Prime members are responsible for pushing Amazon up the “most-shopped retailer” ranking. Among Prime members, Amazon is by far the leading retailer for clothing and footwear, as measured by number of shoppers. This is balanced out by Amazon ranking relatively low among those with no access to Prime: in fact, Amazon is just the seventh-most-popular retailer among those who do not subscribe to Prime.
Amazon Prime membership in Germany, the United Kingdom, India, and the United States also provides Amazon Video, the instant streaming of selected movies and TV shows at no additional cost. In November 2011, it was announced that Prime members have access to the Kindle Owners’ Lending Library, which allows users to borrow certain popular Kindle e-books for free reading on Kindle hardware, up to one book a month, with no due date.
Tablet Offer: Credits end at end of term, early termination, early payoff or upgrade, whichever occurs first. Taxes and svc charges excluded. No cash back. May not be combinable with other tablet offers. Requires activation at point of sale. Available to new and existing customers who have an active Sprint wireless phone line. Req. qualifying data plan and new activation. Only 1 Tablet Offer per account during this offer. CL accounts req. active smartphone line and is not limited to 1 free tablet.
In March 2014, Amazon announced an increase in the annual membership fee for Amazon Prime, from $79 to $99. Shortly after this change, Amazon announced Prime Music, a service in which members can get unlimited, ad-free streaming of over a million songs and access to curated playlists. In November 2014, Amazon added Prime Photos, which allows unlimited photo storage in the users' Amazon Drive (though only some raw photo files count as photos). Amazon also began offering free same-day delivery to Prime members in 14 United States metropolitan areas in May 2015.
If you’ve never heard of the West Memphis Three, do some research before you begin—you’ll want to be prepared. Within only a minute of the film’s opening, as Metallica’s “Welcome Home (Sanitarium)” noodles forebodingly over pixelated camcorder videos, intolerable images taken straight from police evidence glance across frame, so quickly and frankly you’ll immediately question if they are, in fact, real. Of course, they are—they are images no person should ever have to see, and yet Joe Berlinger and Bruce Sinofsky use them only to expose the unbelievable horror at the heart of the appropriately named Paradise Lost. What unfolds over the following two and a half hours is just as heartbreaking: a trio of teenage boys (one with an IQ of 72) is put on trial for the brutal murders of three prepubescent boys, the only evidence against them a seemingly forced confession by the young kid with the below-average IQ, and laughably circumstantial physical proof. The film explores the context of West Memphis, its blindly devoted Christian population and how the fact that these teenagers dressed in black and listened to Metallica somehow led to their predictable fates at the hands of a comprehensively broken justice system. With surprising access to everyone involved in the trial, as well as a deft eye for the subtle exigencies of any criminal case such as this, Paradise Lost is a thorough, infuriating glimpse of the kind of mundane evil that mounts in some of America’s quietest corners. Welcome home. —Dom Sinacola
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.
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
Even though I think he's more right than wrong, the whole Internet chapter comes across as a confused old guy muttering about how he doesn't get that new fangled rock music. He complains about how many review sites there are, for instance, and has no idea how much it can transform the shopping experience (and not just be a poor supplement). Worse, the book's entire premise is mostly about how you need observational data of real customers because they'll always do things you don't expect (can't argue there), but he HAS no data on this topic, so it's just not compelling. I can't help but think the whole chapter is just in there because 'we need something about teh intertubes'.
Promising review: "As a clumsy person (like, get-kicked-out-of-stores-because-you've-accidentally-knocked-over-two-displays-while-trying-to-pick-up-the-original-display-you-knocked-over clumsy) who loves nail painting, this has been a gift sent down from Cedric Diggory himself. I love this thing! I haven't been able to spill nail polish once, and that is a feat and a miracle. Even if you're not ultra-clumsy, it's just a convenient helper when nail painting." —JL Dice
Deborah Weinswig, CEO and Founder of Coresight Research, weighs in, noting, “Consumers with Prime memberships are meaningfully more likely to buy nontraditional categories on Amazon. Prime members are naturally a self-selecting group of Amazon shoppers, because only regular customers would opt for a membership. But we think that once consumers become members, they see the value of buying types of products on the site that they may not traditionally associate with Amazon, such as groceries and clothing. That’s why Prime memberships are so important.”