Seems like for Prime membership, you should have access to more titles than are available. Often I get blurred/ pixelated video for several minutes, with great internet speed. For those reasons I often find myself using another service where I don’t have those issues. However, on iPad, I do like the ability to easily backup or move forward 10 secs at a time. Quickly click 3 times on the left side of the screen and it goes back 30 secs. 6 times, it jumps back a minute. Awesome feature. I also enjoy the commentary/trivia notes about the show during filming or background on the choices made... these include actors, continuity issues, places, etc. The notes are tied to the associated frames when you tap the screen while playing OR you can view the list of notes and click to jump to that section in the movie.
A.: The short answer is "no," but the longer answer depends on what you're looking for in a service. If you want the free two-day shipping and the free Kindle book, Amazon Prime's streaming video is a nice bonus. The unlimited streaming options are generally not as robust as those offered by Netflix and Hulu, but the cheaper price and extra Prime features may make it worthwhile for Amazon fans — particularly those who own Kindle Fires or Fire TVs.
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For Amazon, those word searches by consumers allow it to put its private-label products in front of the consumer and make sure they appear quickly. In addition, Amazon has the emails of the consumers who performed searches on its site and can email them directly or use pop-up ads on other websites to direct those consumers back to Amazon’s marketplace.
In April 2015, Amazon rolled out a new travel site called Amazon Destinations, which focuses on helping customers find "getaway destinations" within driving distance of their homes. Amazon Destinations featured hotel selections in three United States metro areas: L.A., New York and Seattle. Later that year, Amazon discontinued the service.
Like Me is an indictment of a life spent “extremely” online: a thriller in which the thrill is the threat of empty transgression; a body horror flick in which the body horror is the way social media and Tumblr and Reddit and YouTube transform us, make us grotesque, perverting basic physical functions into scary, dysmorphic representations of the flesh sacks we carry around with us whenever we’re not online. Early in the film, writer-director Robert Mockler introduces us to the online world of our main character, Kiya (Addison Timlin, terrifying), via a disturbing barrage of hyperreal, gif-like images—close-ups of sugary cereal and milk chewed sloppily, of a viscous tongue mid-slurp, of Kiya doing weird kinesthetics in a dirty motel room while the camera capsizes and arises around her, this Manic Pixie Dream Girl who embodies each of those words as literally as possible. Though Mockler implies that these are all curated posts Kiya’s put online, we believe that this is how she sees the world. Aided by some seriously heady opioids and hallucinogens, she can’t help but digest her lived experiences without mitigating them digitally. As Kiya moves through Mockler’s pink-ish, neon dystopia, DP James Siewert shooting Timlin as if she’s stranded in the middle of a Michael Mann joint, everything seems on the table. Kiya lures a motel manager, Marshall (Larry Fessenden, better than excellent), to her room—another room, another motel, somewhere on this stupid planet—with the possibility of sex. Instead, he finds Kiya’s redecorated her room like an outtake from The Cell, testing the lonely guy’s willingness to go along with whatever insanity’s in store. Of course, some icky gastrointestinal calamity occurs, but Marshall never flinches, so Kiya kidnaps him and takes him with her. Gorgeous and gross in equal measure, Like Me is a visual feast. Mockler conjures setpieces out of practically nothing, crafting each frame with a meticulous symmetry that belies the chaos at the heart of Kiya’s impulsive odyssey. —Dom Sinacola
“I think, effectively, you have a company that has conspired with about a billion consumers and technology to destroy brands,” argued Scott Galloway, a founder of business research firm now called Gartner L2 and a professor of marketing at New York University Stern School of Business, in a presentation last year. “Their attitude is that brands have, for a long time, earned an unearned price premium that screws consumers.”
Imperiled families are popular forms of community in documentaries this year—on the more heartwarming side is Abacus: Small Enough to Jail, the deceptively straightforward new film from Hoop Dreams director Steve James. In it, James details the ordeal of the Sungs, who ran the only bank to face federal prosecution in the aftermath of the 2008 financial collapse. What’s even more surprising is that their bank, Abacus Federal Savings, was a tiny, local institution catering to New York City’s Chinatown residents—hardly one of the massive financial corporations that helped crater the world economy. There is a happy ending to Abacus’s legal nightmare, however, but James uses the court case as a means to explore the Sung family, particularly patriarch Thomas Sung, who even in his late 70s still elicits a strong hold over his adult daughters, who help run the bank with him while jockeying to curry his favor. Abacus is a family portrait mixed with current events, and if it’s less ambitious than Hoop Dreams that doesn’t diminish the warmth and subtlety James brings to this look at an anxious, close-knit clan who rally around one another once the government goes after them. —Tim Grierson
Customers are given a time window of four hours for the package to be delivered. Once the courier opens the door, the Cloud Cam records a clip until the door is locked, which is sent to the customer's smartphone. Participants in the service can also use the Amazon Key companion app for iOS and Android to lock and unlock the door, monitor the camera, and issue virtual keys.
In October 2017, Amazon.com added an option for Prime members to get in-home deliveries by its Amazon Flex contractors, who gain entry using a one-time code. The service, Amazon Key, became available for customers in the residing in 37 United States metro areas in April 2018. As of 2018 the service required a Kwikset or Yale smart lock and a special version of Amazon's Cloud Cam security camera.
Those risks led GWW stock to essentially stall out starting in 2013. And they came home to roost last year. Disappointing earnings — particularly, falling margins — seemed to signal that pressure from Amazon was a real problem. By September, GWW traded at its lowest levels in almost six years. Grainger seemed destined to be another dominant business undone by a nimbler online competitor.
That strategy has led to negative cash flow, which management admitted on the Q3 conference call would last for some time to come. And the lukewarm reaction to the Q3 numbers suggests investors may be questioning valuation, even with NFLX off 18% from June highs. All that said, Netflix is on the path to become the world’s new dominant content distributor. And — though it’s cost billions — it appears to have such a lead that even Amazon Prime Video won’t be able to catch up. Investors may be willing to again pay up for that story once market volatility subsides.
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Jeff Bezos' cash cow has certainly become a staple of the online marketplace. Amazon's (AMZN) market cap is currently around $1 trillion - one of the highest among the FANG giants (which include Netflix (NFLX) , Alphabet (GOOG) and Facebook (FB) ). And with over 100 million Amazon Prime members around the world, it seems as though Prime is showing no signs of stopping its global takeover. In fact, according to Bloomberg this week, the average Amazon Prime member spends over $1,400 per year.
Social commerce is heating up as Instagram launches Shopping tags in Stories and a dedicated Shopping channel in Explore, while Pinterest opens up Shop the Look pins and hits 250 million monthly users. The feature should mesh well with Snap’s young and culture-obsessed audience. In the U.S., its users are 20 percent more likely to have made a mobile purchase than non-users, and 60 percent more likely to make impulse purchases according to studies by Murphy Research and GfK.
Turn on 1-Click. Click the "Turn 1-Click on" button on the right side of the page. This will toggle the 1-Click settings for your account. You can now click the "1-Click Order" button on most items (including all digital items including all Amazon Kindle books and Kindle apps, etc, as well as Amazon Video (formerly called both Amazon Instant Video and Amazon Video-on-Demand)) to have them instantly ordered and shipped. You will have 30 minutes to cancel erroneous orders.
There need not be a documentary about the Syrian catastrophe to rally the world around its cause—just as, in Matthew Heineman’s previous film, Cartel Land, there was no need to vilify the world of Mexican cartels or the DEA or the paramilitaristic nationalists patrolling our Southern borders to confirm that murder and drug trafficking are bad. The threats are known and the stakes understood, at least conceptually. And yet, by offering dedicated, deeply intimate portraits of the people caught up in these crises, Heineman complicates them beyond all repair, placing himself in undoubtedly death-defying situations to offer a perspective whose only bias is instinctual. So it is with City of Ghosts, in which he follows members of Raqqa is Being Slaughtered Silently, a group committed to using citizen-based journalism to expose the otherwise covered-up atrocities committed by ISIS and the Assad regime in Syria. In hiding, in Turkey and Germany and at an event for journalists in the U.S.—in exile—these men, who Heineman characterizes as a very young and even more reluctant resistance, tell of both the increasingly sophisticated multimedia methods of ISIS and their hopes for feeling safe enough to settle and start a family with equal trepidation about what they’ve conditioned themselves to never believe: That perhaps they’ll never be safe. Heineman could have easily bore witness to the atrocities himself, watching these men as they watch, over and over, videos of their loved ones executed by ISIS, a piquant punishment for their crimes of resistance. There is much to be said about the responsibility of seeing in our world today, after all. Instead, while City of Ghosts shares plenty of horrifying images, the director more often that not shields the audience from the graphic details, choosing to focus his up-close camera work on the faces of these men as they take on the responsibility of bearing witness, steeling themselves for a potential lifetime of horror in which everything they know and love will be taken from them. By the time Heineman joins these men as they receive the 2015 International Press Freedom Award for their work, the clapping, beaming journalists in the audience practically indict themselves, unable to see how these Syrian men want to be doing anything but what they feel they must, reinforcing the notion that what seems to count as international reportage anymore is the exact kind of lack of nuance that Heineman so beautifully, empathetically wants to call out. —Dom Sinacola
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.