Netflix to Charge an Additional $8 Month for Viewers Living Outside US Subscribers’ Households 

The Netflix logo at the Netflix Tudum Theater in Los Angeles, California, on September 14, 2022. (AP)
The Netflix logo at the Netflix Tudum Theater in Los Angeles, California, on September 14, 2022. (AP)
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Netflix to Charge an Additional $8 Month for Viewers Living Outside US Subscribers’ Households 

The Netflix logo at the Netflix Tudum Theater in Los Angeles, California, on September 14, 2022. (AP)
The Netflix logo at the Netflix Tudum Theater in Los Angeles, California, on September 14, 2022. (AP)

Netflix on Tuesday outlined how it intends to crack down on the rampant sharing of account passwords in the US, its latest bid to reel in more subscribers to its video streaming service as its growth slows.

To combat password sharing, Netflix said it will limit US viewership of its programming to people living in the same household. Those who subscribe to Netflix’s standard or premium plans — which cost $15.50 to $20 per month — will be able to allow another person living outside their household to use their password for an additional $8 per month, a $2 discount from the company’s basic plan.

Without providing details how it authenticates subscriber identities or accounts, Netflix assured that everyone living in the same household of a US customer will still be able to stream TV series and movies “wherever they are — at home, on the go, on holiday.”

The company based in Los Gatos, California has roughly 70 million US accountholders.

The long-anticipated move, telegraphed by Netflix a year ago, seeks to end a practice that the company allowed to go unchecked for years while its streaming service was attracting subscribers in droves. At that time, management had little incentive to risk riling customers by reining in password sharing.

While Netflix looked the other away, an estimated 100 million people worldwide were getting passwords from family and friends to freeload on Netflix TV series such as “The Crown” and films such as “All Quiet On The Western Front.” Those passwords were funneled through Netflix’s 232.5 million worldwide paying subscribers, who generated the bulk of the company’s $32 billion in revenue last year.

But after a year of lackluster subscriber growth that included its largest customer losses in more than a decade, Netflix is putting its foot down.

In February, it began blocking freeloading viewers in Canada, New Zealand, Portugal and Spain, following similar moves in Latin America.

Before the crackdown on password sharing, Netflix began introducing features, such as the ability to transfer the profiles set up on subscriber accounts to make it easier for people to retain their viewing histories after they are no longer able to watch shows for free.

Netflix’s effort to force more of its viewers to pay for access to its programming follows the launch of a $7 monthly plan that inserted commercials into its service for the first time. Netflix has picked up an additional 9 million worldwide subscribers since the ad-supported option debuted, although not all of those signed up for the low-priced plan.

Although the new US surcharge for viewers living outside subscribers’ households is less than Netflix’s basic streaming plan, it comes at a time that Americans have been paring their discretionary spending because of high inflation. That inflationary squeeze, combined with more competition from other streaming services, is one of the main reasons Netflix has suffered a slowdown in growth.

Netflix co-CEO Greg Peters acknowledged last month that the crackdown on password sharing is likely to trigger an uptick in subscriber cancellations, but expressed confidence the company will be better off in the long run after people adjust to the clampdown.

“We see an initial cancel reaction, and then we build out of that both in terms of membership and revenue as borrowers sign-up for their own Netflix accounts,” Peters assured analysts, citing how the crackdown has unfolded in Canada since February.

Netflix’s shares fell 2% Tuesday to close at $355.99. The stock remains up by about 20% so far this year.



‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles
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‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

“Venom: The Last Dance” enjoyed another weekend at the top of the box office. The Sony release starring Tom Hardy added $26.1 million in ticket sales, according to studio estimates Sunday.
It was a relatively quiet weekend for North American movie theaters leading up to the presidential election. Charts were dominated by big studio holdovers, like “Venom 3,” “The Wild Robot” and “Smile 2,” while audiences roundly rejected the Tom Hanks, Robin Wright and Robert Zemeckis reunion “Here.” Thirty years after “Forrest Gump,” “Here” opened to only $5 million from 2,647 locations.
“Venom 3” only fell 49% in its second weekend, which is a notably small drop for a superhero film, though it didn’t exactly open like one either. In two weeks, the movie has made over $90 million domestically; The first two opened to over $80 million. Globally, the picture is brighter given that it has already crossed the $300 million threshold.
Meanwhile, Universal and Illumination’s “The Wild Robot” continues to attract moviegoers even six weeks in (and when it’s available by video on demand), placing second with $7.6 million. That's up 11% from last weekend. The animated charmer has made over $121 million in North America and $269 million worldwide, The Associated Press reported.
"'The Wild Robot' has quietly been this absolute juggernaut for the fall season," said Paul Dergarabedian, the senior media analyst for Comscore. “For that film to see an increase after six weeks is astounding.”
“Smile 2” landed in third place with $6.8 million, helping to push its worldwide total to $109.7 million.
The time-hopping “Here,” a graphic novel that was adapted by “Forrest Gump” screenwriter Eric Roth, was financed by Miramax and distributed by Sony’s TriStar. With a fixed position camera, it takes audiences through the years in one living room. Critics were not on board: In aggregate it has a lousy 36% on Rotten Tomatoes.
“It was a slow weekend anyway, but it didn’t resonate in a way that many thought it might," Dergarabedian said. "There are a lot of films out there for the audience that ‘Here’ was chasing."
Despite playing in almost 1,000 more locations, “Here” came in behind Focus Features' papal thriller “Conclave,” which earned $5.3 million. Playing in 1,796 theaters, “Conclave” dropped only 20% from its debut last weekend and has made $15.2 million so far. Two Indian films also cracked the top 10 in their debuts, “Bhool Bhulaiyaa 3” and “Singham Again.”
Overall box office continues to lag behind 2023 by almost 12%. But holiday moviegoing will likely give the industry an end-of-year boost with titles like “Gladiator II” and “Wicked” on the way.
“In a couple of weeks, it’ll get a lot more competitive,” Dergarabedian said.
Jesse Eisenberg’s film “A Real Pain,” a comedic drama about cousins on a Holocaust tour in Poland, launched in four theaters this weekend in New York and Los Angeles. It made an estimated $240,000, or $60,000 per screen, which is among the top three highest per theater averages of the year. Searchlight Pictures will be expanding the well-reviewed film nationwide in the coming weeks, going wide on Nov. 15 to over 800 theaters.
Box office charts don’t always paint a full picture of the moviegoing landscape, however. This weekend several relatively high-profile films playing in theaters did not report full grosses for various reasons, including the Clint Eastwood film “Juror #2,” Steve McQueen’s WWII film “Blitz” and the Cannes darling “Emilia Pérez.” Netflix, which is handling “Emilia Pérez,” never reports box office. Apple Original Films is following suit with “Blitz,” a likely awards contender, which is in theaters before hitting Apple TV+ on Nov. 22.
“Juror No. 2” is a Warner Bros. release, and a well-reviewed one at that. The film directed by Eastwood stars Nicholas Hoult as a juror on a murder case who faces a big moral dilemma. Domestic ticket sales were withheld. The studio did say that it earned $5 million from international showings, where it played on 1,348 screens.
Even major studios withhold box office numbers occasionally. Earlier this year, Disney did not report on the Daisy Ridley movie “Young Woman and the Sea.” Results were most notably withheld during the COVID-19 pandemic.
"It’s really up to the distributors," Dergarabedian said. “Often times the reason that certain movies may not be reported is that there’s a chance that the quality of the movie will be conflated with the box office number.”