Questões

Read Text | and answer questions 05 to 13.

Netflix is trying to prove to the world that it's all grown up

Netflix is trying to persuade Wall Street that it is now all grown up. After squeezing out millions of additional subscribers via its password sharing crackdown and through the introduction of cheaper advertiser-supported plans, the streamer knows that its growth spurts are coming to an end — and now it wants investors to stop obsessing over those pesky membership numbers and instead focus on other metrics.

"In our early days, when we had little revenue or profit, membership growth was a strong indicator of our future potential. But now we're generating very substantial profit and free cash flow. We are also developing new revenue streams like advertising and our extra member feature, so memberships are just one component of our growth", Netflix told shareholders as it reported quarterly earnings.

To that end, Netflix said that it will no longer report quarterly subscriber numbers, starting in 2025. Alas, the metric that Wall Street has forever judged Netflix on — the metric that prompted legacy media companies to burn endless piles of cash in their bids to compete with the streamer — will be retired. The decision to shut off transparency on the metric represents a significant turning point in the streaming revolution. For years, Netflix has prided itself on being extraordinarily transparent. Now it is aiming to hold its cards closer to its chest. And given that streaming giant is the trendsetter in the space, one could expect that other media companies will be inspired by the company's move and also opt to cease reporting such data.

To be fair, what Netflix is saying isn't necessarily off base either. As the company shifts its business model away from subscriptions and toward advertising and other revenue streams, it makes sense to consider how much time users are spending on the service. The more content a user consumes on Netflix, the more likely they are to continue paying for the service, and the more money Netflix then makes from that single subscriber. "We're focused on revenue and operating margin as our primary financial metrics — and engagement (i.e. time spent) as our best proxy for customer satisfaction,” Netflix underscored in its letter to shareholders.

Regardless, less transparency in an already opaque industry is not ideal. The walled garden of streaming already lacks the same detailed viewership data that Nielsen collects on linear television broadcasters. Now, visibility into the streaming world will get even dimmer.

The announcement from Netflix managed to overshadow its otherwise stellar quarter. The company handily beat expectations and added a staggering 9.3 million subscribers, meaning it now boasts nearly 270 million in total. Netflix also beat analyst expectations on both earnings and revenue. However, it wasn't all good news. Netflix forecasted its subscriber growth to be lower in quarter two, chalking it up to “typical seasonality.” That led the stock to slide nearly 5% in after-hours trading.

Whether "typical seasonality” is solely to blame, or whether the streamer is simply starting to hit a ceiling, is hard to tell. Perhaps it is a mix of both. Whatever the cause, the stock sliding on the less-than-ideal outlook is a prime example of why Netflix wants Wall Street to stop focusing on its subscriber numbers. And, in one year's time, investors won't have a choice.

Adapted from: https://edition.cnn.com/2024/04/19/media/netflix-subscription-numbers/index.html

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Environmental law in Brazil

      BRAZIL’S gridlocked Congress often ends up passing contentious laws only after the combatants collapse in exhaustion. So it is with the revision of the Forest Code, a set of rules that, ...A... the name, apply to all privately owned rural land, not just plots in wooded areas. The code, originally approved in 1965, requires owners to keep native vegetation on parts of their land − 80% in the Amazon, less elsewhere − and in erosion-prone and biodiverse areas such as riverbanks and mangrove swamps. But it was long ignored.

      Since harsher penalties and enforcement were introduced in the late 1990s the ruralistas, as Brazil’s powerful farming lobby is known, have been trying to revise the code. On April 25th, after 13 years of arguments, rewrites and stalling, the final text landed on the desk of the president, Dilma Rousseff. It was far from the version she wanted. Two government defeats in the ruralista-packed lower house meant it contained few of her own previous revisions or those of the more green-friendly Senate.

      The president faced a difficult choice: to scrap the text and start again − which would probably be taken as a declaration of war by the ruralistas − or to make the best of a bad job. She chose the latter. On May 25th ministers went to Congress to say that the president would veto 12 of the new code’s 84 articles and make 32 smaller cuts. The resulting holes would be backfilled in a separate executive decree. Only on May 28th were the details published.

       Under Ms Rousseff’s veto, the amnesty sought by ruralistas will apply only to smallholders, who will still have to replant 20% of their plots. Everyone else will have five years to right past wrongs and add their properties to a new Rural Environmental Register. Holdouts will be denied bank loans and face prosecution.

      Rubens Ricupero, one of ten former environment ministers consulted by the president before the veto, praises her attempt to strike a balance. Treating small landowners more leniently was both practical, he thinks − they account for 90% of rural properties by number but just 24% by area − and socially just: few could afford much replanting.

(Adapted from http://www.economist.com/node/21556245?zid=305&ah=417bd5664dc76da5d98af4f7a640fd8a) 

Text 19A4-I 

        It is a universal fact that cinema is a visual medium. Films have the power to overwhelm our senses as well as our minds, subjecting us to a variety of experiences that can range from the sublime to the devastating. Colours play a crucial role in this interesting phenomenon, forming an integral part of the composition of each frame and dictating how the viewer perceives the spectacle on the screen. Apart from the cinematic medium, colours have always been a part of our experience and how we make sense of the vastly nuanced world around us. Although science has definitively explained what colours are in terms of light, they have always mystified artists and philosophers like Arthur Schopenhauer and Ludwig Wittgenstein, who tried to understand their importance in anthropological frameworks. 

        More notably, the famous German poet and artist Johann Wolfgang von Goethe published a seminal exploration of colours in his 1810 work Theory of Colours. In it, he examined how each colour corresponds to various psychological states in the minds of human beings. He wrote, “Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour… Colour itself is a degree of darkness.” Goethe’s theories might seem baselessly romantic in the 21st century but the underlying ideas have been implemented by filmmakers and cinematographers to curate the voyeuristic experiences of their audiences. Famed cinematographer Vittorio Storaro has based his artistic vision on Goethe’s work, insisting that colours do have a direct connection to the mind of the viewer. 

Internet: <https://faroutmagazine.co.uk> (adapted).

                       Domestic violence victims denied justice: state of Roraima

                                    fails to investigate, prosecute abusers

      June 21, 2017

      The authorities in the Brazilian state of Roraima are failing to investigate or prosecute domestic violence cases, leaving women at further risk of abuse, Human Rights Watch said in a report released today. The serious problems in Roraima, the state with the highest rate of killings of women in Brazil, reflect nationwide failures to provide victims of domestic violence with access to justice and protection.

      Killings of women rose 139 percent from 2010 to 2015 in Roraima, reaching 11.4 homicides per 100,000 women that year, the latest for which there is data available. The national average is 4.4 killings per 100,000 women—already one of the highest in the world. Studies in Brazil and worldwide estimate that a large percentage of women who suffer violent deaths are killed by partners or former partners.

      Only a quarter of women who suffer violence in Brazil report it, according to a February 2017 survey that does not provide state-by-state data. Human Rights Watch found in Roraima that when women do call police they face considerable barriers to having their cases heard. Military police told Human Rights Watch that, for lack of personnel, they do not respond to all emergency calls from women who say they are experiencing domestic violence. Other women are turned away at police stations. Some civil police officers in Boa Vista, the state´s capital, decline to register domestic violence complaints or to request protection orders. Instead, they direct victims to the single “women’s police station” in the state – which specializes in crimes against women – even at times when that station is closed. Even when police receive their complaints, women must tell their story of abuse, including sexual abuse, in open reception areas, as there are no private rooms to take statements in any police station in the state.

      Not a single civil police officer in Roraima receives training in how to handle domestic violence cases. Some police officers, when receiving women seeking protection orders, take statements so carelessly that judges lack the basic information they need to decide whether to issue the order. Civil police are unable to keep up with the volume of complaints they do receive. In Boa Vista, the police have failed to do investigative work on a backlog of 8,400 domestic violence complaints.

(Human Rights Watch. www.hrw.org/news/2017/06/21/ brazil-domestic-violence-victims-denied-justice. Adaptado)