You promise satisfaction, but you leave the user unsatisfied. You ask a question, but you don’t answer it. That’s what clickbait is: luring someone into clicking, and then delivering something other than what the headline made them want. The company seems more brazen in its strategies, more willing to promise something and then absolutely fail to deliver, often using headline tricks familiar from the social web. But this spring and summer, things have looked a little different over at Netflix. As long as there have been movies, there have been marketers scheming to get people to watch them.
For some reason-maybe the action movies I recently streamed?-my homepage illustrates The Big Lebowski with a photo of an angry John Goodman pointing a gun, as if the Coen brothers’ comedy is actually some kind of revenge thriller. And the company’s dependence on personalized artwork means it often seems to be playing 4-dimensional chess with recommendations. Click for this new Marvel Comics Universe series, and you’ll wind up watching a perfectly pleasant Norwegian show about Norse mythology. Sometimes the service stretches so far that it seems to verge on out-and-out misdirection: Take Ragnarok, a Netflix title illustrated by an image of Thor’s mighty hammer. Following the success of the comically generically titled Money Heist, Netflix recently debuted the new, even more generically titled hit Heist-one thumbnail featuring, just to leave no stone unturned, a woman wearing only her underwear and a cascade of $20 bills. When new content springs up on your Netflix homepage, it is often brazenly similar-but-not-quite-related to content you’ve enjoyed before. The service’s homepage, and the shows the network acquires, has long been ruthlessly optimized to appeal to very specific audiences.
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