Netflix Shows Quotes

Right now, all men seem overwhelmingly unattractive - except the ones on the Netflix shows I watch.

I want a guy who wants to curl up on a Friday night and watch Netflix. He can even pick the show. I mean, ideally, it’s serialized and female-driven,

What? I have great taste in guys.” “Your taste is questionable at best. Just last week you were drooling over that guy on the Netflix show we were watching.” “And . . .” “Bon, it was a documentary about a serial killer.

If you have a team of five stunning employees and two adequate ones, the adequate ones will sap managers’ energy, so they have less time for the top performers, reduce the quality of group discussions, lowering the team’s overall IQ, force others to develop ways to work around them, reducing efficiency, drive staff who seek excellence to quit, and show the team you accept mediocrity, thus multiplying the problem.

I love to kiss my girl when we watch deep Netflix shows

About 20 years ago I told an Exec to tell her friend, an Exec at a big entertainment company that they should develop a video library where anyone can pull up a film or tv show when they want to, from home. This was before Video On Demand. Before Netflix went streaming. Before Amazon Video and Hulu. That entertainment company I told about my vision for a VOD-type of service to was Blockbuster. But because I was a very young Executive, a woman, and Asian; they didn't listen. Look where Blockbuster is now. - Don't take Good Advice for Granted. Futurist - Kailin Gow

Surely there must be something we can do to combat aging’s normal but corrosive affects on memory performance. These declines in memory creation, retrieval, and processing speed aren’t all inevitable, are they? You’re not gonna like this, but appears the answer is ultimately yes. If you eat a daily diet of doughnuts, only go for a run if someone is chasing you, regularly sacrifice sleep by binge watching entire seasons of the latest show on Netflix until 3 AM, and are chronically stressed, you’ll most definitely accelerate the ageing of your memory.

I can't let you take the blame for something I did. You have too much to lose.

Even a blind pig can find an acorn at times! I actually don't know what that saying means, but I saw it on Reddit.

This may explain the odd space that the climate crisis occupies in the public imagination, even among those of us who are actively terrified of climate collapse. One minute we’re sharing articles about the insect apocalypse and viral videos of walruses falling off cliffs because sea ice loss has destroyed their habitat, and the next, we’re online shopping and willfully turning our minds into Swiss cheese by scrolling through Twitter or Instagram. Or else we’re binge-watching Netflix shows about the zombie apocalypse that turn our terrors into entertainment, while tacitly confirming that the future ends in collapse anyway, so why bother trying to stop the inevitable? It also might explain the way serious people can simultaneously grasp how close we are to an irreversible tipping point and still regard the only people who are calling for this to be treated as an emergency as unserious and unrealistic.

WHAT I’M ASKING for is not that much. I just want a boyfriend who is sweet and trustworthy. That’s it. He doesn’t need to have a perfect body or look like George Clooney. I want a guy who wants to curl up on a Friday night and watch Netflix. He can even pick the show. I mean, ideally, it’s serialized and female-driven, and maybe not that boring political one. But honestly, I don’t care. It’s not important.

What’s clear is that we need business leaders who envision, and enact, a future with more jobs—not billionaires who want the government to fund, with taxes they avoid, social programs for people to sit on their couches and watch Netflix all day. Jeff, show some real fucking vision.

So what now? After we all leave this church, leave the reception, go home, put in laundry, watch a show on Netflix, go to bed, get up tomorrow. And tomorrow. And tomorrow. This has to mean something. Something lasting. I mean, why do we do this thing, wakes and funerals? A sign of respect, of course, for the dead. A sign of respect for the family. But I wonder if it’s also for all of us. Each of us here. Surely it’s a reminder. But perhaps also a call to a state of grace, if only for a few moments. A pause to remember how fleeting our own mortality is. I had an office mate.” I was tempted to look at Tuan but couldn’t quite do it.

Studies show that well over half the population will readily cheat the system to get more for themselves if they think they won’t be caught.

How to describe the things we see onscreen, experiences we have that are not ours? After so many hours (days, weeks, years) of watching TV—the morning talk shows, the daily soaps, the nightly news and then into prime time (The Bachelor, Game of Thrones, The Voice)—after a decade of studying the viral videos of late-night hosts and Funny or Die clips emailed by friends, how are we to tell the difference between them, if the experience of watching them is the same? To watch the Twin Towers fall and on the same device in the same room then watch a marathon of Everybody Loves Raymond. To Netflix an episode of The Care Bears with your children, and then later that night (after the kids are in bed) search for amateur couples who’ve filmed themselves breaking the laws of several states. To videoconference from your work computer with Jan and Michael from the Akron office (about the new time-sheet protocols), then click (against your better instincts) on an embedded link to a jihadi beheading video. How do we separate these things in our brains when the experience of watching them—sitting or standing before the screen, perhaps eating a bowl of cereal, either alone or with others, but, in any case, always with part of us still rooted in our own daily slog (distracted by deadlines, trying to decide what to wear on a date later)—is the same? Watching, by definition, is different from doing.

If you trust your people to handle appropriately sensitive information, the trust you demonstrate will instigate feelings of responsibility and your employees will show you just how trustworthy they are.

If you’ve ever binge-watched a season or two of a TV show on Netflix when you should be studying, or finishing an assignment, or going to sleep, you know how an appealing distraction can trigger a self-defeating choice.

You browse through Netflix or Hotstar to find something interesting to watch. At last, you end up watching your favourite show that you have already watched several times. This world is also a show. But there are many such shows available in parallel realms. When you go to sleep here, your soul browses through the list of other shows, watches a few teasers, but at last comes back to this show because it is attached to the characters of this show.

Habits are built on consistency, and you build consistency by showing up again and again. It’s not about the actual workout, how many shirts you hang up, or what you do after you turn off Netflix; the point is, you went to the gym, made it to the bedroom for tidying, and turned off the TV. If you just keep showing up, it will feel far more natural and effortless to do more—get into the workout, fold the rest of the laundry, or prep your lunch for the next day. Chase consistency.

Barry Schwartz points out in his book, The Paradox of Choice, that this kind of sheep-in-wolf’s-clothing decision is more likely to come up the more options you have to choose from. The greater the number of available options, the greater the likelihood that more than one of those options will look pretty good to you. The more options that look pretty good to you, the more time you spend in analysis paralysis. That’s the paradox: more choice, more anxiety. Remember, if the only choices are between Paris and a trout cannery, no one has a problem. But what if the choices are Paris or Rome or Amsterdam or Santorini or Machu Picchu? You get the picture. THE ONLY-OPTION TEST For any options you’re considering, ask yourself, “If this were the only option I had, would I be happy with it?” A useful tool you can use to break the gridlock is the Only-Option Test. If this were the only thing I could order on the menu . . . If this were the only show I could watch on Netflix tonight . . . If this were the only place I could go for vacation . . . If this were the only college I got accepted to . . . If this were the only house I could buy . . . If this were the only job I got offered . . . The Only-Option Test clears away the debris cluttering your decision. If you’d be happy if Paris were your only option, and you’d be happy if Rome were your only option, that reveals that if you just flip a coin, you’ll be happy whichever way the coin lands.

There are only three kinds of relationships in the animal kingdom. The first is commensalism. One example: Fish finding hiding spots in coral reefs. Fish profit, but life for the coral doesn’t change. Then there’s mutualism, a relationship where both animals benefit from each other. The tricky thing about animals is you don’t always know what kind of relationship you’re in. Which brings me to relationship number three. The parasitic.

There are also generational knowledges in play, accessed and skilled within a history of televisual experiments in educational entertainment. For US academics schooled in the fifties, sixties, and seventies some old TV shows haunt this vignette as well. Two are Walter Cronkite’s You Are There (CBS, 1953–57) and Steve Allen’s Meeting of Minds (PBS, 1977–81). During the mid-century decades either or both could be found on the TV screen and in US secondary school classrooms. Even now the thoughtfully presentist You are There reenactments can be viewed on DVDs from Netflix; you can be personally addressed and included as Cronkite interviews Socrates about his choice to poison himself with hemlock rather than submit to exile after ostracism in ancient Athens. Cronkite’s interviews, scripted by blacklisted Hollywood writers, were specifically charged with messages against McCarthy-style witch hunts that were “felt” rather than spoken out.

Maybe this is a bad time to bring this up, but you need to pay your credit card bill. It’s maxed out, and you’ve missed the past two due dates. And the thing is—and this is going to sound selfish, because it is—but your Netflix account got suspended, and I was only halfway through season three of Cheers. The laugh track is a bit off-putting, but it’s still a good show. I really love the plot twist that Norm’s nagging wife, Vera, turns out to have been dead for ten years, and Norm has kept her memory alive by continuing a fictional narrative about her. Sam and Diane knew that Vera wasn’t really alive and that Norm was delusional, but in episode seven, when they go to check in on Norm, they find him cuddled up next to her decayed corpse and reading her Lord Byron’s “The First Kiss of Love,” and he’s crying. The stench is unbearable, but less unbearable than the brutal truth of the moment. My point is, I didn’t get to finish watching Cheers because you’re behind on your credit card payments. I need you to deal with that.

But we are too numb. Our faith is too stagnant, too stale, too watered-down, too wide. The great paradox of our religion is that the gate to eternal life is narrow, but God is larger than the cosmos itself. To get through the narrow gate, we must cling to that vast, eternal Being. If we cling instead to smaller things—our jobs, our relationships, our ambitions, our friends, our hobbies, our phones, our pets, or anything else—then we will not fit through the narrow passage. We will find ourselves on the broad path to destruction. We are so firmly set on this ruinous path, many of us, that we don’t even think of Him most of the time. We make little or no attempt to conform our lives to His commandments or to walk the narrow path that Christ forged for us. We are too busy for that. It’s inconvenient. It’s dull. Christ says, “Pick up your cross and follow Me,” but we take it as a suggestion—just one possible way to live the Christian life. We leave our crosses on the side of the road and head back inside where it’s warm and there’s a new Netflix show to binge. We tell ourselves that we’ll be fine in the end because we are decent people and we are leading normal lives, and God cannot penalize what is normal. And Satan laughs.

Ronan Byrne, an electrical engineering student in Dublin, Ireland, enjoyed watching Netflix, but he also knew that he should exercise more often than he did. Putting his engineering skills to use, Byrne hacked his stationary bike and connected it to his laptop and television.20 Then he wrote a computer program that would allow Netflix to run only if he was cycling at a certain speed. If he slowed down for too long, whatever show he was watching would pause until he started pedaling again. He was, in the words of one fan, “eliminating obesity one Netflix binge at a time.

three Emmys for our original kids shows Alexa and Katie, Fuller House, and A Series of Unfortunate Events.

It seemed to me that going forward we had to get out of the never-ending cycle of bidding against Netflix and, later, Hulu. We didn’t want to pay studios additional fees for each and every country we entered. We had to control our own destiny. That led me to a startling conclusion: we had to create our own content. It was time to make our own movies and TV shows.

When I started at Netflix, Jack explained to me that I should consider I’d been handed a stack of chips. I could place them on whatever bets I believed in. I’d need to work hard and think carefully to ensure I made the best bets I could, and he’d show me how. Some bets would fail, and some would succeed. My performance would ultimately be judged, not on whether any individual bet failed, but on my overall ability to use those chips to move the business forward. Jack made it clear that at Netflix you don’t lose your job because you make a bet that doesn’t work out. Instead you lose your job for not using your chips to make big things happen or for showing consistently poor judgment over time.

Sometimes my back hurts when I work out too hard or if I lay in one spot so long that Netflix dares to ask if I’m still watching the show I’ve been binging.

Historically, humans have engaged in activities that have natural stopping cues—no more apples on the tree, no more ale in the barrel, the end of a chapter, the end credits. Platforms including Facebook, Instagram, and Netflix have systematically eradicated stopping cues—similar to casinos, which deliberately have no hard angles, only one continuous space to keep you moving through it, on to the next wager. Netflix has become an endless show; TikTok, an endless video.

In July 2014, Ted tapped Brian Wright, a senior vice president at Nickelodeon, to lead young adult content deals. (Brian’s first Netflix claim to fame is signing the deal for a show called Stranger Things just a few months into the job.) Brian tells this story about Ted receiving feedback publicly on Brian’s first day at Netflix: In all my past jobs, it was all about who’s in and who’s out of favor. If you gave the boss feedback or disagreed with her in a meeting in front of others, that would be political death. You would find yourself in Siberia. Monday morning, it’s my first day of this brand-new job, and I’m on hyperalert trying to find out what are the politics of the place. At eleven a.m. I attend my first meeting led by Ted (my boss’s boss, who is from my perspective a superstar), with about fifteen people at various levels in the company. Ted was talking about the release of The Blacklist season 2. A guy four levels below him hierarchically stopped him in the middle of his point: “Ted, I think you’ve missed something. You’re misunderstanding the licensing deal. That approach won’t work.” Ted stuck to his guns, but this guy didn’t back down. “It won’t work. You’re mixing up two separate reports, Ted. You’ve got it wrong. We need to meet with Sony directly.” I could not believe that this low-level guy would confront Ted Sarandos himself in front of a group of people. From my past experience, this was equivalent to committing career suicide. I was literally scandalized. My face was completely flushed. I wanted to hide under my chair. When the meeting ended, Ted got up and put his hand on this guy’s shoulder. “Great meeting. Thanks for your input today,” he said with a smile. I practically had to hold my jaw shut, I was so surprised. Later I ran into Ted in the men’s washroom. He asked how my first day was going so I told him, “Wow Ted, I couldn’t believe the way that guy was going at you in the meeting.” Ted looked totally mystified. He said, “Brian, the day you find yourself sitting on your feedback because you’re worried you’ll be unpopular is the day you’ll need to leave Netflix. We hire you for your opinions. Every person in that room is responsible for telling me frankly what they think.

By repeatedly showing video clips of the key in plain view on the floor, with books inside the cabinet and items on top, and by carefully editing testimony from Deputy Kucharski and altogether omitting the details from Colborn and Lenk, they convinced Netflix viewers worldwide—beyond a shadow of a doubt—that Colborn and Lenk had planted the key.

I don't do Netflix, I don't binge for adrenaline. I find it far more soothing to listen to old BBC radio shows while I do my writing.

The fate of the two companies was starkly different, as was its leadership. In its 25-year history, Blockbuster had five CEOs, none of whom had much interest in the inner workings of the video rental business. Netflix is still run by its Co-founder, Reed Hastings, who wrote a $1.9 million check 23 years ago to start the company. He is a self-described “math wonk,” and it shows in the company’s obsession with following the numbers to what its customers want. Blockbuster had thousands of times more data about movie watching than Netflix but rarely used it in productive ways. Even though Netflix was a fraction of the size, its obsession with data created a knowledge advantage that became its ultimate weapon against Blockbuster.

Grownup Happiness (The Sonnet) I don't do Netflix, I don't binge for adrenaline. I find it far more soothing to listen to old BBC radio shows while I do my writing. Happiness is not a matter of exhilaration, Happiness is a matter of moderation. Just because all the monkeys are partying, doesn't mean you gotta give submission. So I say, get your priorities straight, Happiness will take care of itself. If you don't know to draw your own lines, That's not freedom, but apish descent. I don't scroll till I pass out, I don't drink till I feel sick. Happiness means happy-in-less, Trends don't bring you peace.

The higher you get in an organization, the less feedback you receive, and the more likely you are to come to work naked or make another error that's obvious to everyone, but you. This is not just dysfunctional but dangerous. If an office assistant screws up a coffee order, and no one tells him, it's no big deal. If the Chief Financial Officer screws up a financial statement, and no one dares to challenge it, it sends the company into crisis. The first technique our managers use to get their employees to give them honest feedback is regularly putting feedback on the agenda of their one-on-one meetings with their staff. Don't just ask for feedback, but tell and show your employees it is expected.

Squid Game, is a riveting TV program that deserves accolades of praise . It's a TV program that invites you, yourself in to play the games along with it.

To put it simply, blue-sky opportunities are about skating to where the puck will be, not where it is now. Sometimes blue-sky opportunities arise by thinking more broadly or reframing how you’re approaching a problem: Blockbuster saw its business as “video stores” and was locked into handing customers tapes and DVDs. Netflix focused on “content delivery,” and it didn’t matter if that content came from the mail or streaming video. By thinking about how to let customers watch movies and TV shows in a different way, Netflix saw a means to exceed Blockbuster’s local maxima and find a new global maxima.

He mentioned five elements that really set the deck apart from the rest. Here’s what you need, according to Andy: Name a big, relevant change in the world. This should be an “indisputable truth.” “E-commerce will accelerate post-COVID19-pandemic” is a good example. Show there will be winners and losers. The point here is to give anxiety to the customers that may fall on the losing side. At Videoplaza, we cited the transition from analog to digital in video streaming and monetization with Netflix and Amazon as the winners thus far. Tease the promised land. Instead of introducing your product immediately, talk instead about the future state, about your founding insights to give the prospect a glimpse into the future. Introduce features as magic gifts for overcoming obstacles to the promised land. This is where your product comes in with its ability to get the customer to the other side. Present evidence that you can make the story come true. Case studies, customer testimonials, analyst quotes, product demos—all of these are appropriate in telling this part of the narrative.

You have to decide that God-focused and consistent relationships are more important to the future of your family than a traveling sports team. You’ve got to decide that God-focused and consistent relationships are more important to your future journey of following Jesus than binging another Netflix show.

He had broken the bank by making a reservation at a place in Islamorada for their first night called the Moorings Village Lodge, which was the real-life location of the so-called Rayburn House, Sissy Spacek’s cottage hotel in the Netflix show Bloodlines. He was undeterred by the $1,600 price because he loved the show and figured he could probably make up for it by staying at much cheaper places for the rest of their nights in Key West.

Tyler is watching me like I'm his favorite Netflix show.

But there’s no fire in Tristan. No grit. Tristan would never stand up for me; he’d never dunk me in a swimming pool fully clothed or dirty dance with me in a divorcée’s living room. In the entire time I was with Tristan, we never did anything more exciting together than start a new show on Netflix.

For some, the instant pleasures of the small screen—whether an HBO show or a watch-at-home Netflix movie—long ago eclipsed the grand promises of the multiplex. To the younger consumers who absorb much of what they watch through a phone or a laptop, going to see a movie is an occasional luxury, not a necessity. Why head to the theater when there are hours of stuff available right here in your home?

There are streaming media devices like Roku, Kodi, or Amazon’s Fire TV Stick that allow you to access most of the same programs that you normally get through a cable subscription. Each of these devices gives you access to thousands of streaming channels. Some are free and some are premium. Even if you pay for two or three of these services, it still results in a significant cost savings. For instance, my setup is simple right now and only costs an average of $40 (as of March 2017), which is significantly less than the $130+ cable bill we once had: Netflix ($7 monthly) Amazon Prime ($99 per year or $8 monthly) Sling TV ($25 monthly) With Netflix and Amazon, you can watch most of the movies, documentaries, and premium TV shows that you love. And with Sling TV, you have access to your favorite network shows. It’s television-on-demand at its best, and more importantly, you don’t have to sit through commercials, which are distracting and reinforce negative spending habits.

If you’re ever watching a Netflix show in a foreign language with subtitles, you really can’t just “close your eyes for a minute” and still understand what’s going on. You think you can - but you can’t.

Netflix’s algorithm has a deeper (even if still quite limited) understanding of your tastes than Amazon’s, but ironically that doesn’t mean Amazon would be better off using it. Netflix’s business model depends on driving demand into the long tail of obscure movies and TV shows, which cost it little, and away from the blockbusters, which your subscription isn’t enough to pay for. Amazon has no such problem; although it’s well placed to take advantage of the long tail, it’s equally happy to sell you more expensive popular items, which also simplify its logistics. And we, as customers, are more willing to take a chance on an odd item if we have a subscription than if we have to pay for it separately.

...I conducted a number of experiments to get in touch with my future self. Here are my favorite three: • Fire up AgingBooth. While hiring a programmer to create a 3-D virtual reality simulator is probably out of your price range, I personally love an app called AgingBooth, which transforms a picture of your face into what you will look like in several decades. There are also other apps like it, like Merrill Edge’s web app that shows you a live avatar of what you’ll look like at retirement (faceretirement.merilledge.com). AgingBooth is my favorite of them all, and it’s available for both Android and iOS, and it’s free. On the website for this book (productivityprojectbook.com), you can see what to expect out of the app—I’ve framed a picture of myself that hangs above my computer in my office, where I see it every day. Visitors are usually freaked out. • Send a letter to your future self. Like the letter I wrote at camp, writing and sending a letter to yourself in the future is a great way to bridge the gap between you and your future self. I frequently use FutureMe.org to send emails to myself in the future, particularly when I see myself being unfair to future me. • Create a future memory. I’m not a fan of hocus-pocus visualizations, so I hope this doesn’t sound like one. In her brilliant book The Wallpaper Instinct, Kelly McGonigal recommends creating a memory of yourself in the future—like one where you don’t put off a report you’re procrastinating on, or one where you read ten interesting books because you staved off the temptation of binge-watching three seasons of House of Cards on Netflix. Simply imagining a better, more productive version of yourself down the line has been shown to be enough to motivate you to act in ways that are helpful for your future self.

risk by giving her the autonomy to make the decision for herself, but it was worth a shot. Truthfully, I expected her to say, “All day!” but she didn’t. Instead, armed with the logic behind why limiting screen time was important and with the freedom to decide in her hands, she sheepishly asked for “two shows.” Two episodes of a kid-appropriate program on Netflix is about forty-five minutes, I explained. “Does forty-five minutes seem like the right amount of screen time per day for you?” I sincerely asked. She nodded in agreement, and I could tell by the hint of a smile that she felt she had gotten the better end of the deal. As far as I was concerned, forty-five minutes was fine with me, as it left plenty of time for other activities. “How do you plan to make sure you don’t watch for more than forty-five minutes per day?” I asked. Not wanting to lose the negotiation that she clearly felt she was winning, she proposed using a kitchen timer

She even started following me onstage during the interview segment of my Netflix show and would sometimes prop herself up on the little table between the guest and me.

My performance would ultimately be judged, not on whether any individual bet failed, but on my overall ability to use those chips to move the business forward. Jack made it clear that at Netflix you don’t lose your job because you make a bet that doesn’t work out. Instead you lose your job for not using your chips to make big things happen or for showing consistently poor judgment over time.

Just stop, okay? I was at his house, and we had a conversation.” Cutting the topic off. “Are we going to go shopping, or are we staying in?” I close my laptop. “If we go out, I have to change.” “Changing the topic.” She winks at me now just like Miller did to her not too long ago. “Smart, we can go shopping,” she says. “Or we can stay in and watch that new show on Netflix that people are talking about.” “Oh,” I say, getting up. “And order Chinese food?” I smile and point at her. “If I was not so into dick,” she says, “I would make a play for you.” “Um.” I laugh now. “Thanks, I guess.

•​Alexa and Siri answer your questions •​Amazon predicts your next purchase •​Apple unlocks the iPhone by scanning your face •​Facebook targets you with ads •​Gmail finishes your sentences •​Google Maps routes you to your destination •​LinkedIn curates your homepage and recommends connections •​Netflix recommends shows and movies •​Spotify learns the music you love •​Tesla’s Autopilot steers, accelerates, and brakes your car •​YouTube suggests videos •​Zoom automatically transcribes your recorded meetings

1. How much did you know about the culture Julia Haart grew up in before you read the book? What were some things that surprised you? 2. Religions come with many rules. What do you think religious rules provide for followers? 3. Talk about the role of women in the cloistered community. What are their responsibilities? Are the ideal standards to which they are held consistent with their realities? What other faiths tout similar views? 4. Julia has a very complicated view of her mother. How do you think that this informs her own role as a mother to four children? What example do you think her journey sets for them? 5. What traits from her upbringing, if any, do you think Julia has brought with her to her new life? 6. Have you ever experienced a situation in which you had to set boundaries or leave behind a group in order to be true to yourself? What feelings did you have surrounding that? What was the result? 7. Julia references many of the difficulties that some people who leave her former community face. How do you think her assertion that the community “forced them to be unprepared for modernity” ultimately serves to ensure its continuity? 8. Ultra-Orthodox Jews cite modesty and simplicity as the foundation of their values, yet Julia describes the high costs associated with following the community’s strict traditions and customs. How does this materialism conflict with the community’s values? How is it similar to materialism in the secular world? 9. Discuss your reaction to the fact that Julia was not born into ultra-Orthodox Judaism. How do you think her life might have been different if her mother and father had not converted? 10. Toward the end of the book, Julia states, “Every time I win, it makes me stronger and more able to handle the next attack that comes my way…. Now I listen to my own voice.” In what other ways has Julia demonstrated that same resolve throughout her life? 11. Seven years after leaving behind her community, Julia says she feels closer to a higher power than she ever did when she was religious. What does her memoir say about religion versus spirituality? 12. The memoir takes place in the period before My Unorthodox Life aired on Netflix in 2021. Did you watch the show before you read Brazen? What surprised you about Julia’s story that wasn’t addressed in the show? Did learning more of her backstory from the book change your understanding of Julia’s life on screen in any way? ABOUT THE AUTHOR Julia Haart is the CEO, co-owner, and chief creative officer of Elite World Group.

Why am I always late for work?” “Because I keep snoozing my alarm so I can sleep more.” ·       “Why do I feel like sleeping more?” “Because I feel really tired when I wake up.” ·       “Why do I feel exhausted even though I’ve just woken up?” “Because I sleep late daily.” ·       “Why do I always sleep late?” “Because I keep surfing the web or binge watching shows on Netflix late into the night.” · “Why do I engage in the activities highlighted above?” “Because I feel bored.” ·       “Why do I feel bored?” “Because I don’t have good friends or healthy activities to engage in to feel entertained.” Use this strategy to dig into all your problems until you have a clear picture of the underlying issues, causes, conflicts, etc. Once you dig that out, you resolve it first and slowly resolve all the whys you listed out earlier.  Following the

Like in business, the emergence of new players necessarily changes the way the game must be played. Blockbuster—the sole superpower in the movie rental business—failed to appreciate that a small company like Netflix and an emerging technology like the internet required them to reexamine their entire business model. Big publishers doubled down on old models when Amazon showed up instead of asking how they could update and upgrade their models in the face of a new digital age. And instead of asking themselves, “What do we need to do to change with the times,” taxi companies chose to sue the ridesharing companies to protect their business models instead of learning how to adapt and provide a better taxi service. Sears got so big and so rich from sending out paper catalogues for so many decades that they were too slow to adapt to the rise of big-box stores like Walmart and ecommerce. And believing itself without Rival, the behemoth that was Myspace didn’t even see Facebook coming.

He'd been so much happier when he was little, when he hadn't realized his mom had been lying on those nights when she would make him dinner but not eat anything herself because she had "already eaten." Other kids had been simpler back then too, not noticing or caring that Zack's clothes and shoes were never new, or that he watched free documentaries on YouTube instead of the newest Netflix shows, or that he and his mom never went on any vacations or ate at any fancy restaurants. When she had free time and the sun was shining, she would pack some food and take him for a picnic in Central Park, and that had been enough for him.

Netflix has created a pair of socks that pause the show you're watching if you fall asleep.

My favorite of {Netflix's] descriptors is "chosen family." A big part of the evergreen appeal of big hits like The Office, Parks and Recreation, New Girl, 30 Rock, etc., is the way in which a bunch of ragtag misfits commit to being not just "workplace proximity associates" or roommates or friends of friends, but people who are inextricably, irremovably interwoven into one another's lives on a daily basis... For me, that's family crystallized.

More sophisticated methods exist, of course. A potentially more powerful method is collaborative filtering. It gathers data about what users have bought in the past and uses AI to predict what people are likely to buy in the future. These methods can use both explicit information, like a customer’s ratings of the options, and implicit information, like whether or not they finished a specific program on Netflix. Most famously, perhaps, collaborative filtering is used by Amazon in generating “People who bought this also bought . . .” listings. Collaborative filtering requires a large set of past user behavior to make predictions. This is the heart of suggestions made by Apple Music, “who to follow” suggestions on Twitter, and matches on Tinder. Yes, Tinder apparently changes the people it will show you based on your swipes. Swiping right will change who you see in the future. It’s important to realize that, in its pure form, collaborative filtering doesn’t use in-depth information about the options themselves. When Apple Music recommends a tune, it knows nothing about the song’s tempo, beat, lyrics, or instrumentation. It simply knows that people who are like you like that song too.

Sonnet 1178 Five little rich tourists sink in a sub, Wallets open without limit on a search-n-rescue op. A 1000 migrants die each year tryna cross the sea, Borders tighten in sheer fear with no show of mercy. People are only worth saving if their savings is super healthy. 50 Shades would be a Hitchcock film if the sicko had no money. Empathy is a far cry, life is never the issue. While next-door-neighbor cries of hunger, Netflix wets more tissue.

Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show.

APPRECIATE: Natural human inclination is to provide a defense or excuse when receiving criticism; we all reflexively seek to protect our egos and reputation. When you receive feedback, you need to fight this natural reaction and instead ask yourself, “How can I show appreciation for this feedback by listening carefully, considering the message with an open mind, and becoming neither defensive nor angry?

Imagine an argument where you keep reminding your partner how boring they are as they don’t like to party like you do over the weekends and instead choose to stay at home and watch some shows on Netflix. First things first, this is something you already knew about your partner when you met them. So you have no right to fight about how they choose to spend their weekend. Secondly, when you fight over it, you are just hitting them below the belt by suggesting that their life isn’t as exciting or fun. No partner in a committed relationship should have to change for the other unless for the better. We all have personal preferences, and if he/she isn’t stopping you from going out and partying like it’s 1999, then you have no right to ask them to give up their leisure activity. Your partner may start to think that they aren’t good enough for you or make you happy even though they shouldn’t be guilty of them.

Ronan Byrne, an electrical engineering student in Dublin, Ireland, enjoyed watching Netflix, but he also knew that he should exercise more often than he did. Putting his engineering skills to use, Byrne hacked his stationary bike and connected it to his laptop and television. Then he wrote a computer program that would allow Netflix to run only if he was cycling at a certain speed. If he slowed down for too long, whatever show he was watching would pause until he started pedaling again. He was, in the words of one fan, “eliminating obesity one Netflix binge at a time.” He was also employing temptation bundling to make his exercise habit more attractive. Temptation bundling works by linking an action you want to do with an action you need to do. In Byrne’s case, he bundled watching Netflix (the thing he wanted to do) with riding his stationary bike (the thing he needed to do).

But do not call me a psychopath. And I request this for two reasons. One, it shows you know little of what a true psychopath is. You would most likely go along with the Hollywood stereotype or the image created by true crime documentaries you binge watch on Netflix for 8.99 a month. Two, it demeans what I do and makes it seem alien. It removes the human nature from human nature. It makes it seem as if what I do is unusual or not of the norm or is done because something is wrong with me. As I said, gladiators killed and died for entertainment. People were hung for stealing in the 1800s and families would go watch it like the picnic in the park.

There’s your television—sixty inches of sexy plasma. There’s your Netflix, always ready to welcome you with some rewarmed sitcom laughter, and your stack of Blu-rays and your bookcase full of well-worn paperbacks. There’s Facebook and Snapchat and Instagram to keep you connected, to show you all the places you’ve yet to visit and people you’ve yet to meet. You’ve got a thousand worlds at your fingertips, a thousand lives, and before you know it, home is just the place you go to be somewhere else, someone else, until morning comes and your dreams end and you have to be you again.

Most interesting of all, unlike the vast majority of firms that fail when the industry shifts, Netflix had responded successfully to four massive transitions in the entertainment and business environment in just fifteen years: From DVD by mail to streaming old TV series and movies over the internet. From streaming old content to launching new original content (such as House of Cards) produced by external studios. From licensing content provided by external studios to building their own in-house studio that creates award-winning TV shows and movies (such as Stranger Things, La Casa De Papel, and The Ballad of Buster Scruggs). From a USA-only company to a global company entertaining people in 190 countries. Netflix’s success is beyond unusual. It’s incredible. Clearly, something singular is happening, which wasn’t happening at Blockbuster when they declared bankruptcy in 2010.

TakeOne TakeTwo SceneOne SceneTwo Flix.com Fastforward NowShowing Directpix Videopix E-Flix.com NetFlix CinemaCenter WebFlix CinemaDirect NetPix

Why, What If, and How.” Berger shows that these three questions stand at the heart of many game-changing innovations, including the invention of the microwave oven, Gatorade, Netflix, windshield wipers, the World Wide Web, and many other innovations.

Serena comes in after her midday shift and tosses a baggie of weed on the table. “One of my regulars tipped me with a few grams.” “Perfect,” Zara says. “Kelly bought ice cream. And the new Henry Cavill show just released on Netflix.” “Girl’s night!” Remee exclaims.

The business model for a new Netflix show is fundamentally more stable. It spends about $50 to $60 million on a new season of GLOW or Godless. So how does Netflix justify its spending on a TV show or movie that it doesn’t “sell”? Again, let’s return to that portfolio effect. Regardless of whether a show is successful or not, investing in sharp new content helps Netflix to both (a) attract new subscribers and (b) extend the lifetime of its current subscribers. Those shows don’t go away! Together, they’re increasing the overall value of the portfolio. They are instrumental in driving down customer acquisition costs (as more subscribers sign up) and increasing subscriber lifetime value (as more subscribers stick around for longer). Netflix knows exactly how long it takes for a subscriber to flip from unprofitable to profitable. Spending tons of money on new shows means Netflix is happy to take a hit on the books in the short term in order to increase their profitability in the long run.

But, again, the real news is what they did with that money. In 2018, while the big six movie studios released a combined seventy-five films, Netflix’s war chest produced eighty new features and over seven hundred new TV shows.

Netflix is creating content. A lot of content. In 2017, they spent $6.2 billion on original movies and TV shows, outspending major studios such as CBS ($4 billion) or HBO ($2.5 billion), and just shy of the $8–10 billion-a-year range of heavyweight contenders like TimeWarner and Fox.

These days, I’ve come to mostly accept my body—I’ve turned my focus to my health and strength—and now, instead of what the scale shows, I record my 10K race times and the pounds I can deadlift. I glance around the coffee shop. A woman leans over her laptop, typing purposefully. A couple sits side by side, her leg draped over his, The New York Times splayed across their laps. A father and a young boy sporting matching Yankees caps wait at the counter for their order. Lately it seems like the stats are against me: I’m thirty-one years old, and I’m not dating anyone. When my boss called me into his office last month, I thought I was getting promoted. Instead, he told me I was being downsized. It’s like I’m caught in a slow spiral. I’m fighting as hard as I can to turn things around. First, a job. Then maybe I’ll join a dating site. There’s a void in my life Sean used to fill. Before he met Jody, we ordered in Chinese food at least once a week and binge-watched Netflix. He’s forever misplacing his keys; I instantly know from the way he calls “Shay?” when he needs help finding them. He waters the plant we named Fred, and I bring up the mail.

Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show. Lanier, Jaron. Ten Arguments for Deleting Your Social Media Accounts Right Now (Posición en Kindle1406-1407). Henry Holt and Co.. Edición de Kindle.

It might sound undesirable to someday have to pay for things that are currently free, but remember, you’d also be able to make money from those things. And paying for stuff sometimes really does make the world better for everyone. Techies who advocated a free/open future used to argue that paying for movies or TV was a terrible thing, and that the culture of the future would be made of volunteerism, with the digital distribution funded by advertising, of course. This was practically a religious belief in Silicon Valley when the big BUMMER companies were founded. It was sacrilege to challenge it. But then companies like Netflix and HBO convinced people to pay a monthly fee, and the result is what is often called “peak TV.” Why couldn’t there also be an era of paid “peak social media” and “peak search”? Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show. BUMMER only supports stars.

One of the paradoxes of life is that our big decisions are often less calculated than our small ones are. We agonize over what to stream on Netflix, then let TV shows persuade us to move to New York; buying a new laptop may involve weeks of Internet research, but the deliberations behind a life-changing breakup could consist of a few bottles of wine. We're hardly more advanced than the ancient Persians, who, Herodotus says, made big decisions by discussing them twice: once while drunk, once while sober.

We say that we “decide” to get married, to have children, to live in particular cities or embark on particular careers, and in a sense this is true. But how do we actually make those choices? One of the paradoxes of life is that our big decisions are often less calculated than our small ones are. We agonize over what to stream on Netflix, then let TV shows persuade us to move to New York; buying a new laptop may involve weeks of Internet research, but the deliberations behind a life-changing breakup could consist of a few bottles of wine. We’re hardly more advanced than the ancient Persians, who, Herodotus says, made big decisions by discussing them twice: once while drunk, once while sober.

As I said, there are many examples of Hollywood openly and gleefully mocking Christianity. But it’s not the open and gleeful mocking that’s really a problem. It’s easy enough to avoid watching a show where Satan is a crime fighter. What’s far more dangerous is the show or film that embeds nihilistic and hedonistic themes in a story line that never directly touches on anything religious or spiritual. And this describes the vast majority of the content churned out by Hollywood on a weekly basis. We Christians sit and absorb it into our minds and souls, rarely stopping to question the messages we are receiving. We tell ourselves that all the time spent watching TV or binging Netflix is just an “escape,” an opportunity to “turn our brains off” and “relax” for a while. The problem is that we are always escaping. Our brains spend most of the day in the “off” position. And in this submissive, malleable state, we are utterly susceptible to whatever ideas or messages Hollywood wants to feed us. Television is a passive experience, which makes it the perfect medium for shaping minds. The unresisting mind is most easily shaped. Especially an unresisting mind that does not realize it is being shaped. We begin to act like the people we see on TV, dress like them, speak like them, think like them; we adopt their viewpoints and priorities. We do all of this without noticing it. Five or six or seven hours a day watching TV, thirty-five or forty hours a week, two thousand hours a year, year after year—after a while, we cannot distinguish our real lives from the fantasy world we enter through the screen.

Even at the peak of its popularity around seasons four and five, The Office never generated ratings even comparable to sitcoms like Two and a Half Men and The Big Bang Theory, procedural dramas like CSI: Crime Scene Investigation and NCIS, or, especially, reality competition shows like American Idol and Dancing with the Stars. But bars all over America in 2019 don’t host Dancing with the Stars or NCIS trivia nights. The Big Bang Theory isn’t breaking streaming records on Netflix and teens aren’t bingeing Two and a Half Men on their phones. It’s The Office that has emerged as the most beloved sitcom of the 2000s and just gets bigger with each passing year.

about $50 to $60 million on a new season of GLOW or Godless. So how does Netflix justify its spending on a TV show or movie that it doesn’t “sell”? Again, let’s return to that portfolio effect. Regardless of whether a show is successful or not, investing in sharp new content helps Netflix to both (a) attract new subscribers and (b) extend the lifetime of its current subscribers. Those shows don’t go away! Together, they’re increasing the overall value of the portfolio. They are instrumental in driving down customer acquisition costs (as more subscribers sign up) and increasing subscriber lifetime value (as more subscribers stick around for longer). Netflix knows exactly how long it takes for a subscriber to flip from unprofitable to profitable. Spending tons of money on new shows means Netflix is happy to take a hit on the books in the short term in order to increase their profitability in the long run.

I think everyone would agree that brands are still very important, but today you communicate your brand through experiences, not ads. The best sales pitch for Netflix is binge-watching a great Netflix show. The same principle applies to buying glasses from Warby Parker. Or conducting a Google search. Or looking up a prospect on Salesforce.

She lifted her eyes to the ceiling before pointing her spoon in the direction of my laptop. “What’s that for?” “Netflix,” I replied. “We need a good distraction, and I’ve got a great movie to get us started.” I turned the laptop to show her what I was thinking. She looked intrigued until she caught sight of the title on the screen. She quickly looked away, and her eyes glistened like she was about to cry. I immediately started to panic. “I-I picked a horror movie because I knew you liked them,” I said. “I mean, they terrify me, but I thought that would make you enjoy it even more.” I was rambling, but the sight of her watery eyes worried me. I was supposed to be helping her, not making things worse. “You’re right,” she murmured. “I do love horror films. It’s just… It’s something I do with my dad…” Her voice broke as she spoke. I quickly backtracked. “We can watch something else… In fact, I happen to know a few good chick flicks that we could watch instead.” Her face scrunched at the thought, and she blinked away the tears. Her voice was a little firmer when she responded. “You think I want to watch a chick flick?” “Uh, no? I mean, no, of course not. That was just a joke.” I quickly started searching the Netflix menu for something else. I was completely messing this up.

Ronan Byrne, an electrical engineering student in Dublin, Ireland, enjoyed watching Netflix, but he also knew that he should exercise more often than he did. Putting his engineering skills to use, Byrne hacked his stationary bike and connected it to his laptop and television. Then he wrote a computer program that would allow Netflix to run only if he was cycling at a certain speed. If he slowed down for too long, whatever show he was watching would pause until he started pedaling again. He was, in the words of one fan, “eliminating obesity one Netflix binge at a time.

it. I was terrified because something had shifted, and nothing about my Netflix show or how I was feeling seemed right.

He was right. I was treating it like some Netflix true-crime documentary. Janelle Beckett was a person. I needed to show respect. “I’m so sorry,” I said.

Gabriella adopted an optimization to this process: she’s not allowed to watch Netflix alone.* This restriction still allows her to enjoy the value Netflix offers, but to do so in a more controlled manner that limits its potential for abuse and strengthens something else she values: her social life. “Now [streaming shows is] a social activity instead of an isolating activity,” she told me.

Decades ago, "You might be depressed, you might have serious psychiatric problems, but people wouldn't kill themselves. It happened, but it was still rare." It's easy to blame the media. It's easy to blame social media. It's easy to blame shows like 13 Reasons Why, a Netflix series chronicling a high schooler's suicide (which I've never seen nor want to see) in which, as Gould says, "help-seeking wasn't accessible but dying by suicide was very accessible." Norms matter. Her research shows that youth who think their peers have considered or attempted suicide are more likely to consider or attempt themselves.

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