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If Netflix has brought a golden age of television in America, can its expansion into Europe and other markets bring a golden age for international television dramas too - Essay Example

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The query posed for this particular analysis is whether or not Netflix has brought a golden age of television; and whether or not this golden age of television can be expanded to Europe and other markets for international television shows. As a function of such a question, the…
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If Netflix has brought a golden age of television in America, can its expansion into Europe and other markets bring a golden age for international television dramas too
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Extract of sample "If Netflix has brought a golden age of television in America, can its expansion into Europe and other markets bring a golden age for international television dramas too"

Section/# A Netflix Prospectus The query posed for this particular analysis is whether or not Netflix has brought agolden age of television; and whether or not this golden age of television can be expanded to Europe and other markets for international television shows. As a function of such a question, the discussion will consider the viewpoints offered in three distinct articles; one published by The Atlantic, another by Slate, and the last by Variety. The power of Netflix within the United States market has been duly manifest over the past several years; a time in which Netflix has experienced meteoric growth and established itself as a dominant player within the on-demand TV and movie market.
In terms of the information represented within The Atlantic, it is clear and apparent that Hollywood has effectively been able to adapt to an international scope for its films. The article also indicates that he has not been so fast. It is at this juncture that Netflix wishes to fill the void and provide original programming from a litany of different foreign nations around the globe (Thompson, 2013). However, there is hope for a high level of profitability in this sector; as the article from Slate underscores. Likewise, a hidden and somewhat unforeseen problem that Netflix faces within Europe is the fact that it must engaged with a multi-lingual region and offer a litany of different subscriber content within national borders that ascribes to the given linguistic nature of the region. Whereas the success of Netflix in the US and in Latin America is part and parcel due to the fact that these regions are defined by only two languages, the challenges faced within Europe are more complex. Although this article is useful in representing the range and extent to which Netflix can hope to penetrate new markets, it is also limited in that it does not fully consider unique dynamics of how foreign markets could present unique challenges to the business model that Netflix has been able to exhibit to such a great deal of success so far.
According to the Slate piece, entitled, “The International Language of Tube”, service providers such as Netflix are open to capitalize on a market shift that is coming to be exhibited; one in which the consumer’s frustration with traditional television corresponds to the increased demands for the shows and entertainment that this traditional technology provides (Thomas, 2014). Moreover, the article cautions that traditional TV should be highly wary of the potential for firms such as Netflix to dominate the market; due in part to the successful business model of bypassing third party advertisers and passing the cost of advertising space directly on to the consumer in terms of subscriptions. This article is likely to most informed and well researched all that have been included in this study. It is the further opinion of this analyst that Netflix will likely experience significant threats and challenges based upon the way in which technology continues to grow and expand over the coming years.
Finally, the piece by Variety discusses the difficulties that Netflix faces in penetrating the European market. Essentially, the piece focuses on the fact that Netflix is not the first service provider within the European region that offers similar services. As such, rather than being able to absorb the European market in a relatively rapid manner, in much the same way that they incorporated the United States market, a higher level of competition is evident within Europe. Likewise, the past several years, as compared to growth rates in Latin America and elsewhere throughout the world, illustrate that Netflix is growing within Europe; albeit at a much reduced rate as compared to elsewhere throughout the world (Wallenstein, 2013). The decision that is faced is predicated on how Netflix should best expand. This piece is beneficial in discussing the unique nuances between markets and the way that a non-differentiated business strategy represents unique challenges; when one compares different regions and unique cultural approaches to entertainment.
Terms of all of this information, it is clear and apparent that Netflix is not expected to continue its meteor rise and profitability within the next several years. As firms mature, the overall growth potential that is exhibited tends to contract as time goes on. However, rather than accepting this as fact, Netflix has a variety of options in terms of penetrating the European market and provided services to more and more subscribers. The first of these options has to do with discontinuing a level of competition with direct competitors and attempting either a predatory or not predatory takeover of these firms. As a direct result of the fact that Netflix has established such a powerful base of subscribers and has such a high degree of profitability and financial reserves, the potential to buy out some of these competitors and to create a unified force within Europe that would increase its overall rate of sales and visibility is a viable option. Furthermore, by forming partnerships, such as the one that was created with Orange and Canal +, Netflix will increase its overall rate of visibility and the more effectively able to operate within the European market. Finally, it should be cautioned that even if Netflix is able to buy out many of its competitors, the cost of doing this will be extremely high. This is due to the fact that distribution rights and content licenses will need to be earned and for each and every region that a particular show or series is aired. Naturally, this creates a hardship in the way in which Netflix has previously been viewed as an extraordinarily affordable for so many individuals.
References
Thomas, J. (2014, April 12). Liked Broadchurch and Top of the Lake? There’s More Where That Came From. Retrieved from http://www.slate.com/articles/arts/how_we_watch_tv/2013/11/liked_broadchurch_and_top_of_the_lake_there_s_more_where_that_came_from.html
Thompson, D. (2013, February 3). Netflix, House of Cards, and the Golden Age of Television - The Atlantic. Retrieved from http://www.theatlantic.com/business/archive/2013/02/netflix-house-of-cards-and-the-golden-age-of-television/272869/
Wallenstein, A. (2014, March 6). Netflix 2014 European Expansion: A Look Ahead. Retrieved from http://variety.com/2014/digital/news/netflix-makes-plans-to-move-into-europe-but-it-faces-fights-from-local-competitors-1201125910/ Read More
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