The First’s Post

Talk TV: Rupert Murdoch network to be taken off air and moved online Rupert Murdoch's Talk TV network is to cease broadcasting as a traditional television channel in the summer and move solely online. The network launched in 2022 but has struggled to attract viewers on its linear platform. In contrast, many videos clipped up from its shows perform well on YouTube. It comes a month after its star presenter, Piers Morgan, also saw his show moved from its terrestrial weekday evening slot to being solely online. Scott Taunton, Talk TV's president of broadcasting, said in a briefing to staff: "Two years ago, we would not have been brave enough to launch a channel without a linear presence. "But audiences of all ages have moved fast and smartphones are now the primary device where news is consumed. We need to adapt to this as a priority." He added: "We are therefore intending that Talk comes off linear television from early summer and our focus will be on streaming." Taunton said clips would continue to be shared through social media, while the company hoped to grow the number of viewers who watched the service via live streaming on televisions. He said there was "no doubt" over the channel's future, adding: "It just won't be distributed on linear." Piers Morgan Uncensored currently has 2.4 million YouTube subscribers, while the channel as a whole has 812,000. TalkTV, a venture from News UK, the publisher of The Times and The Sun, launched in 2022. Last month, Morgan said his show was leaving television to focus on the Uncensored YouTube channel, saying that daily, fixed TV schedules have been "an increasingly unnecessary straitjacket". Announcing the news, Taunton reassured employees it was "business as usual" despite the changes but did add that there would be a "restructure." Over the next few months, the company plans to create a new division, called News Studios, to produce bite-size content for brands such as talkSPORT, the Sun, the Times, the Sunday Times and Virgin Radio. "Because we are proposing to create News Studios and change Talk's priorities, we are proposing that there is a restructure so that we can focus our resources and talent on the output we will be creating." In the briefing, Taunton also acknowledged: "Linear channel slots cost us millions a year and the advertising revenues are never going to materially exceed the cost of being in these distribution slots." Murdoch had hoped the network would shake up the broadcasting establishment by offering an opinion-led alternative to the BBC. Its launch followed that of GB News a year earlier. #news #daily #tvnews #latestnews #dailynews #dailynewsupdate

We love digital everything- yet the dominance of traditional linear television as a driver in the media landscape remains strong, even as non-linear options continue to grow. A recent study conducted by GfK and published by TVB reveals that broadcast and cable television are still the most effective media vehicles. This comprehensive study examines how individuals consume traditional, digital, and streaming media, comparing factors such as reach, time spent, daily news sources, trustworthy news sources, and community involvement. It also delves into the role each medium plays in motivating consumers to learn more about products or services, providing detailed insights into demographics, ethnicity, and product categories. The 2023 Media Comparisons Study reaffirms the power of television and highlights broadcast TV as the top medium for consumers. Some key findings include: - TV has the highest reach and time spent compared to other media platforms across all age groups and categories. Broadcast TV can reach more viewers with fewer programs than streaming platforms. For example, broadcast TV can achieve the same reach with 20 programs as Netflix does with 20,355 programs. - If streaming platforms do not have advertising, advertisers cannot reach those viewers via streaming. However, broadcast assets can still reach most of them. - Broadcast websites contribute more reach to broadcast TV than cable or streaming platforms. - Linear TV on a larger screen (TV set) is preferred by more than four times as many respondents compared to viewing programs with ads on their smartphones. - Local TV is the most trusted medium, with 74% of respondents expressing trust in their local newscasts. - TV is the top advertising medium for influencing purchases and motivating respondents to learn more about products. - Television ads serve as motivation for viewers to conduct further research online. On average, viewers spend about five and a half hours watching linear TV, with social media coming in second at just over one hour.

John Stamos’ Latest Move? Chief Officer of Zeam Zeam John Stamos is known as one of the most recognizable actors on the small screen. But now, he is working behind the scenes with newcomer streaming service, Zeam. He has been appointed its Chief Innovation Officer. And, the story behind this unlikely collaboration sounds ripped from a primetime script… How a Sitcom Star Becomes a Streaming Executive Everyone knows that entertainment streaming is big business. (Just check out Netflix’s earnings report.) So, when Zeam appeared to offer streaming services for local news and sports, it was a welcome option. Then, featuring 90s icon John Stamos in its Super Bowl ad was just supposed to be a witty, one-time gig. Little did Zeam or Stamos know, it wouldn’t end there… During production, the company’s founder — Jack Perry — and John Stamos forged a strong business connection. Perry told The Hollywood Reporter: “WE JUST DEVELOPED THIS KIND OF RELATIONSHIP WHERE WE’VE JUST BEEN ITERATING ON THE FUTURE OF ZEAM TOGETHER AND WHAT OTHER CONTENT MIGHT COME INTO PLAY, AND FEATURES, AND HOW TO MAKE PEOPLE FEEL A LITTLE MORE CONNECTED TO HOME.” And as they say, the rest is history. However, don’t think that Stamos is just there to be a pretty face — despite the Super Bowl commercial. The former “Full House” star sees a lot of potential in Zeam’s future and wants to help fulfill it. John Stamos Believes in Zeam’s Mission In the same Hollywood Reporter piece, Stamos explained what being a Chief Innovation Officer entailed. For one, the actor has introduced Zeam execs to his show biz contacts. He also uses his knowledge of local broadcasting to expand the content the service provides. John Stamos is passionate about Zeam in particular because of local broadcasting’s impact on his career. “I’VE ALWAYS BEEN A BIG FAN OF LOCAL NEWS. MY FIRST SHOT AT SHOWBIZ WAS PERFORMING A PUPPET SHOW AT A CHURCH FAIR, WHICH GOT COVERED BY MY LOCAL STATION. SEEING MY FACE ON TV GAVE ME THE CONFIDENCE TO CHASE MY DREAM OF BECOMING A TELEVISION STAR—AND ALSO TO LOSE THE PUPPET ACT.” Still, John Stamos is an entertainer at the end of the day. As such, he plays a major role in Zeam’s marketing and promotion — including a “mockumentary” style campaign. This is a strong partnership to add a new, exciting piece to the streaming space. After all, there is definitely room for local programming in streaming’s full house…

Netflix is killing linear broadcast television. In the future of Australian television, only ‘cinematic’ or ‘quality’ scripted dramas are likely to be successful. Australian funding agencies should therefore only invest in cinematic or quality productions. What are the arguments for and against this statement? Answer using specific examples from SVOD services and contemporary Australian television content.   DRAFT/STUDY TIPS The debate surrounding the influence of streaming video-on-demand (SVOD) services like Netflix on traditional broadcast television has sparked significant discussion in the media landscape, particularly in Australia. The assertion that Netflix is "killing" linear broadcast television is not only provocative but points to the broader shifts within the television industry, where digital streaming platforms are rapidly reshaping audience behavior, funding structures, and content preferences. The claim that only "cinematic" or "quality" scripted dramas will dominate the future of Australian television, and that funding agencies should prioritize such content, reflects ongoing tensions between traditional broadcasting and the on-demand model. This essay critically examines the arguments for and against the notion that Netflix is killing broadcast television and the proposition that future Australian TV funding should focus exclusively on cinematic productions. In doing so, this analysis will explore the dynamics of SVOD services, linear television trends, audience preferences, and contemporary examples from Australian television.

Another day, another article about how the future of media companies are in doubt: "If television is a battlefield, broadcast and cable seem to be losing the long war. Broadcast networks are bleeding viewership totals. To trim their budgets, they are making fewer pilots and filling their prime-time slots with game shows and reality competitions. The outlook is almost as depressing for cable. Millions of pay-TV subscribers are cutting the cord every year. Instead of offering as many new shows as they used to, cable networks are filling their schedules with mini-binges of old favorites, whether it’s “Law & Order: SVU” on USA or “Parks and Recreation” on Comedy Central." "Still, Netflix, Disney+ and the rest of the streaming gang have their own problems. After being hailed for revolutionizing television and pumping out content as if there was no tomorrow, streaming sites also are losing subscribers and being pressured by Wall Street to turn a profit as soon as possible, not somewhere down the road. Major players are cracking down on password sharing, laying off employees, slowing their spending sprees and offering lower-cost subscriptions that come with ads — the same old-timey model that over-the-airwaves broadcast TV uses." The bottom line is that there is too much content trying to compete for the attention of audiences. The revenue models of traditional media outlets, and even newer media outlets, assume a level of content scarcity that simply doesn't exist anymore. How do you cut through? What if the solution isn't about content at all? What if the way to cut through isn't with content, but with connection? Media companies need to spend less time pumping out content, and more time focusing on building community. https://lnkd.in/gXWt2_F2

If video killed the radio star, what has Streaming done to TV? Gen Z  is the biggest generational group alive today. They make up 42% of the world’s population and they don’t love TV. For them, the form factor of a widescreen television is entirely alien. They view it as the reason that some of the content they see on their connected devices looks as though it were intended for a different time. It is often formatted for a different screen size or aspect ratio, which can make it hard to engage with. For some Gen Z audiences, having easy access to their own, personal viewing port provides a welcome alternative to a perceived lack of private spaces in the physical world.  They're accustomed to viewing ‘their’ content when and where it suits them, sometimes in the moment, live and as it is happening, and at other times, on demand. What Gen Z do love is digital, with the majority getting their news and entertainment from services like TikTok/Douyin, Instagram, Weibo, MX TakaTak, Facebook, Twitch & YouTube.  It is not surprising then, that a vibrant creator economy has been evolving in lockstep with Gen Z’s growing socio-economic power to cater for this audience.  Various pundits forecast the value of the global creator economy at between $104 and $155 billion in 2024, but all agree that it is still growing. Up until now the generally accepted opinion in traditional media circles was that storytellers in the creator economy aspired to somehow ‘graduate’ into the broadcast world. Now, for some, that may well still hold true (if this path fits with their brand and audience needs) but for many, TV will remain an anathema because it also remains ‘alien’ for their selected audiences. So, what should a modern media owner do to deepen their relevance to Gen Z audiences? Is it as simple as transferring talent, formats, and audiences from one model to another, or is there something else at play here? And how can modern storytellers, brands and media owners successfully navigate these new frontiers? I posed those questions to our CTO, and the architect of the Solo Creator Universe, Daniel Pisarski.  Join us at “Gen Z and the Solo Creator Universe  - Streamer Las Vegas” from the heart of the National Association of Broadcasters (NAB) Show in Las Vegas, on 16th April to hear some answers. We’ll be joined by or friends and partners, UnlimitedIRL, and some huge, award-winning global streaming talent.  Together, we’ll explore the outer reaches of this vibrant universe. And then afterwards, we’ll all enjoy a refreshing beverage or two at an exclusive Happy Hour. https://lnkd.in/ePGaGjSk Join us at our exclusive, invitation only event, live from the NAB show floor in Las Vegas. We’ve assembled a host of amazing content creators to share some of their hard... #Streaming #IRL #GenZ #IPVideo #SoloPRO

Is it the end of the aerial? Major new free TV streaming service launches backed by the UK’s main broadcasters https://ift.tt/tASNxeQ A BRAND new free TV service has launched in the UK that could eventually allow viewers to ditch their aerial for good. Freely uses Wi-Fi to beam live TV into homes across the nation – though the launch TV guide is still quite bare on the streaming side. 2 Freely is available from Hisense TVs from todayCredit: Jamie Harris / The Sun 2 But the number of streamed channels available at launch might be an issueCredit: Jamie Harris / The Sun The Freeview successor is backed by the country’s main broadcasters, the BBC, ITV, Channel 4 and Channel 5. For now, Wi-Fi enabled channels are only accessible from the four companies, but users can continue to watch other free channels available on Freeview via their aerial. The launch of Freely is a historic moment for UK television Kieran CliftonBBC The new way to watch telly comes built into newly launched smart TVs, starting with Hisense-made sets. More brands such as Toshiba, Bush and JVC are set to follow suit. The move comes as the UK’s public service broadcasters fight to stay relevant in a streaming world dominated by Netflix, Amazon Prime and Disney+. Freely is the first free service that allows viewers to switch seamlessly between live and on demand TV from the leading UK broadcasters. It follows in the footsteps of Sky Glass, Sky Stream and Virgin Stream which have also tried to lure people away from traditional viewing methods on the premium end. “The launch of Freely is a historic moment for UK television,” said Kieran Clifton, director of BBC distribution and business development. “Collaboration between the UK PSBs is critical to connecting and protecting all audiences as we transition towards the streaming era – and delivering live TV over broadband for free is a ground-breaking innovation that will futureproof public service broadcasting.” Freely has buttons allowing people to pause for up to 15 minutes, as well as instantly restart programmes currently showing – however, the latter is limited to BBC and ITV channels for the moment. Channels on Freely at launch BBC One  BBC Two  ITV1 (England, Wales, Scottish Borders)  STV (Scottish and Grampian)  UTV (Northern Ireland)  Channel 4  S4C (Wales)  Channel 5  ITV2  ITV3  BBC ALBA  BBC Three  BBC Four  BBC Scotland  Film4  E4  More4  4seven  ITV4  ITVBe  5STAR  5Action  5USA  5SELECT  BBC NEWS  BBC Parliament  CBBC HD  CBeebies HD  One of the main advantages that Freely hopes to achieve is access to more HD channels, as Freeview technology can only offer a limited amount. Using internet streams also means we could eventually see more channels than ever before but for the moment users will have to rely on their aerial for the full Freeview channel line-up. TVs with Freely are made to offer both, so you can access Freely internet-based streams and traditional ...

In Nielsen’s first report of The Media Distributor Gauge, 14 media companies achieved a 1.0% or greater share of total TV usage. Find out who they are by downloading the report. https://bit.ly/3UKe1Dc Gracenote #streaming #streamingcontent #streamingwars #tv #advertising #marketing

Are we on the brink of a television broadcasting revolution? Our recent article titled "Is Social Media Analytics the Future of Television Broadcasting Industry?" delves into this pertinent question. The groundbreaking startup TrendsMotion based out of Paris, seems to think so. Co-founded by Marc-Antoine Garrigue and Thomas Landspurg, Trendsmotion is leveraging the power of social media analytics to reshape how we understand television. By monitoring conversations about TV programs on various social networks, they are carving a quantitative and qualitative analysis of these discussions for broadcasters, producers and media. Could this be the missing element for optimizing television content? They've already made significant strides with the acquisition of TvTweet, effectively enabling them to offer real-time TV show analysis. Take a deep dive into why they believe social media analytics could be the future for the TV broadcasting industry. Read more here: https://lnkd.in/eXkUCJua Let us know your thoughts. Are we on the verge of a broadcasting transformation? #EUStartup #Trendsmotion #SocialMediaAnalytics #TVBroadcasting #StartupStory #Technology #Innovation #Disruption

The Changing World of TV: The Shift to Streaming and Its Impact on Traditional Broadcasters: Paramount, a big name in television, recently made a huge decision to close its famous TV studio and move all its production to CBS Studios. This is part of a major restructuring plan. As Melissa Cantor reported, this move, which includes laying off 2,000 employees, comes at a tough time for the company. They’re in the middle of a difficult merger with Skydance Media, and their disappointing earnings in the second quarter have brought attention to the struggles of the cable TV industry—a sector being rapidly overtaken by streaming services. Rob Sheard adds more insight into this situation, explaining that both Paramount and Warner Bros. Discovery are dealing with huge financial losses because of the rise of streaming. The old cable TV model, which used to be a big money-maker for networks, is losing its appeal as more people prefer direct-to-consumer (DTC) subscriptions. Paramount’s $6 billion loss and Warner’s $9.1 billion write-down show just how big this change is in the way people watch TV. But it’s not just about money; it’s also about how people are watching TV. As Sheard points out, the old cable model used to offer something for everyone, but now, in a world where viewers pick and choose what they want to watch, only a few big names like YouTube are coming out on top. YouTube’s success is clear, as it grabbed 9.9% of all TV viewership in June, according to Nielsen. The world of streaming is complicated, with platforms like Apple TV+ and Amazon Prime Video each taking their own approach. Apple TV+ is more about building the Apple brand rather than making money directly, while Amazon uses Prime Video to gather data and boost its advertising, supported by partnerships with the NFL and NBA. For smaller streaming services and independent filmmakers, the future looks uncertain. They are struggling to keep up in a market that’s increasingly controlled by giants like YouTube. Also key to note is territorial control in content creation and sharing by most governments as they 'encourage' more tax freedoms on productions that employ more than 70% of their local crews. A case in point with Netflix's major penetrations in global territories for productions, both short and long formats. This situation marks an important turning point for traditional TV broadcasters. The old cable-TV world is falling apart, and only those who can adapt to the streaming age will succeed. The future of television lies in understanding these new trends and figuring out how to create sustainable models in a constantly changing digital world. Traditional broadcasters must evolve and find their place in this new landscape, or risk being left behind.