BritBox的动态

#Netflix, #Amazon, #Disney, #Max - the major premium SVOD services have all figured out how to develop and deliver broad appeal blockbuster shows that drive subscription growth and engage infrequent viewers. Netflix’s #FoolMeOnce, Amazon’s #Racher, Disney+’s #PercyJackson, and HBO/Max’s #TrueDetective were prime examples of this over the first half of 2024. The problem is that the industry has over-emphasized this type of programming in the green light, renewal and cancellation process at the expense of retention and low risk subscribers. This imbalance poses problems for the long term viability of the streaming business model. My latest for Observer https://lnkd.in/dh_GwG4X

Arms Merchant "“The media companies are scared to death that they’re seeing nothing in the future but a struggle,” Malone told Moffett in a report published Sept. 25. Moreover, as Netflix and other subscription streaming platforms have planted roots, the supply of shows available for second (or even third) monetization windows in syndication and international licensing has truly evaporated. Most of the biggest properties coming out of Disney, Warner Bros. and NBCUniversal are bound for streaming platforms that rely on retaining rights to their shows for years to come. In other words, the increasingly global business of TV is becoming a true “Game of Thrones” where only the strongest will be able to survive. Others may have to settle for what Malone called “the arms merchant” role of producing shows for a handful of top global buyers — most of them backed by giant tech firms a la Amazon and Apple. “You can’t monetize your own distribution if you don’t have [worldwide] scale,” Malone told Moffett. “So then you go back to being an arms merchant. And you know, I mean, there’s a good business in being an arms merchant, but it’s not big enough to meet the ambitions of the [WBD] management."

All that time, money, hard work, disruption, and revolution, and what have we got? The ala carte revolution collided with economic reality and resurrected the cable bundle (minus the actual cable). The subscription-only model collided with economic reality, allowing advertisers to penetrate spaces that were once seen as allergic to ads (Netflix, HBO, Showtime, et al.) I checked my files recently. I worked on thought leadership campaigns for more than a dozen CTV companies over the past decade. Most of them ran out of runway -- start-ups, amirite? But a few of them made it inside the gates. The winners and loser all liked to talk about "revolution" and "disruption." I suppose we saw a lot of that, but if you had told 2014 Michael that it would all result in ad-supported bundles, he would've laughed at you. And if 2014 Michael had pitched a future-looking piece about ad-supported bundles, his clients would've laughed at him. Just goes to show you that smart people who believe that the best way to predict the future is to make (and then set about making it) often get it wrong. But then again, right or wrong, if you don't put your vision out there, you're not even really in the game. #thoughtleadership #streaming #CTV https://lnkd.in/g4bTYTB4

I love OTTs. The enriched value addition through diverse content and flexibility is humongous but.. nothing actually comes close to flipping through DTH channels and stumbling upon a show/movie. The surprise element or sometimes a bit of nostalgia play very strong hooks. A lot of brands across travel and food tech have been trying hard to capitalise on this feeling of serendipity. Perhaps the choice paradox also plays an important role- so much content on OTT vs a fixed set on DTH. Personalized recommendations (barring Netflix's) are very shallow and have to evolve a great deal to make the needle move. Also, a large part of the Linear TV viewing audience still resides in Tier 2 and beyond (and are perhaps 45+) and the single biggest hurdle OTTs will face in capturing this share isn't subscription but the way they facilitate the ease of discovery of their favourite serials.? #RandomWeekendMusings

Not just FAST but easy... One danger of being deeply embedded in the film/tv industry is that you risk losing touch with the tastes and needs of the audience you're ostensibly producing movies and series for. My wife and I are the kinds of media junkies who keep lists of movies (old and new) to watch, browse the "newly added" and "leaving soon" sections across multiple streaming services to make sure we don't miss anything, and generally put a lot of time, energy and money to curating our media diet. That's great for us but, I imagine, would be exhausting for most. Which is why I'm not surprised to see FAST services continue to grow. In a way, FAST's value proposition is akin to how binge exploded on SVODs. It's easy to sit back and let the next episode start rather than think about finding something else to stream. Likewise, it's easier to flip on a FAST channel devoted to your favorite show or genre—much like a generation ago you might flip on VH1 or Comedy Central as your default—than to spend minutes or more browsing in the hopes of finding something decent, plus the not-insignificant cognitive burden of having to make a choice. Don't get me wrong — I'm not saying one mode of viewership is better than the other. For those who get pleasure, like me, in curating their experience, great. But there's nothing wrong with taking the FAST and easy way, especially if that lets you spend more of your time and energy on things that matter to you more. The question for those in the industry trying to surf the FAST wave is: how do you get an audience's attention in an ecosystem with infinite channels — and with AI and algorithmic programming potentially offering more channels than there are total viewers! In that endless sea of choice, the old ways no longer cut it—even compared to the 500-channels-and-nothing-on heyday of peak cable. https://lnkd.in/eGtiduC7 (h/t to my former colleague Lou Fazio for previously sharing this link) #streaming #FAST #media

Hub's 2024 survey reveals that consumers are indeed pulling together more than a handful of TV sources - both traditional and digital - to get what they want.?In fact, this year saw a bounce back to an average of 7.4 services used, after a dip in 2023. The number of viewers "stacking" three or more of the major streamers (Netflix, Amazon Prime, Disney+, Hulu & Max) grew to half of users in 2024, with even more growth coming from the nearly two-thirds of people using FAST services (like TUBI or Pluto) to round out their TV diet. https://lnkd.in/gkfxvfS2

Nice turnout for Jennifer's FAST monetization panel at The StreamTV Show. Some great insights were shared by Amanda B. Hastings, Inderpreet Sandhu, Jeff Clanagan, Daniel Gagliardi and Bill Condon. Key takeaways? ? The explosion of FAST channel availability has created a supply vs demand issue (hello, slates!) ?? Keep it simple: "FAST" is just TV ... make it easy for agencies, advertisers, brands to understand ?? Partnerships are key ... lean in (tech, brands etc.) to help scale ?? International will catch up ... but 2-3 years out for many territories

Will Disney's streaming focus pay off? How will PayPal rebound from its stock decline? Is Pinterest holding its own against social media giants? Join Sam North, Ne?a Molk, and Josh Gilbert as they dive into these major financial events of the week in the latest episode of Market Bites! Be sure to check out the full episode in the first comment below. ?? #MarketBites #EarningsReports #FinancialInsights

Data-Driven FAST Insights: Love Nature Leads the Pack! ?? New report from Gavin Bridge is a must-read for understanding the FAST landscape #FASTchannels #streaming #entertainment #reports

A great article by John Koblin https://lnkd.in/gDCTpzWK "?????? ?????????????????? ???????? ????????’?? ???????? ?????? ???????????? ????????. ???? ????????, ????????’???? ????????????????." As always, let’s break things down with Reelgood's catalog data ?? Niche services like Hallmark+, AMC+, and BritBox may have smaller catalogs, but ????????????????, ???????? ?????????? ??.???? ???????????? ?????? ??.???? ??????????—almost rivaling ??????????????’?? ??.???? ???????????? ?????? ??.???? ??????????—and start as low as $3.99/month. Unlike Netflix’s broad appeal, these platforms cater to specific tastes, attracting dedicated audiences. Niche platforms are also getting creative in their ways to partner with streaming giants to grow their revenue and audience. ??????+ ???????????????? ???????????????? ???? ?????????????????? ???? ??????????????, ?????????????????? ???? ?? ???? ???????????????????? ?????????? for those titles on Reelgood. This highlights the potential for smaller services to drive revenue and visibility through cross-platform licensing. The future of streaming is about unique value, partnerships, and connecting with niche audiences.