Amanda D. Lotz is a Professor in the Digital Media Research Centre at Queensland University of Technology.

‘In the chaotic world of television, Amanda Lotz has a keen ability to separate noise from signal. Here she drills into the factors and functions that make subscription streaming services distinctive from one another and put Netflix in a class of its own. This is a must-read for students of and professionals in the TV industry.’Evan Shapiro, Producer, Media Cartographer, and Professor at Fordham University and NYU‘Amanda Lotz is unparalleled at addressing our most vital questions regarding the global streaming video landscape. With Netflix and Streaming Video, Lotz has also introduced a blog-incubated mode of academic query as essential, iterative, asynchronous, and disruptive as the industries she studies.’David Craig, USC Annenberg‘...showcases the wide variety of logics used by film and television producers and distributors today… This book seeks to offer valuable insights to media industry workers and aspirants seeking to understand recent changes in the industry. It will also inform television and media industry scholars including those who research video games, e-books, music, and the many other media industries that are experimenting with subscription forms of funding and distribution.’Critical Studies in Television: The International Journal of Television Studies‘Lotz dispels popular myths about Netflix, for example when she compares the different success logics of classic linear television and Netflix's streaming television. Lotz succeeds in very accurately working out the specifics of the various services and illustrates in detail how Netflix differs from other streaming providers as well as from advertising-financed linear television.’Zeitschrift für Medienwissenschaft / Journal for Media Studies

• PrefaceAcknowledgementsList of Figures Introduction Section One: Subscriber-funded streaming services are different from linear services1. Experience: On Schedules and Viewing Practices 2. Building Libraries: Conglomerating Niches and Beyond?3. Subscriber Funding: On Success Metrics, Program Strategies, and Demographics 4. Licensing, Labour, Regulation, and Recommendation 5. Scale and Specialization 6. The Discrepant Field of Global Services Section One Conclusion Section Two: Netflix is not like other subscriber-funded streaming video services7. Netflix Content Concepts and Vocabulary 8. Netflix Library Strategies 9. Netflix Content Strategies 10. Netflix’s Approach to Being Global Section Two Conclusion Conclusion NotesBibliographyIndex

Amanda D. Lotz is a Professor in the Digital Media Research Centre at Queensland University of Technology.

‘In the chaotic world of television, Amanda Lotz has a keen ability to separate noise from signal. Here she drills into the factors and functions that make subscription streaming services distinctive from one another and put Netflix in a class of its own. This is a must-read for students of and professionals in the TV industry.’Evan Shapiro, Producer, Media Cartographer, and Professor at Fordham University and NYU‘Amanda Lotz is unparalleled at addressing our most vital questions regarding the global streaming video landscape. With Netflix and Streaming Video, Lotz has also introduced a blog-incubated mode of academic query as essential, iterative, asynchronous, and disruptive as the industries she studies.’David Craig, USC Annenberg‘...showcases the wide variety of logics used by film and television producers and distributors today… This book seeks to offer valuable insights to media industry workers and aspirants seeking to understand recent changes in the industry. It will also inform television and media industry scholars including those who research video games, e-books, music, and the many other media industries that are experimenting with subscription forms of funding and distribution.’Critical Studies in Television: The International Journal of Television Studies‘Lotz dispels popular myths about Netflix, for example when she compares the different success logics of classic linear television and Netflix's streaming television. Lotz succeeds in very accurately working out the specifics of the various services and illustrates in detail how Netflix differs from other streaming providers as well as from advertising-financed linear television.’Zeitschrift für Medienwissenschaft / Journal for Media Studies

• PrefaceAcknowledgementsList of Figures Introduction Section One: Subscriber-funded streaming services are different from linear services1. Experience: On Schedules and Viewing Practices 2. Building Libraries: Conglomerating Niches and Beyond?3. Subscriber Funding: On Success Metrics, Program Strategies, and Demographics 4. Licensing, Labour, Regulation, and Recommendation 5. Scale and Specialization 6. The Discrepant Field of Global Services Section One Conclusion Section Two: Netflix is not like other subscriber-funded streaming video services7. Netflix Content Concepts and Vocabulary 8. Netflix Library Strategies 9. Netflix Content Strategies 10. Netflix’s Approach to Being Global Section Two Conclusion Conclusion NotesBibliographyIndex

Amanda D. Lotz is a Professor in the Digital Media Research Centre at Queensland University of Technology.

‘In the chaotic world of television, Amanda Lotz has a keen ability to separate noise from signal. Here she drills into the factors and functions that make subscription streaming services distinctive from one another and put Netflix in a class of its own. This is a must-read for students of and professionals in the TV industry.’Evan Shapiro, Producer, Media Cartographer, and Professor at Fordham University and NYU‘Amanda Lotz is unparalleled at addressing our most vital questions regarding the global streaming video landscape. With Netflix and Streaming Video, Lotz has also introduced a blog-incubated mode of academic query as essential, iterative, asynchronous, and disruptive as the industries she studies.’David Craig, USC Annenberg‘...showcases the wide variety of logics used by film and television producers and distributors today… This book seeks to offer valuable insights to media industry workers and aspirants seeking to understand recent changes in the industry. It will also inform television and media industry scholars including those who research video games, e-books, music, and the many other media industries that are experimenting with subscription forms of funding and distribution.’Critical Studies in Television: The International Journal of Television Studies‘Lotz dispels popular myths about Netflix, for example when she compares the different success logics of classic linear television and Netflix's streaming television. Lotz succeeds in very accurately working out the specifics of the various services and illustrates in detail how Netflix differs from other streaming providers as well as from advertising-financed linear television.’Zeitschrift für Medienwissenschaft / Journal for Media Studies

• PrefaceAcknowledgementsList of Figures Introduction Section One: Subscriber-funded streaming services are different from linear services1. Experience: On Schedules and Viewing Practices 2. Building Libraries: Conglomerating Niches and Beyond?3. Subscriber Funding: On Success Metrics, Program Strategies, and Demographics 4. Licensing, Labour, Regulation, and Recommendation 5. Scale and Specialization 6. The Discrepant Field of Global Services Section One Conclusion Section Two: Netflix is not like other subscriber-funded streaming video services7. Netflix Content Concepts and Vocabulary 8. Netflix Library Strategies 9. Netflix Content Strategies 10. Netflix’s Approach to Being Global Section Two Conclusion Conclusion NotesBibliographyIndex