Brittany Jade McCombs

Recent data from Ampere Analysis points to how far behind streaming companies like Apple TV, Disney Streaming, and Paramount+ are, compared to the likes of Netflix and Prime Video & Amazon MGM Studios. By expanding production beyond the North American market, Netflix and Prime Video & Amazon MGM Studios are tapping into a wealth of untold stories and diverse cultural narratives from countries including the UK, Germany, Spain, South Korea and India. This approach is enhancing their global appeal as dominating streaming platforms, growing their #subscriber bases. As a result, these tech-first #entertainment companies are redefining the original content landscape, bringing fresh perspectives and unique voices to the forefront of the industry. Companies like Netflix leverage technology to produce localized versions of international content that resonate with local audiences. Netflix and Amazon’s international focus is crafting a varied entertainment landscape, where local stories gain global recognition and resonate with a broader audience. With 66% of Netflix's and Amazon's original content orders coming from international markets, such as Squid Game and The Devil’s Hour, the investment in these productions reflects a commitment to cultural diversity and innovation, positioning these tech giants as leaders in #streaming. As they continue to prioritize and elevate non-U.S. content, Netflix and Amazon are driving global demand for TV shows and setting a new benchmark for creativity and storytelling. This trend signifies a transformative era where the agility and forward-thinking strategies of Netflix and Amazon enable them to outpace traditional studios in delivering compelling, original content that captivates viewers worldwide. https://lnkd.in/gpTusBRE #LITrendingNews #ContentProduction #EntertainmentIndustry

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I have no doubt that eventually, a relatively reliable system will be figured out to ensure that TV advertisers know whether they’re reaching their most appropriate, potential customers. Since streamers are unlikely to widely share proprietary viewing info, can Mr. Norton and Mr. Nadler’s EDO Company approach be it? Or at least, a fresh-and-viable start? Hmmm… A few vital pieces seem to be missing from EDO Co’s plan as relayed in this brief article, most notably how the referenced “tie” between a specific commercial/program and subsequent search-related data actually functions. Then, how that linkage further relates to sales. Advertisers *need* to be assured that more online searches about a product consistently lead to increased sales/revenue. Though that likely depends on whether a preponderance of top search results 👍 or 👎 their product. Sadly, these judgements could have nothing to do with ads, but arise from the perceived quality of a product via folks who’ve tried it IRL and felt strongly enough about their experience to post it on the internet. “Star” influencers can affect the market, but IMO exceedingly few of them have the reach or longevity to truly compete with television over time. For folks who make/distribute the shows, I guess the crux is whether a spike in searches about a particular episode’s narrative/cast significantly reveals that more eyeballs consumed any particular ad. Perhaps these search-spikes might, since the searching folks seem to have been paying enough attention to the story/characters to want to learn more. Though perhaps some of these online searchers heard about a really cool plot twist from a friend and never watched the show — or saw any ads — at all… There are so many variables in this erratically evolving aspect of the biz! That said, successful “disrupters” inevitably need to stop (mostly) disrupting and get down to the business of business. This means consistent metrics — and a more level playing field — has gotta emerge… Eventually. #entertainment #tv #television #streaming #streamingtv #adsupportedtv #adsupportedstreaming #tvratings #tvmetrics #tvadmetrics #internetsearches #fasttv

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Tubi launches in the UK - OTT overkill? "Tubi, the free advertising-supported streaming service owned by Fox Corp., is looking to bring its success formula to the U.K., launching in the market on Tuesday, July 2. The streamer, led by CEO Anjali Sud, the former head of Vimeo, now has about 80 million monthly active users....In the U.S., its strategy has differed from other FAST platforms. For example, 90 percent of viewing on Tubi is focused on on-demand movies and TV series, compared to peers’ focus on live, linear channels. And per the Nielsen Gauge from May, Tubi made up 1.8 percent of all TV viewing in the U.S. for that month, tied with Disney+." "“Tubi has spent the last decade honing our approach to vast, free and fun streaming in North America, and we feel that now is the perfect time to bring that recipe to U.K. audiences,” said Sud in unveiling the U.K. debut. “We are launching with one of the largest and most diverse content libraries in the U.K., designed to indulge viewers in everything from blockbusters to original stories to hidden gems.”" Tubi's different approach has had success in the US, and the logic goes, if it can work in the US, it can work anywhere, especially in the UK given the common language. However, that's a lazy comparison to make. Despite the commonality in language, the UK as a TV market is much more like Europe than it is the US. The UK has several free alternatives, and more focused on the local market, ITV X, BBC iPlayer, Channel 4, plus the growing range of #fastchannels on offer in the market. Added to that the paid #svod services, Disney+ Prime, Netflix, Paramount etc. Then of course there's still #lineartv with freeview offering around 50-70 channels for free. "Much of Tubi’s early work will be “listening” to consumers’ usage, reaction and input. “This is about putting the U.K. viewer at the center,” argued Sud. “Right now, our perspective is it’s day one, let’s earn the right to deeply understand this audience.”" - Well in my opinion, the only way to do this, is to invest in originals and make an impact on the UK, meeting the market at its level. That is what the competition is doing, rather than sending US series for a US audience to the UK and expecting the same results. Of course, like in all markets it has its place, and will have interest, given Tubi's Fox catalogue. However, there's a ceiling on that approach. They're indicating they'll focus on Bollywood productions. But the UK has a big Bollywood-focused media already, what is Tubi bringing that's new? "management will remain open-minded. “It’s not prescriptive,” Sud said. “It’s a bottoms-up culture, it’s not a top-down approach.” - Remains to be seen, my bet is its more the latter. https://lnkd.in/eqWZu7mT

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Having long been on the FCP side of the "which software" debate, the availability and uptake of AI tools within the different video editing softwares has given me reason to question this as of late. I must admit that I've started to view the others with envious eyes.... This article from fxguide breaks down what I mean by this: https://lnkd.in/ev65F_G8 p.s. the generative AI banner could have done with a second look. #videoediting #software #AI

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Deepna Devkar, Ph.D. what a treat having you on the podcast! If you’ve ever wondered what goes into building your personalised experience on Max, this is the episode for you. Tune in to hear from one of the minds leading the build of the platform experience!

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I imagine those working in Production and Product Placement see this announcement by Prime Video & Amazon MGM Studios as more of a “what took you so long”? There are many ways Prime Video & Amazon MGM Studios Netflix Hulu The Walt Disney Company Paramount+ and the other studio based streamers can gain significant additional revenue by working with brands, other than go backwards to the traditional model of ‘adverts’, which we all know is off putting for a huge amount of consumers. - Product Placement. - Brand sponsored original content. - Brand supported events. - Brand associated Film & TV genres. The above is not just ‘ad sales’, it requires an understanding of content Production, consumer and brand behaviours, brand awareness, script reading, integration and storytelling to seamlessly integrate branding into content without the consumer feeling like it is being forced on them. Business Insider #streaming #avod #vod #productplacement #brands #brandmarketing MGM #adsales https://lnkd.in/erSzphSt

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Streaming bundles are moving forward at a very fast pace. Prices have been announced and partnerships agreed. Peacock Netflix and Apple TV+ have announced a bundle price of $15 per month, which is a saving of 35% to consumers if purchased separately. Netflix and Peacock will both be with adverts. The Walt Disney Company Warner Bros. Discovery Hulu have confirmed a bundle partnership to be available starting in the summer, no pricing as yet, but I predict this will be announced before the end of the week. All bundle offers are currently for US consumers only, so it will be interesting to see the strategy for UK and International markets, given each platform has a very different market share. A big question for me is will consumer data and analysis be shared as part of these agreements? If so, this is a huge game changer and one that could change the landscape of streaming. One tech giant, one streaming giant and a studio owned by a telecommunications giant. Vs 2 studios and a reality streamer (owned by Disney). Within less than 2 years I predict this landscape will be as different as it was 2 years ago. #disney #peacock #warnerbros #discovery #streaming Variety #filmproduction #entertainmentindustry #appletv #streamsaver #tvproduction https://lnkd.in/eJ7ZaX_w

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They other streamers are gonna have a hard time competing. If cable bundling returns, they will do it. YouTube Accounted for Nearly 10% of All TV Viewing in March, Nielsen Says It’s the largest share for a streaming platform ever recorded by The Gauge, despite a 3% drop in total. YouTube was once again the breakout star of Nielsen’s monthly The Gauge report. During the month of March, the platform accounted for 9.7% of all television viewing, an increase of 0.4 share points from February. This is the largest share of TV for a streaming platform ever reported in The Gauge. This month marked YouTube’s 13th consecutive month as having the largest share among streaming services. Overall, TV usage dropped 3% from February to March, which wasn’t a surprise. This drop aligns with seasonal trends Nielsen has previously recorded. However, cable and streaming felt this impact the least. Unsurprisingly, streaming was the category winner of March as it was the only category to see a year-over-year increase. Compared to March of 2023, streaming viewership rose 12%, and the category added 4.4 share points. Streaming was also minimally impacted during the February-to-March drop. Viewership for streaming fell just 1%, resulting in a 38.5% share of overall TV viewed for the month of March. Though YouTube was the most watched streamer, accounting for the aforementioned 9.7% of total TV viewed, Netflix was close behind, making up 8.1% of the category. The company also boasted three of the month’s most-watched streaming originals, which resulted in a combined nearly 15 million viewing minutes for March: “Love Is Blind,” “The Gentleman” and “Avatar: The Last Airbender.” Though cable wasn’t as impacted from February to March, it did experience a year-over-year decline. The category saw a decline of 10% and a loss of 2.8 share points when compared to the same time period in 2023. Viewing on cable from February to March saw a 0.7-point bump in share points, resulting in 28.3% of all television being watched on cable networks. This was partially due to college basketball viewership, specifically viewership around the women’s NCAA tournament. The matchup between Iowa and West Virginia brought in 4.9 million viewers on ESPN and ranked as the No. 7 cable telecast for the month. The State of the Union also gave cable a viewership bump, earning 14.1 million viewers for cable and 32.3 million viewers altogether. Despite this drop, The Gauge report made note of broadcast’s resiliency. Since the report was first released in 2021, broadcast has always made up the smallest share of overall TV viewership, originally accounting for 25.4% of TV compared to cable’s 39.5% and streaming’s 26.2%.

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YouTube Killed the TV Star For years, I’ve been telling you YouTube is the biggest TELEVISION network on TV - and one with an unparalleled advanced TV audience advertising machine. https://lnkd.in/eAykCjRa I’ve been warning y’all in the TV business that your TRUE competition now is NOT each other, but rather Google’s CTV Death Star. Seems Google liked that pitch, and turned it into their #Upfront presentation: “Other media companies unveil new TV shows coming to their services. YouTube used the stage to boast about its massive reach and engagement relative to traditional TV. YouTube‘s message to Madison Avenue: The video giant isn’t traditional TV. It’s bigger (with literally billions of viewers) and better at targeting relevant audiences.” https://lnkd.in/e_G-pZXy This week I dissected Nielsen’s new look Gauge, which breaks down TV viewing by publisher - across all platforms. https://lnkd.in/gaBZ3KfC With this analysis (my version below) YouTube comes in second for total monthly viewing. But, note, it takes ALL of The Walt Disney Company & Disney Streaming combined (ABC, ESPN, Disney+, Hulu) to best The Tube. It took ALL of NBCUniversal (NBC, Bravo, USA, Telemundo, MSNBC, Peacock), all of Paramount (Pluto TV, Paramount+, CBS, Comedy Central, MTV, et al), and all of Disco Bros (TBS, TBT, MAX) to LOSE to YouTube. YouTube’s one, simple, massive app is by far the number one channel… ON TV. It’s the first stop on CTVs for most TV viewers under 35 and, everyday, more and more audiences over 36 too. And, crucially, they are better at video advertising than every other TV platform in the game - catering equally well to massive budgets from P&G and local pocketbook budgets from Mom & Pop Shops. Many in the TV ad biz will obsess this week over Netflix’s fancy shmancy Upfront and their Christmas NFL games. But Netflix’s total viewing (see below) is FAR off the competitive set - ESPECIALLY considering only 7% of their viewing is on the ad tier where viewers can (get this) see ads. (Kinda important in the Upfront.) But YouTube also had the NFL - and the NBA - at their presentation. More importantly, on their Upfront stage, YouTube represented the fastest growing segment of entertainment - The Creator Economy. While other TV platforms trotted out traditional Hollywood celebs to talk about a new wave of TV shows, YouTube brought out the biggest stars in the world that you’ve never heard of - Haley Kalil, Cleo Abram, Kinigra Deon, Ryan Trahan, Taty Cokley, Sydney Morgan, Zach King, Valkyrae. These new TV stars don’t just make shows, they command communities - in ways that limited series and procedural dramas never will. TV is not changing. It changed. Years ago. You may have missed it. But don’t worry, I’m sure there’s a video on YouTube about it, so you catch up.

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🔊 GOD SAVE THE CULTURE 🎭 Experimenting with this space to recap the media, marketing and memorable moments that caught my eye last week across this thing we call “arts and culture,” from the monumental to the mediocre. -- 🎬 ‘THE FALL GUY’: A SLOW-BURN STUNT? 💥 The weekend box office stats are in – that time when artistic merit and entertainment value go out the window in favor of Hollywood number-crunching – and the headlines aren’t looking great for ‘The Fall Guy,’ Ryan Gosling and Emily Blunt’s action romcom that many were heralding as the kickoff of summer movie season. The film tallied below expectations with a $28.5M opening, despite a budget of $130-150M. 🎯 GOOD MARKETING? Time will tell. While Gosling’s Ken-ergetic press rounds and the movie’s stunt-filled red carpet antics weren’t enough to get people flocking to theaters this past weekend, the film’s solid reviews, genuine romantic chemistry and throwback action-movie charm could drive some serious word-of-mouth attraction for the longer haul. (And don’t forget streaming potential: This year’s underperforming ‘Argylle,’ another lightweight actioner, recently found a whole new audience on AppleTV.) 🤔 GOOD FOR THE CULTURE? Yes! While it may look like a movie you’ve seen 1,000 times, ‘The Fall Guy’ is entirely and uniquely  built as a love letter to the Hollywood stunt community, with Gosling playing a stuntman-turned-leading man, and former stunt guru David Leitch taking up directing duties. The industry has been griping for years that stuntpeople just can’t get no respect, even opining that they should have their own Oscar category. ‘The Fall Guy’ quite literally makes them the main character. #culture #marketing #media #PR #film #thefallguy

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The Glorious Rise, Turbulent Life & Painful Death of MTV Much time has passed since I left MTV/Viacom/Paramount, but it’s profoundly sad to follow the news about the company I spent over 2 decades at. Most of my colleagues will agree that our time at MTV was the most exhilarating & transformative experience any professional could dream of. The radical & iconic force that changed pop culture forever is now out-of-touch & irrelevant & part of a stable of struggling brands like Comedy Central & Nickelodeon that were once ground-breaking & unbeatable. Having witnessed up close the magical ingredients that kept MTV on fire & hugely profitable for decades- calculated risk-taking, boldness, a fierce devotion to creativity, audience worship & passion- we knew it was also visionary leadership that electrified & separated us from the rest. Tom Freston, Judy McGrath, Fred Seibert, Bob Pittman, John Sykes, Doug Herzog, Herb Scannell & others were all music & culture junkies hallucinating the future along with us, shepherding & goading us to experiment, to innovate, to take chances. They forgave & celebrated failure so we could continue creating magic. In my last decade at MTV, the rust was already corroding us. Arrogance, ignorance, incumbency, laziness, & most unforgivably- a fatal pandering to Wall Street & quarterly results. Consultants & lawyers were deciding programming strategy; self-important finance & accounts people stalked the hallways demanding cost-cutting. Radical thinking & creativity were penalized. There was an early disdain for digital & social media, global audiences, & condescension toward the need for diversity of ideas. Yes, public tastes change & it’s hard to stay Number 1 in the brutal & ever-evolving media ecosystem but we had set the cultural agenda for decades because of fearlessness & audacity. Eventually, the failure of leadership, monstrous greed & egos & ignorance burned the house down. My colleagues & observers might have different takes on the slow-motion disaster that is Paramount but know that despite its flaws MTV was a wild & glorious rollercoaster, an experience of a lifetime that we, & the billions MTV influenced & inspired, will never forget. “That happens, of course, as tastes & mores evolve decade after decade. But these losses seem more like self-inflicted wounds that could have been avoided under different stewardship. In sum, the family’s forays into Hollywood as well as into broadcast & cable television have proven to be pretty much an ego-driven failure.” #mtv #media #paramount #viacom #bet #comedycentral #nickelodeon

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A rival collective response to the Disney+ Max bundle It didn't take long for a response to the news only last week, Disney and Max+ looked to join forces in the US to pool their resources together to present to the market. When I learnt this last week, I speculated what the market response would be. We didn't have to wait long: "Comcast later this month will launch a three-way bundle — with Peacock, Netflix and Apple TV+ — offered at a deep discount, Comcast chief Brian Roberts said." This is taking the old cable approach to #streaming and what better company to introduce the legacy model than Comcast, the leading #traditionaltv provider in the USA. "Dubbed StreamSaver, the bundle will be available to all Comcast broadband, TV and mobile customers, Roberts said, speaking Tuesday at MoffettNathanson’s 2024 Media, Internet and Communications Conference in New York. The three streaming services, Peacock, Netflix and Apple TV+, will “come at a vastly reduced price to anything available today,” Roberts said, although he didn’t reveal any pricing details." This is an aggressive positioning, and with Netflix particularly, this makes the package a real force to be reckoned with. "The goal is to “add value to consumers” and “take dollars out” of other companies’ streaming businesses, he added, while reinforcing Comcast’s broadband service offerings." Take dollars away from others companies certainly seems to be the name of the game, grouping together with other platforms, to try and run out other groupings. It's a tough time to be a true standalone platform now, although Prime will feel comfortable that their business won't be affected by this as other rivals would be. "Like the other streaming bundling strategies, Comcast’s forthcoming Peacock, Netflix and Apple TV+ package is an effort to reduce cancelation rates (aka “churn”) and provide a more efficient means of subscriber acquisition — coming as the traditional cable TV business continues to deteriorate." Combatting #churnrate is becoming the most important issue, and rightly so. There's no point in having huge growth if you lose that growth within two or three months to churn. Better to have steady growth and more retention of subscribers. #streamingmedia #streamingservices #streamingplatforms #collectives #consolidation #mediaindustry #television #tvindustry #netflix #appletv #peacock https://lnkd.in/eZFhPQwk

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As a big Kendrick Lamar fan, watching his "The Pop Out – Ken & Friends" concert on Amazon Prime Video last night was amazing. Beyond the incredible music, "Kendrick vs. Drake" has become a fascinating case study in branding. It's not just about diss tracks – it's about how K.Dot's strategic approach has solidified his fanbase and boosted awareness for his ventures. Here's my breakdown of the key takeaways from this cultural moment: ▪Research & Strategy: Kendrick's approach to the beef is a powerful reminder of the importance of research. He strategically gathered information about Drake's *alleged* seedy actions and even insights into diss tracks Drake was working on. By understanding the landscape and competitor moves, brands can stay ahead of the game. ▪Creativity with Layers: Kendrick's "6:16 in LA" produced by T.Swift's long-time collaborator Jack Antonoff (a jab at Drake's "Taylor Made") was genius! It shows the power of creativity with layers. Brands (i.e. Sprint jacking Verizon’s spokesperson) have made a big impact by creatively twisting competitor messaging. ▪Purposeful Partnerships: Brands have been jumping on the Juneteenth bandwagon since 2020, but Amazon Music got it right by sponsoring the “The Pop Out”. Aligning with a respected voice for their target audience made the celebration authentic. Great reminder that it's about more than just a logo slap ( 👀 ). ▪Strategic Exposure: The beef leveraged cultural buzz to intro Kendrick's pgLang company to a wider audience through concert mentions. It's a great example of brand building through cultural moments. Strategy, community, culture, and creativity – Kendrick’s masterclass. #juneteenth #kendricklamar #drake #strategy #marketing #amazonmusic #strategicbranding

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Fallout on Prime Video & Amazon Studios: A boost for the decades-old franchise Just finished Season 1 of Fallout on Amazon Prime? If you're left thinking, "That was a bleak vision of the future, but also… man, that was good," you're not alone. The show achieved the highest viewership ever for an Amazon Prime Video title in a single week. 📺 📈 My personal connection to this franchise is strong. I vividly remember playing the original games on our family PC in the late '90s and have spent countless hours wandering the post-apocalyptic landscape in every game since. 🎮🕹️ The Show’s Impact The game franchise has been quiet since the 2015 release of Fallout 4, however, the show’s release has revitalized interest. Fallout 4 saw its daily player count on Steam surge from ~25,000 in March to over 180,000 in April. Even Fallout: New Vegas, nearly 15 years old, experienced a surge to ~45,000 daily players. April 2024 became the busiest month ever for Fallout 4 modding, with 33.2 million mods installed. 📈🚀 Capitalizing on the Popularity Surge Bethesda Game Studios and Amazon are leveraging this newfound interest. Starting May 9, Amazon Prime members received free access to Fallout 3: Game of the Year Edition via Prime Gaming. Bethesda also released a 'next-gen' update for Fallout 4 across all platforms, though it faced backlash due to incompatibility with existing mods. Additionally, Bethesda partnered with Wizards of the Coast to create a line of Magic: The Gathering cards set in the Fallout universe, which quickly sold out and saw resale prices soar. Missed Opportunity? While Bethesda has successfully introduced Fallout to a new wave of fans and enjoyed a revenue surge, they are not in a position to fully capitalize on this momentum. Fallout 5 is still 5-6 years away. Fans will have to satisfy their Fallout fix with Season 2 (already announced due to Season 1's success) and periodically revisit the updated Fallout 4. It makes me wonder what might have been if this excitement had been channeled into a new game release. That being said, I loved seeing one of my favorite games come to life on the screen and hope you did too. #Fallout #AmazonPrime #GamingIndustry #Bethesda #MagicTheGathering #VideoGames #GamingCommunity

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Mission: Impossible—Troika Force Logline: In a world where media giants wrestle for dominance, Paramount Global entrusts its fate to ‘THE TROIKA’— 3 visionary leaders tasked with a high-stakes mission to rescue the studio from the brink. Through strategic cuts, covert partnerships, and bold innovations, they race against time to save PARA from collapse. Will they succeed in this epic quest, or will their efforts be the final act in a storied legacy? Originally seen as a temporary fix, ‘THE TROIKA’ is now set to steer the ship through some stormy seas and possibly redefine Paramount’s future. With PARA’S $14 billion debt & lagging stock, ‘THE TROIKA’ are tasked with making tough decisions, including significant layoffs & asset sales. Their goal? Transforming Paramount into a leaner, more agile company. Despite the unconventional setup and skepticism from some analysts, the team has a unified vision & close working relationship, always a good omen — if sustained. Cough. However, their success could end up paving the way for JUST 1 of them to take the helm — solo — eventually. #ParamountGlobal #Leadership #MediaIndustry #BusinessTransformation #filmindustry #entertainment #media #business #news

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I didn't know I had so much in common, with David Lynch and Francis Ford Coppola! 😉 ...I too struggle to secure funding for my projects 😂 These two iconic filmmakers, are facing significant challenges in today's Hollywood. Lynch struggles to secure funding for his projects, while Coppola can't find a distributor for his new film. This highlights a broader industry trend where veteran directors are finding it increasingly difficult to thrive in an environment dominated by franchises and big-budget blockbusters. The evolving dynamics of the film industry are sidelining these creative legends, raising concerns about the future of auteur-driven cinema. This shift underscores the tension between artistic vision and commercial viability in modern Hollywood. Read more about this issue here: https://lnkd.in/gbs4CpSK

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Comcast has released its pricing strategy for its streamsaver bundle for Netflix Peacock and Apple TV+ at $15/month but there’s a hitch of course. In order to get what equates to a 35% discount for these streaming services vs subscribing to them individually you’ll need to be a Comcast internet or cable subscriber. So, the question is, will a 35% discount be sufficient to sway people from cutting the cord or attract those that have already left to come back? My thought is it might help retain some, for a short period of time but that’s likely not enough to get people to return that left for many issues, such as price, poor customer service, and a lack of choice/forced channel packages, etc? Even with that type of discount, it’s hard to compete with the pricing and consumer choice one can get from services such as YoutubeTV or Fubo that have been able to provide pricing and consumer choice at levels traditional MSO’s just haven’t been able to compete with. I’m sure other MSO’s will soon follow this model and it’ll be interesting to see how consumers react as these new bundling strategies play out. #cable, #streaming NBCUniversal Apple Warner Bros. Discovery Fourth Line Media

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