|Bid||0.00 x 900|
|Ask||0.00 x 800|
|Day's Range||282.00 - 286.93|
|52 Week Range||231.23 - 385.99|
|Beta (3Y Monthly)||1.47|
|PE Ratio (TTM)||112.41|
|Earnings Date||Oct 16, 2019|
|Forward Dividend & Yield||N/A (N/A)|
|1y Target Est||368.63|
Netflix is gearing up to report quarterly earnings this week, as the streaming company is facing more competition in the space from Disney and Apple. R "Ray" Wang, founder and principal analyst at Constellation Research, joins Akiko Fujita on The Ticker to discuss.
Six years is a long time to spend in limbo — but such has been the lot of Jesse Pinkman until El Camino, the one-off Netflix sequel to AMC’s beloved crime series Breaking Bad. For the rest of us, the world has been turning with particular vigour since the apparent finale in 2013, but for the hapless Jesse (played by Aaron Paul), time clearly stood still in the getaway car of the title, speeding from a scene of bloody mayhem in what viewers took to be as close to a happy ending as this brutal show would ever deliver. At least this is what we glean from writer-director Vince Gilligan, rejoining his anti-hero not six years on but where he left him, screaming at the wheel.
As Netflix and Amazon splurge on original content to win streaming supremacy in India, Bollywood producer Tanveer Bookwala has never been so busy. This month he wrapped up filming Asur, a thriller for Voot, one of India’s biggest streaming platforms. Rasbhari, a coming-of-age story about a teacher, is set to be released on Amazon soon, and Fittrat, a series about a money-minded woman, premieres later this month on AltBalaji, another Indian platform.
Shares of AT&T (T) have surged 31% in 2019 to easily top its industry's 8% average climb and the S&P 500's 17% jump. So will AT&T stock continue to climb after it reports its Q3 2019 earnings results?
Disney-owned Hulu plans to introduce video downloads, which Netflix has offered for three years. Disney hopes to narrow Netflix’s competitive advantage.
The video-streaming giant reports third-quarter earnings after the close on Wednesday, and the report is likely to get even more scrutiny than usual, as investors scan for fresh data on both Netflix’s ability to keep growing and the impact of intensifying competition.
Associate Stock Strategist Ben Rains dives into some of the latest U.S.-China trade war updates, including President Trump's optimism. We then look at three large-cap technology stocks to consider buying during Q3 earnings season. - Full-Court Finance
Netflix is set to report earnings Wednesday in its last quarter before its competitors Disney and Apple launch streaming services.
Today we'll evaluate Netflix, Inc. (NASDAQ:NFLX) to determine whether it could have potential as an investment idea...
Netflix (NFLX) has fallen off its high horse over the past 3 months of trading. Shares have fallen a sizable 22% since its disappointing 2nd quarter earnings.
This most-searched list is a feature included in Benzinga Pro's Newsfeed tool. It highlights stocks frequently searched by Benzinga Pro users on the platform. Synthesis Energy Systems (NASDAQ: SES ) shares ...
For investors, it could be a costly mistake to be on the wrong side of that debate, as Netflix stock’s 52-week low is $231 and the high is $385, a sizable spread for a $125 billion market-cap company. In the two weeks that followed the streaming company’s second-quarter earnings release in July, Netflix shed $24 billion in market value. Second-quarter earnings results added to the debate, as Netflix said the net number of subscribers declined in its home market for the first time.
(Bloomberg Opinion) -- Working in the media can be lots of fun, but it hasn’t been the greatest place to build a career over the past two decades. Employment at print publishers has plummeted with the rise of the internet, and broadcasters have downsized too. The jobs created in new media, which in Bureau of Labor Statistics’ employment data fall mostly in the ungainly category of internet publishing and broadcasting and web search portals, come nowhere close to making up for the losses elsewhere since 2000.Still, there is one old media sector that has been holding up just fine: There are 11% more jobs in motion picture and sound recording industries in 2019 than there were in 2000.It sure isn’t the music business that’s driving these gains: according to the Bureau of Labor Statistics, employment in the industry is down almost 40% since 2001. There has been an increase in employment in motion picture and video exhibition, which may in part be due to the rise of more labor-intensive movie theaters that serve alcoholic beverages and nice food.(5) But most of job gains have come in motion picture and video production. In other words, Hollywood!The numbers above understate the total employment effect, as more jobs in motion picture and video production also mean more jobs for accountants, carpenters, caterers and all sorts of other people. And while we call it “Hollywood,” lots of the jobs are actually in New York, Atlanta and other locales.But it’s the trajectory that interests me here. Why has film and TV production held up so much better than other legacy media industries? And what’s up with that rise in the 1990s, the long flat stretch after 2000, and the rise from 2013 through 2017?In answer to the first question, Hollywood catered to a national, even global audience almost from the beginning, and thus hasn’t suffered from the collapse of local media business models in the way that newspapers and parts of broadcasting have. Relatedly, it also wasn’t so advertising-dependent, and thus has been less vulnerable to Facebook and Google’s conquest of the advertising industry. And while competition from user-generated media and video games has taken screen time away from Hollywood’s products and will continue to do so, there’s clearly still a lot of demand for high-quality narrative video.As for why Hollywood employment has risen over some periods but not others, I took a stab at annotating the chart.OK, the 1990s employment gains probably weren’t all or even mostly about HBO’s “The Larry Sanders Show.” That acclaimed comedy was an early (although far from the earliest) landmark in the rise of original series paid for by cable channels, which provided a lucrative new outlet for makers of TV series who previously had only the three big broadcast networks to sell to. Others included cartoons such as Nickelodeon’s “Ren and Stimpy” (which premiered in 1991) and MTV’s “Beavis and Butt-Head” (1993), and early reality series such as MTV’s “The Real World” (1992) and “Road Rules” (1994). Later in the decade came HBO’s high-end scripted series “Sex and the City” (1998) and “The Sopranos” (1999). Boom times for U.S. movie makers may have had as much or more impact on the 1990s jobs numbers than TV did. Domestic ticket sales rose after a flat 1980s, foreign markets grew in importance and the rise of the DVD created a big new revenue stream. From 1990 to 1998, according to consulting firm Monitor Deloitte, the number of U.S.-developed theatrical films rose 67%, from 319 to 534, while the number of U.S.-developed TV productions of all sorts rose 36%, from 397 to 541. Those higher production volumes brought pressure to cut costs. One reaction was to do more filming abroad. Another was to increase reliance on reality shows, which usually require a lot fewer people (especially unionized people such as actors and writers) than scripted programs. Competition-based reality TV first took off in Europe in the 1990s, and after CBS brought “Big Brother” (originally from the Netherlands) and “Survivor” (from the U.K. and Sweden) to the U.S. in 2000, the format for a time seemed destined to completely take over broadcast TV here. Hollywood was able to keep employment steady through this reality-TV onslaught thanks to overseas movie markets plus continued growth in the number of scripted shows on cable, but the trend did not seem to be the industry’s friend.Then Netflix came to the rescue with “House of Cards,” the first of a flood of original programming that it and rival streaming providers commissioned to lure and keep customers. The number of scripted series for television nearly doubled from 2011 to 2018, according to FX Networks, with streaming services accounting for the vast majority of the gains.Can it continue? The 495 scripted series that aired in 2018 amounted to only a modest rise over 2017’s 487, a slowdown that seems to be reflected in the jobs numbers. The past few years might turn out to have been “peak TV,” and peak employment in motion picture and video production might turn out to have come and gone.Or it might not. This has proved to be quite the resilient industry, after all. The Bureau of Labor Statistics is still projecting a 5.5% increase in motion picture and video industry(2) employment through 2018. The narrow occupational categories expected to see the biggest employment gains are:film and video editors, 3,800 new jobs producers and directors, 3,000 new jobsPart of what’s going on is that social media networks, YouTube and other nontraditional content channels — and advertisers —are hungry for programming that doesn’t require Hollywood-level production budgets but does still need people to create, direct, edit and produce it. These generally aren’t Martin-Scorsese-type jobs. Still, if you’ve always wanted to direct, it’s nice to know that you needn’t give up hope just yet.(1) The number of waiters and waitresses working in motion picture and video industries has risen from 510 in 2010 to 3,510in 2018, and the number of bartenders from 150 to 1,910.(2) That is, including distribution, exhibition and post-production as well as production.To contact the author of this story: Justin Fox at firstname.lastname@example.orgTo contact the editor responsible for this story: Sarah Green Carmichael at email@example.comThis column does not necessarily reflect the opinion of the editorial board or Bloomberg LP and its owners.Justin Fox is a Bloomberg Opinion columnist covering business. He was the editorial director of Harvard Business Review and wrote for Time, Fortune and American Banker. He is the author of “The Myth of the Rational Market.”For more articles like this, please visit us at bloomberg.com/opinion©2019 Bloomberg L.P.
KeyBanc analyst Andy Hargreaves wrote that the near-term risk-reward profile for the video-streaming shares looks neutral. He reiterated a Sector Weight rating on the shares.
Every gangster movie is about deaths. A three-and-a-half-hour journey through “Underworld USA”, as moviemanes and mythomanes have sometimes dubbed the gangster realm, the film is like a true trip to Hades. The white-haired wrinkly voicing his story is Irish-American Frank Sheeran (De Niro).
Walt Disney Co. (DIS), whose stock has led the market this year, is likely to rise as much as 25% from its early October trading price as the company expands its direct-to-consumer streaming strategy, according to Morgan Stanley analyst Benjamin Swinburne, per Barron's. The Morgan Stanley bull reiterated his outperform rating on shares of the entertainment behemoth and a $160 price target, citing its breadth of content and production capabilities. Within that initiative, Disney+ should grow to about 15.5 million subscribers by September of next year, and 75.5 million by the end of 2024.
Alphabet has been a poor performer of late. In fact, tech giant's share price has merely risen about 7% over the past twelve months, outpacing the S&P 500 by a paltry 2 percentage points. However, the underlying enterprise is more entrenched today than it has ever been.
Netflix Inc (NASDAQ: NFLX) is scheduled to report its third-quarter results Tuesday, after the market close. Analysts, on average, expect the company to report revenues of $5.25 billion, up 31.30% year-over-year. Over the past four quarters, Netflix has managed to beat earnings per expectations by an average of 24.08%.