Questões de Concursos Professor de Língua Inglesa

Read Text | and answer questions 05 to 13.

Netflix is trying to prove to the world that it's all grown up

Netflix is trying to persuade Wall Street that it is now all grown up. After squeezing out millions of additional subscribers via its password sharing crackdown and through the introduction of cheaper advertiser-supported plans, the streamer knows that its growth spurts are coming to an end — and now it wants investors to stop obsessing over those pesky membership numbers and instead focus on other metrics.

"In our early days, when we had little revenue or profit, membership growth was a strong indicator of our future potential. But now we're generating very substantial profit and free cash flow. We are also developing new revenue streams like advertising and our extra member feature, so memberships are just one component of our growth", Netflix told shareholders as it reported quarterly earnings.

To that end, Netflix said that it will no longer report quarterly subscriber numbers, starting in 2025. Alas, the metric that Wall Street has forever judged Netflix on — the metric that prompted legacy media companies to burn endless piles of cash in their bids to compete with the streamer — will be retired. The decision to shut off transparency on the metric represents a significant turning point in the streaming revolution. For years, Netflix has prided itself on being extraordinarily transparent. Now it is aiming to hold its cards closer to its chest. And given that streaming giant is the trendsetter in the space, one could expect that other media companies will be inspired by the company's move and also opt to cease reporting such data.

To be fair, what Netflix is saying isn't necessarily off base either. As the company shifts its business model away from subscriptions and toward advertising and other revenue streams, it makes sense to consider how much time users are spending on the service. The more content a user consumes on Netflix, the more likely they are to continue paying for the service, and the more money Netflix then makes from that single subscriber. "We're focused on revenue and operating margin as our primary financial metrics — and engagement (i.e. time spent) as our best proxy for customer satisfaction,” Netflix underscored in its letter to shareholders.

Regardless, less transparency in an already opaque industry is not ideal. The walled garden of streaming already lacks the same detailed viewership data that Nielsen collects on linear television broadcasters. Now, visibility into the streaming world will get even dimmer.

The announcement from Netflix managed to overshadow its otherwise stellar quarter. The company handily beat expectations and added a staggering 9.3 million subscribers, meaning it now boasts nearly 270 million in total. Netflix also beat analyst expectations on both earnings and revenue. However, it wasn't all good news. Netflix forecasted its subscriber growth to be lower in quarter two, chalking it up to “typical seasonality.” That led the stock to slide nearly 5% in after-hours trading.

Whether "typical seasonality” is solely to blame, or whether the streamer is simply starting to hit a ceiling, is hard to tell. Perhaps it is a mix of both. Whatever the cause, the stock sliding on the less-than-ideal outlook is a prime example of why Netflix wants Wall Street to stop focusing on its subscriber numbers. And, in one year's time, investors won't have a choice.

Adapted from: https://edition.cnn.com/2024/04/19/media/netflix-subscription-numbers/index.html

Read text I to answer the question.

TEXT I

Teachers in the Movement: Pedagogy, Activism, and Freedom

In this year's Presidential Address, historian Derrick P. Alridge __________ his current research project, Teachers in the Movement: Pedagogy, Activism, and Freedom. The project builds on recent literature about teachers as activists be tween 1950 and 1980 and explores how and what secondary and postsecondary teachers taught. Focusing on teachers in Maryland, Virginia, North Carolina, South Carolina, and Georgia, the project investigates teachers' roles as agents of social change through teaching the ideals of freedom during the most significant social movement in the United States in the twentieth century. Drawing on oral history and archival research, the project plans to produce five hundred videotaped interviews that will generate extensive firsthand knowledge and fresh perspectives about teachers in the civil rights move ment. By examining teachers' pedagogical activism during this period of rapid social change, Alridge hopes to inspire and inform educators teaching in the midst of today's freedom and social justice movements.

(Disponível em: https://eric.ed.gov/?id=EJ1255911)

Read text III to answer the following question.

TEXT III

Realities of Race, by Mike Peed

What’s the difference between an African-American and an American-African? From such a distinction springs a deep-seated discussion of race in Chimamanda Ngozi Adichie’s third novel, “Americanah.” Adichie, born in Nigeria but now living both in her homeland and in the United States, is an extraordinarily self-aware thinker and writer, possessing the abil ity to lambaste society without sneering or patronizing or polemicizing. For her, it seems no great feat to balance high literary intentions with broad social critique. “Americanah” examines blackness in America, Nigeria and Britain, but it’s also a steady-handed dissection of the universal human experience — a platitude made fresh by the accuracy of Adichie’s obser vations. […]

“Americanah” tells the story of a smart, strong-willed Nigerian woman named Ifemelu who, after she leaves Africa for America, endures several harrowing years of near destitution before graduating from college, starting a blog entitled “Raceteenth or Various Observations About American Blacks (Those Formerly Known as Negroes) by a Non-American Black” and winning a fellowship at Princeton (as Adichie once did; she has acknowledged that many of Ifemelu’s experiences are her own). Ever hovering in Ifemelu’s thoughts is her high school boyfriend, Obinze, an equally intelligent if gentler, more self-effacing Nigerian, who outstays his visa and takes illegal jobs in London. (When Obinze trips and falls to the ground, a co-worker shouts, “His knee is bad because he’s a knee-grow!”)

Ifemelu and Obinze represent a new kind of immigrant, “raised well fed and watered but mired in dissatisfaction.” They aren’t fleeing war or starvation but “the oppressive lethargy of choicelessness.” Where Obinze fails — soon enough, he is deported — Ifemelu thrives, in part because she seeks authenticity. […]

Early on, a horrific event leaves Ifemelu reeling, and years later, when she returns to Nigeria, she’s still haunted by it. Meantime, back in Lagos, Obinze has found wealth as a property developer. Though the book threatens to morph into a simple story of their reunion, it stretches into a scalding assessment of Nigeria, a country too proud to have patience for “Americanahs” — big shots who return from abroad to belittle their countrymen — and yet one that, sometimes unwitting ly, endorses foreign values. (Of the winter scenery in a school’s Christmas pageant, a parent asks, “Are they teaching chil dren that a Christmas is not a real Christmas unless snow falls like it does abroad?”)

“Americanah” is witheringly trenchant and hugely empathetic, both worldly and geographically precise, a novel that holds the discomfiting realities of our times fearlessly before us. It never feels false.

(Adapted from: https://www.nytimes.com/2013/06/09/books/review/americanah-by-chimamanda-ngozi-adichie.html)