the future in terms of how consumers are interacting with home video entertainment in particular. In general, we can observe that consumers are increasingly demanding more instant and personalized experiences when watching video entertainment as well as more mobile availability. There seems to be a “when I want it, how I want it” type of movement among consumers with declining interest in DVD’s and scheduled television programming and increasing use of online streaming or rental alternatives. Netflix is catering to these trends with its streaming service and seems to be well positioned, at least for now, to be successful in the future if it can manage to avoid more strategic “missteps” along the way. It is important to note how the public perceives and values films as an entertainment source here in the United States, something that directly affects Netflix’s business. Standard & Poor’s industry research for 2013 noted that “movies remain a cornerstone of the U.S. entertainment industry.” In 2012, about 1.36 billion movie tickets were sold in North America, adding up to about $10.8 billion in box office revenues. Consumers also spent about $18 billion on various home video formats in...
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...Netflix Domestic Strategy Prepared for: Netflix Senior Management Reed Hastings, Co-Founder and CEO Kelly Bennett, Chief Marketing Officer Jonathan Friedland, Chief Communications Officer Bill Holmes, Chief Business Development Officer Neil Hunt, Chief Product Officer David Hyman, General Counsel Patty McCord, Chief Talent Officer Ted Sarandos, Chief Content Officer David Wells, Chief Financial Officer August 4, 2012 Through this report, our consulting team has taken the opportunity to analyze and provide recommendations for future domestic business strategy of Netflix. As expressed in the company’s founder’s conference last October, we would like to help you build upon your stated vision for the future including: • Becoming the best global entertainment distribution service • Licensing entertainment content around the world • Creating markets that are accessible to film makers • Helping content creators around the world to find a global audience We would also like to follow the nine values you use to guide your company: • Judgment • Productivity • Creativity • Intelligence • Honesty • Communication • Selflessness • Reliability • Passion In this report, we will address the following issues to provide a foundation for overcoming Netflix’s domestic challenges: I. Competitive Dynamics A. Key Competitors B. Competitive Response II. Strategic Management/Competitive Issues A. Key Strategic Issues B. Strategic...
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...3/4/2015 3/4/2015 HRM 305 Assignment 1 HRM 305 Assignment 1 Dikshamani Dubay sTUDEN ID-2013030023 Dikshamani Dubay sTUDEN ID-2013030023 Q: Other than workforce diversity, what do you think is the biggest challenge for managers in Trinbagonian society and why? Also, what do you believe is the greatest opportunity for Trinbagonian managers to work on? Trinidad and Tobago’s management principles should be deeply understood by organizations to be mature enough to face the challenges of the 21st century. The search for better and more efficient ways of utilizing people’s knowledge and skills in providing services has become a must in every business and organisation. Nevertheless, there are major challenges managers face in a Trinbagonian society that must be dealt with in accordance to the policies, practices and procedures of the business. I believe one of the foremost problem managers experience is Globalisation. Most definitions of Globalisation is mostly centred on the economic aspects but people fail to realise globalisation has many dimensions worth considering, because all of them influences and shape every organisation in both a negative and positive way. Due to globalisation, organisations are no longer confined to one particular country. The Manager’s job is changing with the expansion of the organisations across the national borders. For Example, Volkswagen builds its cars in Mexico, Mercedes and BMW in South Africa. In Trinidad and Tobago there are also...
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...Business strategy Chen Tao Hsu 10.19.2014 Dr. Duane Lefevre Netflix Case Analysis Summary To “Netflix” is fast becoming a common word in today’s society. Everyone knows it, because it is very famous for its service of online movie. It has replaced the traditional DVD rental store and all the rental process can be done through internet with a higher image quality. Reed Hastings incorporated in 1997 and starting movie rental service in 1999. In 2012, there was already over 23 million subscribers and more then 120,000 titles available for online streaming, majorly competing with Hulu Plus and Amazon prime instant video. Analysis Porter five forces analysis The Porter’s five forces model is often used to analyze companies’ level of competition within an industry and business strategy. The rivalry among existing competitors is intense. There are a large number of firms in the movie rental industry and the competition is very high. Several methods for consumers to choose from in-store rental, online rental and mail delivery or video on demand and low level of product differentiation also increase rivalry. There are low switching cost which also lead to aggressive competition and comparable product can be found at many different places. In brief, Netflix major competitors have large levels of capital and also achieved economies of scale. The threat...
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... 16 FINANCIAL PERFORMANCE………………………........ 22 KEY MANAGERIAL ISSUES…………..……………....... 24 RECOMEMENDATIONS……………….……………........ 26 APPENDIX……………………………….……………........ 28 BIBLIOGRAPHY………..……………….……………........ 35 // BACKGROUND The founder and CEO of Netflix, Inc. Reed Hastings, incorporated in 1997 and starting movie rental services in 1999. Netflix employed then and continues to employ a subscription-‐based business model. The company was originally only a DVD-‐by-‐mail service in which the customer paid for a certain level of membership that determined how many DVD’s could be rented at one time. DVD’s were mailed to the customer and then returned by the customer when they had completed viewing. After a couple years in business, the company began including streaming services along with the DVD-‐by-‐mail option. The goal here was to reduce costs by trying to get the subscribers to switch to streaming, ...
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...Netflix Assets We classify our streaming content obtained through a license agreement as either a current or non-current asset in the consolidated balance sheets based on the estimated time of usage after certain criteria have been met, including availability of the streaming content for its first showing. We amortize licensed streaming content on a straight-line basis generally over the term of the related license agreements or the title’s window of availability Content is obtained through direct purchases, revenue sharing agreements and license agreements with studios, distributors and other suppliers. DVD content direct purchases or revenue sharing agreements. Streaming content is generally licensed for a fixed fee for the term of the license agreement but may also be obtained through a revenue sharing agreement. DVD library is its non current asset. The Company amortizes its direct purchase DVDs, less estimated salvage value, on a “sum-of-the-months” accelerated basis over their estimated useful lives. The accounting method for backlog DVD’s was changed after 1994. Our recent survey work suggests that NFLX streaming offering is compelling and should get more so as it acquires additional streaming content. In turn, this is creating a virtuous cycle whereby NFLX sub base grows, leading to greater financial resources to acquire more content to improve the user experience and continue to grow the sub footprint. Additionally we believe DVD costs may fall quicker...
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...that movies are made and affect the cost and method of film production. New cameras and recording methods are required in production and this is forcing the directors, actors and other staff to adapt their techniques. Due to the vast array of technologies that can be utilized for movie production there are low barriers of entry for suppliers. The production industry has been able to maintain leverage over these new corporations through their economies of scale and their ability to influence the end user of the product. Another important technological development is the digital streaming and downloading of videos. This new technology is having both positive and negative effects for the filmmakers. The ease of digital proliferation has allowed production companies to widen their brands and make more films and television programs. This has created greater revenue for the industry. Digital streaming has made way for a new kind of company focused on this delivery method. The improvement of digital animation has also increased the profitability of production studios by lowering the operating budgets of projects without losing revenues. This new technology has bred new studios and an entirely different genre of films that cater to a specific market segment. Some of the major production studios have moved quickly to integrate these new studios. On the negative side there is an inherent danger of increased piracy...
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... Mission Statement for Video Ezy Page 5 Supply and Demand for DVD Rental Chain Video Ezy Company Objectives Page 6 Company Strategies Page 7 SWOT Analysis Page 8 SWOT Analysis cont. Page 9 PESTLE Analysis Page 10 PESTLE Analysis cont. Page 11 PESTLE Analysis cont. Page 12 Current and Projected Labour Requirements (3-5yrs) Page 13 Current and Projected Labour Requirements (3-5yrs) cont. Page 14 Current and Projected Labour Requirements (3-5yrs) cont. Page 15 Gap Analysis Page 16 Monitoring and Evaluating Workforce Trends Conclusion Page 17 Reference List Introduction: This intent of this Workforce Planning Report is to ensure the correct management of current labour supplies and demands and those for the next 3–5 years and to enable Video Ezy to correctly and efficiently manage its overall workforce. Video Ezy is one of Australia’s best-known and largest names for DVD, Blu-Ray and video game rentals and purchasing in Australia, with both in store and online shopping available. Video Ezy employs 70 people at their head office in Rhodes, Sydney, New South Wales. With the inclusion of 375 franchise stores, over 2,600 people are employed under the Video Ezy banner. Video Ezy has also created synergetic partnerships with the likes of McDonalds, Coke, Virgin Mobile, Pizza Hut and Smiths. In the busiest hour on an average Saturday night, Video Ezy stores serve approximately 100,000 people. Company History and Background: Video Ezy opened in 1983 with...
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...1997 in Scotts Valley, California, USA by two entrepreneurs named Reed Hastings and Marc Randolph. In its early days, Netflix offered unlimited movie rentals to its subscribers without due dates for a flat monthly fee with no per title rental, shipping or handling fees or late charge fees. In 2007, the company introduced new business model based on video on demand via the Internet, which was considered by some to be a departure from its original business model of movie rentals. With video streaming, online DVD and Blue-ray Disc rental tripod and with a global streaming subscribers of over 50 million, Netflix reported a revenue of US$4.37 billion US$112 million of which being net income and a total asset of US$5.4 billion in 2013. The company estimates its total equity to be US$1.33 billion and it has over 2000 full-time employees (www.netflix.com). Netflix’s vision as expressed by one the co-founder focuses on global distribution, licensing entertainment contents across the world, market accessibility for film makers, and finding global audience for content creators. (10K Item 1). It’s mission emphasizes growing global streaming subscription business, continuous customer experience improvement, enhancing user interface while at the same time remaining profitable. Mission. Netflix core values revolve around judgement, productivity, creativity, intelligence, honesty, communication, selflessness, reliability and passion. Tepper (2014) maintains that Netflix “has transformed...
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...Marketing Management U12 Strategic Planning U13 Financial Principles and Techniques April 2013 CASE STUDY HOME ENTERTAINMENT Extended Diploma in Strategic Management & Leadership Units: U7 Strategic Marketing Management U12 Strategic Planning U13 Financial Principles and Techniques April 2013 Student’s Brief Scenario You are employed as a marketing consultant in the home entertainment sector. You have been asked by Netflix, Inc. to undertake a strategic audit in relation to the organisation’s: * core competencies * competitive advantage * value proposition You have also been asked to consider how Netflix, Inc. can remain competitive in the context of developments in technology, rising competition and changing consumer behaviour. Consideration should be given to the organisation’s financial position, its strategic risks and mitigating strategies to overcome these risks. Edited Extracts from Chartered Institute of Marketing (Case study: June 2011) Contents Introduction 4 Movie and TV programme licensing and distribution 5 Netflix, Inc 6 Netflix – advertising and marketing 7 Netflix’s competitors 7 Top ten movie download services 10 Data protection issues 10 The future for the industry 11 The future for Netflix 12 References 13 Home Entertainment Introduction Total global sales of pre-recorded DVDs and Blu-ray discs of movies, TV shows, pop videos and other content for home use have been falling over...
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...Kong board room at Netflix’s corporate headquarters in Los Gatos, California. Hastings, the founder and CEO of the company, which pioneered online DVD rentals, was preparing to unveil Netflix’s highly anticipated entrance into the online video market. Many industry observers believed that the ability of customers to order movies through their computers for instant viewing, commonly referred to as video-on-demand (VOD), would quickly impact the large user base for Netflix’s core business. Hastings looked across the third floor of the office building and the conference rooms named for some of his staff’s favorite films. A love of movies clearly ran deep among Netflix employees, and he was confident that one way or another, his team would maintain the company’s position as a leader in the home video market. But, as he reflected upon the years of investment and discussions surrounding the new feature that Netflix would be offering its customers, he could not help but think of the merits of the paths not chosen. As the management team filed out of the board room around him, Hastings returned his thoughts to the present. While he believed that the DVD rental market would remain healthy for years into the future, he knew that this announcement would impact not just the market’s perception of his company but its ability to sustain its position as a giant in the media industry. With new resolve, Hastings returned to his desk to review his forthcoming announcement one more time. Company...
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...Entertainment, in his Santa Cruz, Mumbai office and mulled over the remarkable changes that the music industry in India had witnessed over the past few years. With the rapid growth in Internet penetration and usage, technology was driving music production, access and consumption. Sales from digital platforms had surpassed sales from traditional physical formats, such as CDs and tapes. With the distribution of digital music in India largely skewed towards the telecom business, music was increasingly being accessed via mobile devices, including smartphones and tablets. Artists were reaching out to consumers directly through many innovative platforms, and live performances were gaining more traction. Independent (“indie”) artist business models were rising in popularity and creating further fragmentation in the market. Overall, the role of the recording company seemed to be diminishing. While some of the leading companies in the music industry were testing the waters in the digital space, new players, including technology companies, were quickly entering the market with various new platforms and services. Distribution, in the form of music streaming services and e-commerce sites, was changing the way music was being bought and consumed. As Head of Digital Media, Paul reflected on the role of Sony Music India, a large music recording company, in the new age of digital music. In spite of there being a multitude of players, he felt that very few music specialists existed in that space...
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...room at Netflix’s corporate headquarters in Los Gatos, California. Hastings, the founder and CEO of the company, which pioneered online DVD rentals, was preparing to unveil Netflix’s highly anticipated entrance into the online video market. Many industry observers believed that the ability of customers to order movies through their computers for instant viewing, commonly referred to as video-on-demand (VOD), would quickly impact the large user base for Netflix’s core business. Hastings looked across the third floor of the office building and the conference rooms named for some of his staff’s favorite films. A love of movies clearly ran deep among Netflix employees, and he was confident that one way or another, his team would maintain the company’s position as a leader in the home video market. But, as he reflected upon the years of investment and discussions surrounding the new feature that Netflix would be offering its customers, he could not help but think of the merits of the paths not chosen. As the management team filed out of the board room around him, Hastings returned his thoughts to the present. While he believed that the DVD rental market would remain healthy for years into the future, he knew that this announcement would impact not just the market’s perception of his company but its ability to sustain its position as a giant in the media industry. With new resolve, Hastings returned to his desk to review his forthcoming announcement one more time. ...
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...The advent of the internet has had a profound effect on countless aspects of our lives. Since the internet’s commercialization and availability to the general public in 1995, its impact and influence on our culture and commerce has been immeasurable. Nearly every industry has been affected to some extent or another by the widespread use of the internet. The entertainment industry has received seemingly endless media coverage pertaining to the industry’s adaptation, or lack of adaptation, to the new age of the internet. The entertainment industry (also informally known as show business or show biz) is a broad term for the industry of providing entertainment, which includes the sub-industries of radio, television, film, music, and theatre. This industry has gone through an enormous transformation since the internet’s inception in 1995. The internet continues to pose many challenges and opportunities to the industry. This paper will examine the impact, both positive and negative, that the internet has on the entertainment industry. Media coverage indicates that, among the entertainment industry, the film and music industries have been most affected by the World Wide Web. However, the other forms of the entertainment world have, albeit to a lesser extent, been affected as well. The least affected area of show business is theatre. The very nature of theatre is to view a performance live and in-person. There are websites, such as Arte Live Web, that do broadcast live theatre...
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