Excited to share a peek at the great work we’ve been doing with Netflix.
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From Deadline: Prime Video Nordics has swooped to acquire nine scripted originals from Viaplay, which abandoned its high-end scripted commissioning drive last year. The titles will now launch on Prime Video following the agreement, which Martin Backlund, Managing Director of Prime Video & Amazon Studios Nordics, called a “landmark deal.” The shows comprise Bullshit, The Commoner, The Fortress, In the Name of Love, Jana – Marked for Life, Paradis City, Solo/Dancing Alone, Furia Season Two and Those Who Kill Season Four. The Nordics were recently identified as one of several European territories where Prime Video can grow, and was placed in the ‘ #EU Emerging’ cluster in the international restructure we first told you about last month. It has been ordering unscripted shows, and this now marks one of its biggest plays in the local scripted market. “This landmark deal with Viaplay aligns with our long-term strategy to invest in Prime Video Nordics, solidifying it as a premier entertainment destination,” said Martin Backlund. “Combined with our Nordisk Film partnership, where we’re delivering the finest #Nordic movies, we are now reinforcing our ongoing commitment to local content in the region.” This comes as Viaplay Group moves away from high-end drama following the collapse of the streamer’s business model last year. After a round of redundancies and restructuring, a recapitalization plan was agreed. The streamer has moved away from costly originals, with CEO Jørgen Madsen Lindemann saying “we have too much scripted content” when he replaced Anders Jensen last year. It has since pulled out of the UK, U.S. and other non-core territories and sold CEE producer Paprika Studios, part of Viaplay Group. #streaming Amazon
Prime Video Nordics Buys Nine Viaplay Originals That Were Previously Set For Rival Service
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From The Ringer: Tubi is, however, growing in popularity. Launched in 2014, it has progressed from a vague slush pile—something akin to the discount DVD bin at Walmart circa 2002—into more of a stimulating, treasure-laden maze for real heads seeking a hit of cinematic surprise that more carefully manicured collections can’t offer. Last year, the company announced that it had about 74 million monthly active users. It has surpassed more costly options like Paramount+ and Peacock and isn’t far behind The Walt Disney Company+. “These #FAST channels are kind of having a moment,” says J.D. Connor, a professor of cinematic arts at the University of Southern California. “Tubi has positioned itself as explicitly the Gen Z version of these [free streamers]. They’re adamant that this is not a kind of play for the cheap old people who just want to watch old shows that they’re familiar with. And their recent rebrand reeks of a #marketing firm that told them, ‘This is the Gen Z appeal.’ ” Tubi appeals to more than just zoomers, though, and there’s significant overlap between its users and those who pay for Netflix, HBO Max Hulu, Peacock, or any of the other formidable paid-subscription #streaming entities. Part of it is certainly how it approximates the foregone experience of combing through an oversized video store, or trawling the depths of cable broadcasting, and finding in that morass of mediocrity a gem of screen history and vision. Some things feel better when you have to work for them It would be wrong to argue that Tubi’s primary appeal is that it has good movies. Instead, its primary appeal is that it has lots of movies, and its budget-minded anti-curation approach to arranging them enhances a sense of odyssey. “When you’ve got the rights to that many titles, it’s not about frictionlessness,” Connor says. “It’s about strangeness and happenstance. You do have to go look for things.” Offerings more pleasurable than fantastic cinema, for many Tubi heads, are the curious misses. Not total failures, per se; not terrible movies—though there are plenty of those on Tubi—but the pictures just a few shades shy of any kind of remembrance. The result is less of a house style and more of an endless churn of cinematic penny stocks. It’s intellectual property arbitrage, an audiovisual flea market of which none of its organizers really understand the breadth and abnormality. The company’s philosophy seems to be that if you build a “video store the size of today,” people will come, and they will sort it out for themselves. What Tubi does ostensibly pay a little more intentionality to is its original programming offerings. Since 2021, it’s released a new movie of its own roughly once per week. Most of them are bad, and obviously so from the titles alone. It’s mostly horror and thriller shlock, junk food for people who just need their screens to produce colors and noise.
Into the Tubi-Verse
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Netflix poured $6 billion into the UK alone within four years ending in 2023. To operate in Europe, Netflix, Prime and Disney+ must guarantee that at least 30% of their films available for viewing in Europe are 'European works'; UK productions account for 9% of that quota (i.e. 30% of the 30% quota). Many of these British productions are UK/US co-productions. Which is why many European countries are fighting to get the UK removed from the quotas list, thereby boosting the number of 'quota' acquisitions from the EU. So should this happen, here are five possible outcomes (amongst others): 1. The Streamers will up their spending in the EU, as they have done in the UK (unlikely due to their commitment to the UK studio infrastructure). 2. The Streamers will drive down the acquisition price of EU productions by 30% (more likely, because they will try to satisfy that quota without having to spend any extra). 3. The US productions will co-produce with EU producers instead of UK producers to hit that quota (unlikely unless those productions are produced in the English language, because the US producers will want those productions to stream in the US as well). Spain may see an increase, due to the Streamers' presence in South America. 4. The UK/US co-productions bring in a third producer from the EU to satisfy the quota criteria (unlikely as this will probably increase the budget beyond financial viability). 5. The UK increases its number of co-productions with the EU (unlikely as traditionally these co-productions are very expensive and legislation-heavy and can easily increase the budget beyond financial viability). So in my opinion, even if the UK is removed from the quotas list, I can't see it impacting the Streamers' presence in the UK, because they've invested too much here recently to increase their production spend in the EU by an additional 30% (i.e. the UK's 9% of the 30% quota).
Europe Wants More Production Support from US Streaming Services » FilmTake
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You’re not just a Filmmaker! After what sounds like a whole lot of fun, filmmakers have to become entrepreneurs in the business of selling. Seeking revenue from ticket sales, home video, foreign sales, merchandise, and OTT platforms like Netflix. They also look to profit from syndication deals and licensing to networks and streaming services. Diversifying income sources is vital, with successful filmmakers using tailored strategies to engage audiences, adapting to trends in an effort to maximize earnings. Additional revenue streams may include renting spaces, selling templates and printables, participating in surveys, merchandise sales, sponsorships, international sales, ancillary rights, and festival prizes. Diversification helps filmmakers navigate industry uncertainties and achieve financial stability. Soon they may have to double as the Uber driver in order to get people in the theater!
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CEO @ BINGE Networks | Streaming licensing & distribution. Consulting for OTT/CTV Licensing our vast content library, all genres.
When we first talk to filmmakers and producers, they often wonder what it is that we really do.... Then, once we tell them (basically, we get your project distributed EVERYWHERE) the skepticism kicks in.... Then, if we cross that hurdle, they are adamant that they don't pay for distribution, despite having none, and paying every single other person that worked on the films, editors, actors, and lighting, but there is a hard line at paying for the one thing that can get them distributed and earning money. 🤷♀️ So let's talk about some "true facts" and the results of what is possible when producers become a BINGE client. Dogsville was a single-title film that became a BINGE client a few months back. Immediately, we built out their channel on our platform, giving them distribution on: Apple TV, Roku Amazon Fire, iOS and Googleplay Then our licensing team got busy running the film through the QC process and pitching to all of the big streaming networks. Within a few weeks, we got them licensed to: Tubi , Amazon Prime Video, Stash Free Documentaries on YouTube, Apple TV +, hoopla Digital, Buddi, Kanopy, Future Today, OTT Studios. We then negotiated a licensing deal for DVD distribution for both national and international markets, with Midwest Tape and Allied Vaughn. Not a bad first quarter as a client, wouldn't you say? We are so proud of Rosvita Dransfeld from IDProductsource and thrilled to continue to find placements. Curious about what may be possible for your project? Drop us a DM and we can let you know. #licensing #distribution #streaming #filmmakers
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2 Ways to Get Disney Plus on Switch: https://bit.ly/3IMbnr0
2 Ways to Get Disney Plus on Switch
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I am pleased to announce the release next month of our new "Netflix Report Revealed" for 2nd half 2023. This report provides exclusive access to comprehensive viewership data, offering valuable insights for the industry. Key Features: Detailed analysis of hours viewed by series, seasons, and movies Distributor, genre, and other metadata Access this data to enhance your content strategy and make informed decisions. For more information, visit www.stream-metrics.com or contact me here or at lehmannr@mediabiz.com. #streammetrics #netflix #viewership #mediainsights
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New Post: Netflix is brining back classic movies to its library after years of streaming originals - Netflix has put much of its focus on original programming over the last few years. And while it’s not taking its foot off of that particular peddle, the streaming service is also bringing back a number of classic films that haven’t been available for a while. Netflix has announced plans to stream a collection of classic movies in an assemblage called Milestone Movies: The Anniversary Collection. First up are films from 1974. Those will be followed in April, July and October by groups of films from 1984, 1994 and 2004, respectively. The first batch of titles includes Blazing Saddles, Alice Doesn’t Live Here Anymore, The Conversation, California Split, Death Wish, Chinatown, and The Lords of Flatbush. The service did not announce which films from future years would be streaming. “When the life of a movie hits a milestone, that’s also something to celebrate,” the company said in a statement. “Maybe it evokes seeing a film for the first time — in the year it was released, or discovering something decades later. Or the anniversary reminds you to watch a movie you haven’t seen yet. And after that, perhaps it inspires you to find something else like it (from the same filmmaker, actor, genre) to stream next.” While many of the films in this new collection have been available on other streaming services, they weren’t necessarily ones that are commonly subscribed to. (The Criterion Channel, for instance, is loaded with classic films, but isn’t the first streaming service many people think of.) For Netflix, it’s a chance to dive deeper, as most of the films it offers to subscribers were made within the past 25 years. And interest in classic films has spiked in the past six months, as Hollywood directors shone a light on feared cuts at Turner Classic Movies after layoffs from Warner CEO Davis Zaslav. Several top directors, including Steven Spielberg and Martin Scorsese, offered to work for free for the channel to ensure it remained a resource for film lovers.Subscribe to the new Fortune CEO Weekly Europe newsletter to get corner office insights on the biggest business stories in Europe. Sign up for free. #Netflix #brining #classic #movies #library #years #streaming #originalshttps://lnkd.in/dvUxf7jS
Netflix is brining back classic movies to its library after years of streaming originals
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Digital Products | Strategy & Partnership | Growth | Streaming | Live Sports | AI ML | FAST Channel | OTT & CTV Marketplace | Digital Transformation | Targeted Ads | New Markets
Amazon Prime Video & Amazon MGM Studios is rolling out a redesigned UI to #improve #userexperience with a clearer layout. Few highlights: 1. The new #navigation bar includes categories like Home, Movies, and Live TV, along with sections for Prime #membership content and add-on #subscriptions. 2. #AI-generated #recommendations "Made for you" and #enhanced show synopses aim to simplify #content #discovery 3. A new “hero rotator” below the bar drills down to #highlight #content available within each selected bar section.
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Chief Reality Officer | Author | Keynote Speaker | Host and Moderator | B2B Influencer | “World’s Leading Expert on location-based VR” | 10X Entrepreneur | INC500 | NASDAQ IPO
Stop blaming Netflix for the demise of the theatrical movie system. Theaters and studios have nobody to blame but themselves. The vast majority of US theaters have failed to innovate. Only 10% of 4DX theaters are in the US. And despite premium large format more than doubling its share of the box office in the last two years only 39% of NATO members are adding large screens. Viewers are voting for greater immersion with their wallets. But big screens could be too little too late. They’re chasing a wave that’s already gone by. (Hint: as a surfer once the wave passes you, you need to start watching for the next one.) I can buy an 80” TV for $999 at Best Buy. From 13’ across the living room that’s as big as IMAX. (I know there are other benefits as well to the true imax experience, but most are lost to the subconscious of the viewer.) It’s time for theater owners to get bold and embrace other forms of immersive entertainment. There are great VR technologies now that enable thousands of people per day. And studios are dropping these experiences into shopping malls. If you want to know how you know where to find me. And check out the link in the comments for the full rant. David Bardos Todd Maunsell Howard McAuliffe George McAuliffe Salem Thyne Jake Zim Jenna Seiden Kristóf Bárdos Joel Newton Jeffrey Travis Brent Bushnell Robbie Vann-Adibé A Shabeer Sinnalebbe
Would ‘Hit Man’ Be a Hit in Theaters? Netflix Doesn’t Want You to Know
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