Rolling back the reels; an insider into the wizarding world – 10 facts about Harry Potter serving as a delight for all the Potterheads.

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Because there is much more to a story, you know!
  1. J.K – Not really!

Instead of using her full name to be written on her books, Rowling’s publisher suggested her to use just the initials of her name since this can lead to grabbing more of the attention from the people, particularly the male readers. Her real name is “Joanne Rowling,” thus, she borrowed the “K” from her grandmother’s name, Kathleen. It’s not part of her legal name. Cool, no?

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2. Coincidence, or on purpose?

Harry and Rowling share the same birthday. Harry’s birthday is July 31, 1980. Rowling’s birthday is also July 31, but in 1966. Both the Creator and Creation born on the same day? Magical indeed!

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3. Link between the two Ds.

The depression which surrounded her after the death of her mother, Rowling based the dementors as a representation of that. Depression as Dementors, ya’all.

deeem

4. You-know-who!

Whoops! We have been pronouncing Voldemort’s name wrong. On Twitter, Rowling divulged that ever since she created the name, she intended the “t” in Voldemort to stay as silent. Well maybe he’s French? Because Vol de mort in French means “flight of death”. I guess it should not matter since we are not supposed to say his name anyway!

volde

5. Nice attempt, Rowling!

J.K Rowling slightly based the 11-year-old Hermione on herself at the same age. She even made Hermione’s patronus her favorite animal, an otter.

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6. Mischief Managed.

Oliver Phelps and James Phelps, the twins known as Fred and George in the stories, gave the audition for the movie just to get an opportunity to skip school. Uncanny similarity between reel and real life, no?

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7. The struggle!

Over the course of the eight movies, makeup artists painted the ever-so-famous scar on Harry’s and the various stunt doubles’ head for about 5800 times. Oh, dear Lord!

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8. Dumbledore and his family.

Cue the tears because Dumbledore’s biggest dreams had to do with his family. In the first book, Dumbledore told Harry that he saw himself holding a pair of thick, woolen socks in the Mirror of Erised. Although Dumbledore did have an obsession with socks, Rowling revealed that the headmaster actually saw something else. She stated in an interview that he saw his family alive and reconciled. Someone pass the tissues, please!

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9. For all who ship Harry and Hermione instead.

J.K Rowling admits occasionally regretting Hermione ending up with Ron. Later in that same interview, she points out that Harry and Hermione would have been better suited. “In some ways, Hermione and Harry are a better fit and I’ll tell you something very strange. When I wrote Hallows, I felt this quite strongly when I had Hermione and Harry together in the tent!”

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10. Aww!

Harry’s parents James and Lily are soulmates because the patronus charm (to ward off Dementors) is a physical representation of one’s soul. Because James’ is a stag and Lily’s is a doe they are a perfect fit together. Now you know, why Lily ended up with James instead of Snape.

lily

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Holding the characteristic of giving full customer convenience, we make our clients to enter the era of booming IT innovations where they can interact with multiple businesses and wide technologies in the most efficient ways.

A literature review on Availability Heuristics

Introduction

The availability heuristic is a type of mental shortcut adopted by humans when making judgments, choices, and decisions. The mental shortcut is usually based on the knowledge that readily comes to minds rather than after examining all the alternatives. This knowledge generally is emerged from perceived stereotypes or past experiences that mark an influence on one’s present or future thoughts. This literature review analyzes this psychological concept through the findings of the experimenters included under the headings of the three empirical articles.

Literature review

McKelvie (1995a) presented the effects of fame on gender and the estimated incidence of male and female names. For the purpose of reaching a conclusion of this, Stuart J. McKelvie from Bishop’s University, Canada conducted a series of experiments. He chose a sample from the list of Canadian undergraduates and in the two experiments that he carried out on them, he made the students hear a list of 13 male names and 13 female names who then had to estimate the number of male names and female names, as per they heard.

The Experiment 1 intended to examine the effect of male-fame stereotypes through lists containing names of either all famous names or all non-famous names. He, therefore, predicted that both men and women would give a higher estimate for male than female names when all names were famous. However, the results of the experiment contradicted this hypothesis when the participants did not give a higher estimate for men’s names than for women’s names. Although, when the names of the gender were called out by classifying them, there were discrepancies in the form of women estimating that there were more men’s than women’s names, this does not justify the typical male-fame stereotype since the effect occurred with famous and non-famous names both and did not happen with men.

On the other hand, Experiment 2 was carried out with lists of famous men and non-famous women or famous women or non-famous men to reexamine the effects of fame on frequency estimates, of own-gender bias and male-fame stereotypes. The purpose of the analysis was to evaluate the major effect of fame of name and unimportant relationships between fame and list and between gender of participant and list. It was predicted that the results of the experiment would indicate that the participants place high numerical value on the gender that was famous, and in fact, the results turned out to be supporting this thesis.

Additionally, the results complement the findings of Experiment 1 over the male-fame stereotypes and own-gender bias by proving the insignificance of these theories in real life, furthermore. Nevertheless, if the results from both of these experiments are to be aggregated, the presence of male-fame stereotypes and own-gender bias might take the form to some extent but confirmed the presence of fame availability in moderate to large amounts.

The second research study of McKelvie (1995b) was carried out to, again, measure the size of the effect of fame on estimated frequency for each famous gender. It was predicted that the people under consideration would place a high numerical value on the estimate of the gender that holds a famous name than that of a non-famous name and that the male-fame stereotype would emerge. The findings of the experiment once again contradicted the opinion of male-fame stereotype. In addition, the results supported the effect of fame availability on the estimated frequency of male and female names and suggested it to be moderate in size.

The research study of Folkes (1988) was done to find the influences of the availability heuristic on consumer’s judgments about the likelihood of the products failing. It suggested that consumers typically reach to the product reliability estimates from a variety of both external and internal resources. The external resources can compromise of the data present on Consumer Reports or given by the salesperson. On the other hand, the internal information can be received by the consumers’ past product experiences, evaluating the number of times the product failed.

Nevertheless, the limitation of using the internal resources is that recalling past experiences gets difficult when the number of usage of products is difficult to estimate. Here, the role of the availability heuristic plays its part. Consumers analyze the likelihood of a product failing based on the experiences of events that strike readily into their minds, and then basing their judgement in favor of the ones that occurred more frequently, whether they indicated the success of a product or the failure of it. Four different studies were carried out to justify this thesis, which used different methodologies and products.

Conclusion

All of the above mentioned scientific experiments found out that the judgments on product performance were biased in ways anticipated by the availability heuristic. However, other information processing biases should also be examined in the process, including the conjunction fallacy and the representative heuristic to make the judgments more effective. These results are in accordance with the fact that was explained in our class when our teacher has recalled the name of two groups. We have perceived that there is more men’s name in the first group and more women’s name in the second group. It was because of the availability heuristic and the reality was the opposite. Our judgement was based on the number of famous names, which is confirmed in the light of these experimental findings.

 

References

McKelvie, S. J. (1995a). Bias in the estimated frequency of names. Perceptual and Motor Skills,

81(3f), 1331-1338.

McKELVIE, S. J. (1995b). Bias in the estimated frequency of names. Perceptual and Motor

Skills, 81(3f), 1331-1338.

Folkes, V. S. (1988). The availability heuristic and perceived risk. Journal of Consumer research,

13-23.

 

 

An assessment of Netflix Australia

Executive Summary

The two most popular services that Netflix provides, which cater the needs of its customers are providing physical DVDs for rent and airing content online, as per the demands of the customers.
Netflix started producing and distributing original content, under the name of Netflix Original. In March 2011, its chief content officer announced another leap in the services being provided at Netflix, by introducing the availability of original content to its subscribers online.
Netflix has innovated throughout the years through online streaming, the creation of original content, which included creation of their original movies and TV shows to be broadcasted by Netflix and merging with many types of companies to help it cut down the competitors. Netflix Australia has secured affordable pricing strategy ever since its launch in the local market, in order to reduce the usage of piracy in the country, which is being done at huge rates in the vicinity. Netflix has adopted the seamless set of strategies and plans of actions which helped it to gain its popularity. Future plans at Netflix Australia are majorly focused on increasing the availability of the original content to its subscribers, which will ultimately help the company experience further reductions in its costs.

 

Introduction

Netflix is an American multinational company, operating across 190 countries which distributes its services to 86 million members through movie theatres, airlines, hotels, and in-home.

Netflix’s mission statement is “…to become the world’s leading Internet subscription service for enjoying movies on TV…”

Their vision statement is engulfed in their core strategy which concludes that the company’s strategy is to grow to become the world’s best entertainment distribution service.

The two most popular services that Netflix provides, which cater the needs of its customers are providing physical DVDs for rent and airing content online, as per the demands of the customers. Both of these types of services come with a respectively unique package offered by Netflix. Although the streaming catalog is not as vast as the physical DVD catalog, the organization is constantly working upon its efficiency, in order to offer a variety of online content to its customers, which include both TV shows and movies. (Marshall, 2013)

Apart from this, Netflix has expanded by introducing video games.  They are available on Nintendo’s Wii, Wii U, the Xbox 360 and Xbox One and the PlayStation 3 and 4. (Given, 2016)

Netflix’s main competitors are Blockbuster and Comcast. Blockbuster secures the majority of the market share (52 percent), Netflix has 13 percent, and Comcast has 3 percent. However, Netflix adds the greatest value to its consumers through indulging in low capital and input costs, and through convenience of streaming video content online. (Kopytoff, 2012)

A brief history

Netflix was founded by Reed Hastings and Marc Randolph in 1997. Both of the CEOs of the company had prior experiences in successfully creating and running websites, and had traits of a technological devotee. Their idea was to create a platform for the audience which would help them buy and rent DVDs from home, instead of going through a hassle of going to a store for that, and especially to reduce the probability of the finding out that the desired type of DVD is out of stock at the store.   (Henshaw, 2012)

Hastings invested an amount of $250 million into the startup of the business, and in this way, launched it in a huge way. (Henshaw, 2012)

Along the years, Netflix has adopted innovative policies that led it towards higher growth and profitability. Especially in January 2016, it announced its expansion into 130 more countries, as a result of which, it is operating into a whole of 190 countries worldwide.

The company started its operations in April, 1998, by employing a workforce of 30 employees and proposed around 900 DVDs to be rented. The website was constructed in a way that it provided synopsis and reviews for every movie being offered for rent, ensuring that the users of it can easily make their decisions based on the information about every particular DVD being provided.

Netflix had to face a minimal number of competitors at its startup, which was a major advantage. To further attract customers, it paired up with Toshiba, Apple and HP, to promote the usage of DVD players in the domestic areas in the US, which was very less in access to them. This helped them gain an array of new customers.

In 1998, the established online retailer, Amazon, started selling DVDs online, thereby, giving a tough competition to Netflix. To overcome this, Netflix stopped selling DVDs online and instead introduced a package to the customers which offered them to rent four DVDs at a time, by making a monthly payment of $15.95. This idea turned out to be successful for them, due to which, Netflix was getting an inflow of above 10,000 orders per day.

Netflix started producing and distributing original content, under the name of ‘Netflix Original’. The first ever content they aired was the famous political drama, House of Cards.

The rise of Netflix

Changing technology

Ever since Netflix came into being in 1997, it has been affected by constant technological changes in its product, services and processes. This has helped it to grow from being just a retailer of DVDs to streaming content online, to finally become an original content producer and distributor.

One major part of the strategies which culminated in attracting interests of its consumers over the years, was adopting and installing new and advanced technology into the business.

It initiated with the concept of renting DVDs through online subscription service. The customers would order the DVDs online, and Netflix used its postal service to deliver those physical goods to the subscriber’s homes.

In 2007, Netflix launched its next step in the process of technological innovation. It introduced ‘Instant Viewing’ for its subscribers, enabling them to choose from a range of movies and TV series, and watch it online. Watching content online become a normally adopted tradition ever since YouTube came into being in 2005, the idea of which, captured the attention of Netflix. Within a year, this service proved to be immensely successful for the company, which then started to focus further into it. Consequently, it increased the amount of content being available by it and made the service available through electronic devices other than laptops and PCs. (Cook, 2014)

In March 2011, its chief content officer announced another leap in the services being provided at Netflix, by introducing the availability of original content to its subscribers online. It released its first originally created TV series, House of Cards, which provided thirteen of its episodes to the Netflix subscribers. This show received positive responses from the audience which helped it secure a major growth in the amount of its subscribers, after which, Netflix released more of the shows. Some popular instances are ‘Orange is the new black’ and ‘Stranger things’. This advancement in technology proved to be profoundly fruitful for the company, which can be evidenced by the fact that the number of streaming subscribers by the end of 2013, the year in which its original content was brought into the market, was 33.4 million. (Billies, 2016)

By constantly embracing technological changes and innovation, Netflix has achieved continuous increment in its popularity and acceptance with the unique approach to entertainment distribution that it follows.

Operating online

One of the major strategies behind Netflix getting ahead of its competitors immediately after it was launched in the market was adapting new technology in its operations. It attacked the market of Blockbuster Video which rented out DVDs and VCRs at retail stores by introducing the idea of renting these out to customers online. Customers saw themselves attracted to this strategy of Netflix, which saved them a visit to the retail store every time they needed to rent out a DVD for themselves.  Also, it started out well by proving a well-engineered delivery system to the customers.

Then came along the introduction of video streaming online. This new feature enabled the subscribers at Netflix to stream movies and TV shows in their smartphones and tablets, which ultimately came into handy ever since the usage of DVD players started to get less popular with the people.

In 2011, Netflix raised prices for the package being provided for renting out DVDs and Internet-streaming, owing to its greater influx of costs coming in due to the weak bargaining position Netflix has with the owners of digital videos. These higher costs were reflected in its financial statements for the year. However, Netflix kept up with its efforts to succeed in the online streaming market, and started creating original content. And this strategy has been paying off since its introduction with the popular show, House of Cards. Netflix’s first quarter results were much better than expected. Its stock soared 24% in after-hours trading to $215.40 — on April 22, it announced that it had gained two million new U.S. customers in the first three months of 2013 — reaching 29.2 million — which was 200,000 more than the average of seven estimates compiled by Bloomberg.

Moreover, the company constantly invests on improving their media infrastructure and user interface for the online website.  While there is significant work on the front end user-interface as well as the content creation and partnerships that are evident to the user, there is an enormous amount of work on the back-end that is done to provide a unified and refining experience for users.  For example, to provide customized suggestions to its users, Netflix accurately categorizes and tags each show or movie on its platform.  It has established over 75,000 unique micro-genres to classify its content library.

Pricing Strategies

Before Netflix officially launched in Australia in March 2015, it was estimated that over 200,000 Australians have been accessing the USA version using VPN to hide their IP address.

Ever since the launch of it in Australia, Netflix has become an essential part of the Australian streaming landscape, with an affordable asking price and huge amount of local and international content. New subscribers at Netflix Australia are offered free usage for a month. After that, provided that they are willing to continue, service plans start at $8.99 for a single standard definition stream. (Idato, 2015)

There are no contracts with Netflix which enables the subscribers to cancel the service at any time, but the credit card that was used to sign-up will automatically be charged for the service for every month.

There are three plans offered by Netflix that the customers can opt from; Basic, Standard and Premium. The one being picked will depend on the types of features desired by the subscribers with their Netflix subscription. (Idato, 2015)

According to the RBC survey, even $1 rising price may result in backlash, since 17% of customers answered that they are extremely or very likely to cancel Netflix if the price is increased even $1 (Spangler, 2013). Therefore, Netflix Australia is less keen towards decreasing prices furthermore.

According to the CFO at Netflix David Wells, a country’s piracy rate is a significant factor when determining the pricing model for new markets. In Australia, pricing for the service starts at $8.99 a month for a basic package, while when converted to AUD, Netflix starts at $10.25 in the USA and $11.50 in the UK. The prices at Australia are relatively lower, due to the competition Netflix faces there from piracy. Australia has the highest rates of piracy per capita than in the whole world, so for Netflix, that serves as a big concern. Therefore, among the factors that play a part in the rise of the usage of Netflix in Australia, is the fact that the subscription rates are set at affordable rates in the country. (Stone, 2015)

Netflix’s Innovations

Netflix was able to revolutionize the video market by involving itself into disruptive innovation, which is termed as the specific way that the smaller companies can outcompete and eventually, destroy their bigger rivals. This term was first coined by American scholar, educator and business consultant, Clayton M. Christensen, in 1995. (Berry, 2006)

In its start, Netflix launched a mail-in subscription service in the late 1990s, and did not intend to enter the saturated market majorly cover by Blockbuster during the 1980s and 1990s.

However, this fact changed when they introduced online video streaming. This strategy helped them to successfully snatch the market from Blockbuster.

“Netflix was able to appeal to Blockbuster’s core audience by providing, a wider selection of content with an all-you-can-watch, on demand, low-price, high-quality, highly convenient approach,” as Business Insider Australia puts it and continues: “And just like that, Blockbuster collapsed.”

The third way in which Netflix innovated throughout the years is through the creation of original content, which included creation of their original movies and TV shows to be broadcasted by Netflix. (Mui, 2011)

Netflix captures the market in Australia due the ability of it being able to run on almost every platform. It runs on more than 1000 different devices and device set-ups. Some examples are Blu-ray Disc players, PCs, mobile phones, tablet computers, HDTV receivers, home-theatre systems, set-top boxes. (Cohan, 2013)

Along the years, the CEO, Reed Hastings of Netflix, has proven himself to be one of the most innovative entrepreneurs in the world.

Will Netflix remain the dominate provider of online video streaming?

Netflix’s Strategy

Netflix was launched in Australia on the 24th of March, 2015. The business strategy being followed by Netflix has been a hit since a large proportion of the international members is secured by Australia and New Zealand, resulting in larger profits for the company. (Sadq, 2015)

The business strategy that it follows is to pursue market penetration strategy providing by excellent service and prices to its customers at Australia. This strategy has been the major cause behind the growing popularity of Netflix at Australia over the time. (Doughty, 2013)

In order to maintain competitive advantage over its competitors, it focuses on creating its own content. Creating original content takes in relatively less cost from Netflix, which serves as an advantage. Therefore, Netflix has decided on a long-term goal of ensuring that nearly 50% of the content streamed at Netflix is original. This may reduce the number of licensed popular shows being provided at the company, but there is a high probability of this strategy attracting users to its high-quality original shows. The company has been spending a substantial portion of its budget on the creation and distribution of its original content. Netflix has decided to expend nearly $6 billion on is original content in 2017, which ranks it second to ESPN which invested $ 7.6 billion on creating and airing its content in 2016.

Moreover, Netflix has adopted the strategy of creating more partnerships to provide perfect hardware platform for its subscribers. It has partnered with leading studios, publishers, and production companies to boost its content library.

Netflix’s Performance

The competition between Netflix and other online movie providers are high because there are already a numbers of competitor in Australia such as, Presto, BigPond Movie, Google Play, Quickflix, Mubi and many more. In spite of the huge competition it faces at Australia from these companies and piracy, Netflix has been able to secure a high market share over the years. (Cusack, 2016)

Following its local launch, only one month later, Netflix started to enjoy the stream of a million subscribers in 408,000 households around the nation. Till June 2015, this figure dramatically rose to 1.42 million subscribers in 559,000 homes.

It has gained a huge fan following as many of its followers see it as a better replacement to TV. Subscription-based video on demand leads to consumer sovereignty, enabling them to watch what they want and whenever they want.

Moreover, low and affordable price that Netflix charges from its Australian subscribers has helped it to attract customers towards its platform. Also, there are advantages to the subscribers of having to face no ads at all, and a month’s free service for new subscribers.

The secret to Netflix’s success seems to be its strong command over the airing of original content such as Marco Polo, Stranger Things and the line of Marvel hits like Luke Cage. The first reason is that these shows are immensely popular around the world, and the second advantage to the subscribers is that these shows are made available at the same day globally by Netflix, as it owns its international rights.

Netflix’s Future

The future at Netflix Australia seems to be brighter than before as they have decided on expanding their international subscribers following the global launches this year.

In January 2016, Netflix expanded its operations globally, and started providing online streaming for a whole 190 countries worldwide.

The added competition in international markets could affect Netflix’s subscriber growth trajectory, pricing and content strategy.

Pachter expects Netflix “will likely draw the majority of new subscribers for now, given that it has thousands of programs, including many originals and exclusives, as well as non-exclusives, compared to Amazon’s hundreds of programs,” but predicts that “Netflix’s international growth will slow.” His model assumes 2017 international subscriber additions of 12 million compared to nearly 13 million in 2016, but he sees a downside risk of roughly 1 million, or $50 million to $80 million in revenue., negatively impacting Netflix,” says Wedbush Securities analyst Michael Pachter. (Healey, 2015)

Also, recent deals like Netflix’s cooperation with Liberty Global, where Netflix will integrate with set-top-boxes, indicates how the company is taking a more cooperative rather than disruptive path on the international stage.

Pacific Crest has a view that with Netflix’s international expansion and its data advantage over its linear TV competitors will continue to increase by great amounts. They imagine a future overflow of international data, which will favor Netflix into building itself into an increasingly efficient and effective content machine, that will hitch many of the benefits of a market, the analysts view as owning “winner-take-all” characteristics. (Scott Roxborough, 2016)

Conclusion

Netflix is already poised as an industry leader, and will continue to do so in the emergence of a complete streaming space.

Netflix Australia has succeeded in winning the hearts of its subscribers ever since its launch in the country due to the quality services it provides at affordable subscription prices. However, in order to stay ahead of its competitors, Netflix should adopt the perfect set of strategies and plans for the future.

At its launch, Netflix’s US library was six times greater the size of Australia’s, boasting over 7200 titles, while the Australian one featured 1120.

Even in the present, that title gap is not much better, and has only improved because Netflix in the US has browsed some unwatched titles. At February 2016, Netflix Australia had just over 2000 titles, while in the US it featured a little under 5800. Anyhow, this is a difference of almost 4000. Therefore, Netflix still needs to work on eliminating this huge gap.

References

Barr, T. (2015). Whither Netflix? Australian Journal of Telecommunications and the Digital Technology .

Berry, L. L. (2006). Creating New Markets Through Service Innovation.

Billies, R. (2016). Netflix: How to Watch Everything Everywhere.

Cohan, P. (2013, April 23). How Netflix Reinvented Itself. Retrieved from Forbes: http://www.forbes.com/sites/petercohan/2013/04/23/how-netflix-reinvented-itself/#22102b0c74ea

Cook, C. I. (2014). Netflix: A Stepping Stone in the Evolution of Television.

Cusack, C. (2016, June 12). Netflix Review. Retrieved from Comparetv: https://www.comparetv.com.au/review/providers/netflix-australia-review/

Doughty, M. (2013). Strategic Management and Organizational Culture: How Netflix Survived Disaster .

Given, J. (2016). “There Will Still Be Television but I Don’t Know What It Will Be Called!”: Narrating the End of Television in Australia and New Zealand . 109-122.

Healey, N. (2015, January 14). Netflix Australia: What we know. Retrieved from Cnet: https://www.cnet.com/au/news/netflix-australia-what-we-know/

Henshaw, A. (2012, January 25). Netflix company history. Retrieved from eHow: http://www.ehow.com/facts_5489980_netflix-company-history.html

Idato, M. (2015, March 23). Netflix Australian launch: Subscription prices reveal plans to undercut rivals Stan, Presto. Retrieved from The Sydney Morning Herald: http://www.smh.com.au/entertainment/tv-and-radio/netflix-australian-launch-subscription-prices-reveal-plans-to-undercut-rivals-stan-presto-20150322-1m576r.html

Kopytoff, V. G. (2012, January 25). Shifting online: Netflix faces new competition. Retrieved from The New York Times: http://www.nytimes.com/2010/09/27/technology/27netflix.html

Marshall, P. D. (2013). Netflix Australia launch could be imminent,. The Conversation.

Morsillo, R., & Barr, T. (2013). Innovation or disruption? The National Broadband Network comes to Australian TV. International Journal of Digital Television, 239-260.

Mui, C. (2011, March 17). Retrieved from Forbes: http://www.forbes.com/sites/chunkamui/2011/03/17/how-netflix-innovates-and-wins/#4af725c9b69a

Perlgut, D. (2011). Digital Inclusion in the Broadband World: Challenges for Australia. Sydney.

Sadq, Z. M. (2015). Analysising Netflix‟s Strategy .

Scott Roxborough, G. S. (2016, December 28). Why 2017 Will Be Crunch Year for the Global Ambitions of Netflix and Amazon. Retrieved from The Hollywood Reporter: http://www.hollywoodreporter.com/news/2017-will-be-crunch-year-global-ambitions-netflix-amazon-958783

Silver, J. (2013). Netflix : a house of cards or the new HBO?

Stone, M. (2015, April 20). Netflix Sets Its Prices According To Local Piracy Rates. Retrieved from Gizmodo: http://www.gizmodo.com.au/2015/04/netflix-sets-its-prices-according-to-local-piracy-rates/

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This is the post excerpt.

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