Netflix Product Repositioning

Product Repositioning for Renewed Success (Brand Makeover)
As products evolve through the product life cycle, many changes occur. For example, what is state-of-the-art in
terms of technology may change, competitors may enter the market, or profit margins may decline. At the
same time, marketers have significant resources invested in their brands. These brand-based investments may
permit marketers to more easily reinvigorate their brands and reignite their profit streams.
Proposed Repositioning Strategy
You will then describe your strategic approach to the repositioning of the brand you have chosen that is how
you will take advantage of the opportunities you have identified. This section should include your proposed
positioning appeal, your justification for repositioning, and key elements of marketing strategy (promotions,
brand messaging, creative strategy) required to implement the repositioning.
Our repositioning project is on Netflix. Some repositioning ideas include live streaming such as Hulu, offer live
sports, news/ local channels. Please add more ways to reposition Neflix to give it a competitive advantage over
Disney plus, hulu and other competitors in the market. Also, rebranding strategies.
If you have any questions please do not hesitate to message me.

Sample Solution

At the outset of each text, Bimala and Nora are firmly grounded in the domestic sphere. Both women are positioned as housewives whose concerns do not extend beyond the narrow frame of their household “I would cautiously and silently get up take the dust off my husband’s feet without waking him.” (Tagore 18). This effectively removes each woman from matters of the outside world and suggests that there is a sense of privacy and security attached to the domestic household. In doing so, a distinct divide is created between the outside and inside spaces in both texts. This can be seen explicitly in Ibsen’s choice of setting for A Doll’s House, “A comfortably and tastefully, though not expensively, furnished room.” (109), which is clear in its exclusive focus on the middle-class, bourgeoise household. This claustrophobic setting is overt in its marked isolation. It is, at first glance, untouched by the influence of the outside world. However, a close reading of the “tastefully, though not expensively, furnished room.” (109) reveals an unmistakeable consciousness surrounding financial matters. In other words, the pressures of capitalism can already be spotted within the household. In this light, the room’s interiors appear to be a calculated facade imitating comfort yet bearing marks of concern towards matters of wealth and appearance. Mark Sanberg expands upon this idea of innate corruption within the bourgeoise household by stating that Ibsen’s text is concerned with “dis

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