Tag Archives: Netflix
The 30th edition of the annual MIPCOM TV market set a couple of records last week with 112 countries and 13,700 delegates attending – both all-time highs. Furthermore, of those who attended it has been reported that 1,300 were acquiring digital and VOD rights.
Many themes were explored over the four days but below are my main takeaway points for those who didn’t get to attend.
On November 9 1989, the Berlin Wall fell. I was 16 at the time and I remember watching events unfold live on television. As I and the rest of the world stopped and watched, spell-bound, thousands of Germans from East and West swung sledgehammers and pick axes and clawed with their bare hands at this concrete symbol of a divided world.
I’d been on a school trip to Germany the year before, seen the border, the sentry guards in their towers with their rifles and fixed stares. I remember the tears in my school teacher’s eyes.
As footage of falling mortar spanned the globe, I recall no one being sure what was going on. Was the Cold War over? Had the Arms Race bankrupted the Soviet Union? Was Communism over? Read More
Before Facebook, most social sharing among my group of friends happened on instant messaging via MSN. Depending on your own group of friends you might have used AIM or Yahoo instead. Most of the photos we shared were via e-mail, with large albums uploaded to YouSendIt or another cloud storage server. Most of my friends had social media profiles, automatically created by MSN, but few of us posted there regularly. Then Facebook came along. By 2006, when I started at university, practically every single student in my year had it. We shared everything on Facebook: what we were up to, our relationship status, movies we watched, pictures from events, classes we were attending, our plans for the weekend, everything. Read More
Traditionally, TV data such as audience figures has been collected through set top-based research panels, and used as trading currency by the whole advertising industry. However, the advent of digital, cable TV and on-demand platforms, coupled with changing viewing habits, mean broadcasting companies are increasingly mining their own data and are using it to exponentially add value to TV advertising.
It is pretty clear to all of us involved in this fascinating industry that broadcasting is evolving at a dramatic rate. Technology is playing a more significant role than ever in driving change, with both broadcasters and viewers adopting new innovations and learning new habits. It’s transforming how we engage with our favourite shows and in several cases, fuelling the creation of completely new formats.
There’s a lot of talk about the sharing economy, but what does it really mean? The seminal book What’s Mine is Yours initiated the conversation and in the USA this has taken off immensely with Netflix, Zipcar, Spotify and Airbnb (pictured) leading the way – no surprise the sharing economy is popular there. In Seoul, the sharing economy is also starting to gain popularity, as it is in Brazil with initiatives like Catarse, Brazil’s first crowdsourcing platform.
As its legacy continues to grow, last year will forever be the year of London 2012, one of the greatest events ever to grace the sporting world. It also happened to fall within what the industry is calling ‘The Social Era’ of sponsorship.
So what have brands learnt from it? And what does that mean for sponsorship and the rest of 2013 – already dubbed ‘The Empty Year’? Read More
The FT reports that Google could this week unveil “an à la carte subscription service” for some of its specialist YouTube channels as part of an effort to finance a broader range of content.
The initiative would echo recent moves by those such as Netflix and Amazon moving into original content. Read More
Netflix’s unique content play, “House of Cards”, starring Kevin Spacey, has satisfied its subscriber base in the US according to a small survey by Cowen. It has also made their subscribers more loyal.
However it failed to take off from a word of mouth perspective and the content was mediocre rather than exceptional. In light of this both move from Netflix what is the future of content v’s distribution channels in the digital age and who will gain the most from this change in dynamics?