Around 2009, Amazon quietly entered the private label business by offering a handful of items under a new brand called AmazonBasics. Early offerings were the kinds of unglamorous products that consumers typically bought at their local hardware store: power cords and cables for electronics and, in particular, batteries — with prices roughly 30 percent lower than that of national brands like Energizer and Duracell.
In 2012, Amazon announced the launch of Vine.com for buying green products, including groceries, household items, and apparel. It is part of Quidsi, the company that Amazon bought in 2010 that also runs the sites Diapers.com (baby), Wag.com (pets), and YoYo.com (toys). Amazon also owns other e-commerce sites like Shopbop.com, Woot.com, and Zappos.com.
To find out which retailers have lost spending to Amazon, we asked respondents if they now spend more of their apparel budget on Amazon than they did about three years ago (this includes if they started shopping for apparel on Amazon in that time). We then asked those shoppers who had increased their apparel spending on Amazon which retailers they had switched some or all of their spending from.
Society is perhaps what you would have ended up with in the earlier ’80s if David Cronenberg had a more robust sense of humor. Rather, this bizarre deconstruction of Reagan-era yuppiehood came from Brian Yuzna, well-known to horror fans for his partnership with Stuart Gordon, which produced the likes of Re-Animator and From Beyond…and eventually Honey, I Shrunk the Kids, believe it or not. Society is a weird film on every level, a feverish descent into what may or may not be paranoia when a popular high school guy begins questioning whether his family members (and indeed, the entire town) are involved in some sinister, sexual, exceedingly icky business. Plot takes a backseat to dark comedy and a creepily foreboding sense that we’re building to a revelatory conclusion, which absolutely does not disappoint. The effects work, suffice it to say, produces some of the most batshit crazy visuals in the history of film—there are disgusting sights here that you won’t see anywhere else, outside of perhaps an early Peter Jackson movie, a la Dead Alive. But Society’s ambitions are considerably grander than that Jackson’s gross-out classic: It takes aim at its own title and the tendency of insular communities to prey upon the outside world to create social satire of the highest (and grossest) order. —Jim Vorel
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Demon’s action unfolds around the wedding of Piotr (Itay Tiran in an incredible leading performance) and Zaneta (Agnieszka Zulewska), young, beautiful and madly in love despite a short relationship capped by an even shorter engagement. The brevity of their union concerns her dad (Andrzej Grabowski), but he does his best to warm up to Piotr despite his reservations. He gifts the couple with family property, an old farmhouse, too, though here “gift” is perhaps a term used loosely. Piotr flies to Poland from England to wed Zaneta, settle down, and gussy up the house and the land it rests upon, and so their troubles begin: with a skeleton Piotr uncovers while mucking around with an excavator. Horror snobs may feel inclined to evict Demon from the genre for its absence of scares. Marcin Wrona doesn’t hide in cabinets and jump out at us while screaming “boo” and flailing his arms. He includes no unearned jump beats, nothing to startle us the way that horror cinema has taught us to anticipate throughout its annals. What he pulls off instead is a good deal trickier, thanks in large part to expectation and custom. Demon gets under the skin, distorting perception while corrupting bliss at the same time, and even with a plate that full the film finds room for pitch black humor and a slice of nationalism: Toward the narrative’s climax, one wedding guest, totally blotto, rants aloud about the good old days, when everyone was Polish and no one freaked out when strangers talked to ghosts. —Andy Crump
In July 2010, Amazon announced that e-book sales for its Kindle reader outnumbered sales of hardcover books for the first time ever during the second quarter of 2010. Amazon claims that, during that period, 143 e-books were sold for every 100 hardcover books, including hardcovers for which there is no digital edition; and during late June and early July, sales rose to 180 digital books for every 100 hardcovers.
For handmade-craft platform Etsy (NASDAQ:ETSY), Amazon presented an existential threat. Etsy went public in April 2015 at $16: shares closed the first day at $30, up 88%. From there, the stock simply fell apart. By the time Amazon launched Amazon Handmade in October, ETSY traded below its IPO price; it would close 2015 just above $8. Investors wanted no part of a money-losing business facing Amazon’s unlimited resources.
Even considering that the teams launching private-label brands at Amazon have unrestricted access to programs like Vine reviews, they are still “paying” for these perks. The Vine review program is not a fully automated process that runs in the background. It requires technical and human resources to manage thousands of Vine reviewers and product review requests from vendors. Amazon is matching reviewers with samples and shipping the samples out, managing customer service, and maintaining the infrastructure of the program. You can bet that there are heated internal battles for Vine review program privileges on new product launches, even if the internal team is not personally dropping hundreds or thousands of dollars on the activity like brands have to do.
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On the surface, the move into the private label business (in which goods are sold under the retailer’s name rather than that of an outside vendor) appears to be a deft move by Amazon. Analysts predict that nearly half of all online shopping in the United States will be conducted on Amazon’s platform in the next couple of years. That creates a massive opportunity for Amazon to more than double revenue from its in-house brands to $25 billion in the next four years, according to analysts at SunTrust Robinson Humphrey. That’s the equivalent of all of Macy’s revenue last year.
It’s not difficult to imagine a different cut of Anna Rose Holmer’s The Fits that hews closer to the arc of a traditional sports story. Hers has the makings of a familiar one, of a misfit who wants more than anything to compete—but unlike most stories of inspirational audacity, The Fits is as much about discomfort as the catharsis that comes with achievement. In it, Toni (Royalty Hightower) is an 11-year-old who has more experience with stereotypically male pursuits like lifting weights and punching speed bags than the usual interests of a pre-teen girl. She spends nearly all of her time at the Lincoln Recreation Center alongside her boxer brother, Jermaine (Da’Sean Minor), pushing her body to the limit. While she shows a remarkable aptitude for the ascetical devotion required for boxing, she still dreams about competing on the dance team, “The Lincoln Lionesses.” Framed with a rigid sense of space by cinematographer Paul Yee, and backed by the groaning score from veteran composers Danny Bensi and Saunder Jurriaans, The Fits is infused with such dread that one can’t help but imagine that characters’ muscles and bones could break or shatter at any moment. The film’s most explicit example of which may be Toni pulling off a temporary tattoo, but The Fits is firmly a story of metaphysical body horror, an allegory about our greatest fears of physical fragility shot brilliantly through a feminist lens. With that, the film manages to reinvent the sports story as something both brainy and physically pure. —Michael Snydel
Indeed, Amazon casts a long shadow over a number of industries. Grocery stocks plunged when the company acquired Whole Foods Market last year. Walgreens (NASDAQ:WBA) and CVS Health (NYSE:CVS) fell when the company acquired PillPack this summer, and an eventual entry by Amazon into the pharmacy space still hangs over the sector. The 2016 launch of Amazon Prints sent Shutterfly (NASDAQ:SFLY) down 12%.
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In January 2013, Amazon launched AutoRip, a digital music service. The service allows customers to receive a free MP3 copy of select CDs purchased through Amazon. Amazon announced in September 2013 that it would launch Kindle MatchBook in October 2013, a similar service for books allowing customers who buy books from Amazon to acquire an e-book copy for free, or at a discounted price of US$3 or less. MatchBook was launched on the company's site on October 29, 2013.