{"id":9932,"date":"2010-11-23T16:36:56","date_gmt":"2010-11-23T16:36:56","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=9932"},"modified":"2010-11-23T16:36:56","modified_gmt":"2010-11-23T16:36:56","slug":"netflix-guilt","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2010\/11\/23\/netflix-guilt\/","title":{"rendered":"Netflix Guilt"},"content":{"rendered":"
One of the paradoxes of how we record and watch films in the modern era is the stack of unwatched material that gradually builds up over time.<\/p>\n Over the last decade, as home audiences replaced their videos with DVDs, a revolution gradually happened as the rise in\u00a0online rental services (Netflix<\/a> in the US and LoveFilm<\/a> in the UK) and PVR<\/a>s meant that audiences could timeshift their viewing.<\/p>\n Online DVD rentals are paid for by a monthly subscription fee, so there are no deadlines to return the discs, and with a PVR you can record plenty of films for later viewing.<\/p>\n But what happens when it comes to actually watching these films you have rented or stored?<\/p>\n Back in 2006, an article in Newsweek by Brad Stone titled Netflix Guilt<\/a> articulated this modern\u00a0dilemma.<\/p>\n Stone used an unwatched copy of City of God<\/a> to make his basic point:<\/p>\n I had “City of God” in my possession for 11 months, during which I paid $18 a month for a three-DVD-at-a-time Netflix subscription.<\/p>\n Finally, I returned the movie in defeat while delusionally re-adding it to the end of my queue. By that time, my wife and I were talking about a dangerous new force in our lives: Netflix guilt.<\/p><\/blockquote>\n Since 2006, the problem has accelerated with movies on iTunes<\/a>, larger PVRs and faster connection speeds to deliver them to homes.<\/p>\n The basic issue seems to lie in the enormous choice of films and how it is much easier to select what you want.<\/p>\n Or, to be more accurate, what you think <\/em>you want.<\/p>\n It is still hard for an individual to actually select something that hits their particular tastes.<\/p>\n In other words, what we think we want to see, isn’t actually what we want to see, as this cartoon<\/a> points out:<\/p>\n But it isn’t merely a case of mainstream versus\u00a0art house: often mainstream films that look promising turn out to be awful and more independent fare is gripping.<\/p>\n Leaving aside old favourites, this means that the central problem still remains: how can we accurately select films we want to watch?<\/p>\n It is clearly a pressing question for companies like Netflix, which is why they offered $1 million to anyone who could come up with an algorithm<\/a> to solve it.<\/p>\n<\/a><\/p>\n
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