Olivier Robert-Murphy

Here at #TheBridge we consult with content creators and leading broadcasters/ streamers on new and innovative commercial routes to funding for TV, film and programming budgets. Where once long form, linear TV led the way, now gaming first-models are leading IP development and funding can be found in brand partners and VC investment before some commissioning editors come on board a project. As the television industry shifts from B2B to D2C there are multiple routes to audiences for content creators. If you are wondering how to bridge this new world, enter The Bridge Report. 🌉 This resource will serve as a compass for navigating the current turbulent waters of commercial growth for TV producers. It's not just data – it's a narrative of proven models working with producers and funding, programmes and commissions and eastern and western content markets. The report will delve into topics such as where and how to find funding for production budgets and how to work in increasingly global markets. The Bridge Report will provide actionable insights that can help you steer your own success through these choppy changes! Please get in touch if you'd like to know more. 💻🤝 Remember, knowledge isn't power until it's applied. #co-development #co-production #co-operation #content #tvproduction #productionindustry #finance #tv

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Canal Plus celebrates its 40th birthday today, so its an important time to reflect on its impact. Canal Plus has been at the forefront of Pay TV in Europe, launching on 4th November 1984 and introducing a 'scrambled' subscription TV service. That's just 2 years after the launch of the UK's 'Channel 4' and almost 5 years before the launch of Sky in the UK (February 5th 1989). Channel 4 is an important reference, not just chronologically, but also for brand and content since both Channel 4 and Canal Plus still share similar DNA. Both arrived with highly distinctive on-air brand identities and positioned themselves as distruptors and innovators, challenging the status-quo and providing a space for groundbreaking, avant garde programming. Canal Plus has also been a technical pioneer, launching digital satellite TV in April 1996, 2 years before the launch of Sky Digital. Canal Plus' interactive 'Mediahighway' STBs offered exceptional video and audio quality for the time (Canal Plus has never skimped on video bitrates) and included a modem connection and bank card reader for impulse Pay-Per-View and two-way services. Long before the launch of Sky Digital, French homes could access an electronic programme guide, digital radio services, purchase products through the set-top box, enter competitions and access local weather reports. Although Canal Plus' personal video recorder appeared a little later than Sky+, the 'Pilotime' had a highly distinctive remote and UI which felt years ahead of the competition. As French telcos began to invest in IPTV, Canal Plus doubled-down on its content investments and made sure its services were available across a wider variety of platforms including IPTV, DTT and streaming. It also grew its business internationally into Poland, Sub-Saharan Africa, Vietnam, Myanmar etc. Yet, what many Pay TV operators have failed to adopt is the strategy it uses to maintain a daily dialogue with both subscribers and non-subscribers through its distinctive 'en-clair' (free-to-view) programming: Daily topical and satirical magazine formats which have tracked the major shifts in culture over the past 40 years. These free windows allowed the business to showcase the celebrities, sports stars, actors and directors in the films, series and sporting events behind its pay-wall in a way that was far more effective than a 30 second TV commercial, with this programming playing a significant role in the cultural history of all French TV viewers. Today, with its online presence and the low-cost 'TV+' service (€2 a month) Canal Plus retains an emotional connection with prospective and existing customers. As Canal Plus reaches into more and more territories around the world, it remains a highly distinctive brand and content creator which has had, and continues to have a huge impact on the shape of our industry. It with huge respect and appreciation that we celebrate Canal Plus' 40th birthday! #canalplus #france #paytv #40ans

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TV BUNDLING: Here is a Paris 2024 themed TVC from Xfinity in the US. It socialises Xfinity's recently launched 'StreamSaver' bundle which for an additional USD $15 a month on top of any qualifying TV or internet plan (Equiv. of EUR €13.81, GBP £11.66, AUD $22.90 and ZAR R274.71) provides access to Peacock Premium with ads, Apple TV+ and Netflix Standard with ads. The offer is significant since these products, if purchased individually, would total USD $24.97 a month. The TVC also positions Xfinity TV as a way to 'Find your shows, all in one place' illustrating voice search with the command 'Show me Paris'. The USD $35 bundle proposed here is for a relatively basic 150Mbit home internet service, plus a free 5G phone on Xfinity mobile with one unlimited mobile line. Its clearly there to undermine the agressive competition of FWA home internet from T-Mobile at USD $50 per month. The 'unlimited' nature of Xfinity's mobile plan does require some clarification, with T&Cs referring to reduced speeds after a 30Gb mobile data cap is exceeded. This example captured from FOX in San Francisco, July 2024 #comcast #xfinity #xfinitymobile #streamsaver #xfinitystreamsaver #bundle #xfinityinternet #mobile #netflix #appletvplus #peacock #usa #tvcommercial #paris2024 #olympics

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“The UK recorded music industry grew for the ninth consecutive year in 2023, bringing in £1.43 billion. Streaming and physical music saw growth, and the independent sector also enjoyed an increased share of album sales and streams. This is all according to a new stats pack from BPI The BPI has published its annual ‘All About The Music’ report on the British record industry's performance in the previous calendar year. The topline stat is that revenues grew by 8.1% in 2023 to £1.43 billion. That’s the ninth consecutive year of growth. According to the record industry trade group’s stats pack, more than half of that (58%) came from subscription streaming, sync and public performance combined contributed 13.6%, vinyl sales 9.9%, ad-funded audio and video streams 9.5%, and CDs 6.8%. Physical media actually saw stronger percentage growth than streaming last year, with CDs, vinyl and other formats all up individually, and collectively up 12.8% on 2022 - vinyl seeing the biggest jump, up 18.6% year-on-year. Streaming overall saw revenues rise by 8.4%, with ad-funded streaming growing fastest at 12.4%. In terms of actual revenues, physical brought in £243.4 million, while streaming generated £962.1 million. In terms of what people were listening to, Miley Cyrus came out top with her song ‘Flowers’, which enjoyed ten consecutive weeks at number one in the UK singles chart. This run helped female artists to score a record tally of weeks at the top of the UK top 40 - 31 out of 52 weeks. Women appear in seven slots in the top ten for the full year, including Raye, Taylor Swift, Ellie Goulding and SZA.” #BPI #UK #Streaming #Artists #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicStreams #MusicRoyalties #Songs #Recordings #MusicBusiness #Music #Musica #MusicIndustry #Musique #Musik #MusicBiz

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The headlines on Ofcom's latest consumer research have focused on the demise of linear broadcast viewing by younger demographics, but another interesting finding is the strong growth in viewing of those same broadcasters' video-on-demand platforms (so-called BVoD). According to Barb Audiences data, overall viewing of BVoD services grew an impressive 29% in 2023 to 20 mins per person per day, raising the proportion of total broadcaster viewing coming from BVoD services to 13%, up from 10% in 2022. The BBC leads the way with 18% of its content now being viewed on iPlayer. And there was even a positive trend amongst the 16-24 yr age group who increased their viewing of BVoD services in 2023 by 9% to 12 mins per day. Overall, however, this positive streaming story does not compensate for the decline in linear broadcast viewing for BBC, ITV, Channel 4, or Channel 5; Sky bucked the trend with increased linear & streamed viewing.

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The Cumulus compensation ploy • May 2nd Cumulus had their annual shareholders meeting and they were not talking about what their angry investors did. • They approved one thing – their account firm. • When asked to re-elect their board of directors, a surprising and resounding outcome. • The company is still laying employees off and shrinking operations so when they asked shareholders to show a financial vote of confidence in them, an even greater surprise. • What’s really going on here – a questionable debt exchange deal, a second bankruptcy and a growing rift between investors and their top management. https://lnkd.in/gQRZYCWq

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Roblox may be a non-negotiable part of the engagement flywheel for IP owners to reach Gen Z & A, but it’s worth watching out for ZEPETO - already established amongst Asia’s youth - and which is eyeing Roblox’s lunch… 🥪👀 yum It recently announced a Global Partnership Program and it shows Zepeto’s ambition to scale brand engagement on their platform. It signed up some pretty powerful players in Sawhorse, Dubit, Dentsu Inc.,The Gang, Innocean and Transcosmos so that tells me not to sleep on the UGC platform that already has 400+ million users around the world including China, Phillipines, USA, Malaysia and South Korea. Zepeto has 20 million MAUs and it is insanely popular with young female users between 13-24. It’s nowhere near the scale of Roblox yet but I wouldn’t bet against them growing quickly. Self-expression rules as users create and animate different looks and identities, and it’s a lot of fun. It already does a healthy business in digital item sales and that will only grow. Gucci has jumped on board with creative collaborations alongside Christian Dior, Nike and cosmetics brand NARS. And where fashion goes, entertainment and sport follow. So watch out for Zepeto, we’ll be hearing a whole lot more about it.

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A new debate on the cost of cool, which digs into the environmental impact of increasing vinyl sales and rising concerns among several major artists. In summary, some counter-argue that the tech behind vinyls is significantly evolving, notably with BioVinyl, whilst others mention the environmental cost of storage data from streaming platforms. For me, it is entertainment, it is what consumers want, and it is the same debate as EV cars vs. good old gas. It’s evolution meets nostalgia. What do you reckon? 

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Talpa Studios' The Floor secures major international renewals Following the recent announcement of a second and third season in the USA, Talpa Studios hit show The Floor continues its global success with recommissions in three major territories: Italy, France and Germany. Blu Yazmine will produce the show for RAI2 in Italy, and Satisfaction Group will handle production for France Télévisions. In Germany, Cheerio Entertainment will oversee production, and the show will air on SAT.1. As with the first season, the second German season will be recorded at Talpa Studios' local production hub in the Netherlands. The Floor's ongoing success is attributed to its innovative structure, high play-along factor and continuous format revisions that keep it fresh and exciting. Its flexible structure has allowed it to thrive in both daily and weekly schedules, catering to diverse viewing habits. Sebastian van Barneveld, Director of Global Distribution at Talpa Studios: “The outstanding success and enthusiastic reception of The Floor across various territories highlight the format's remarkable adaptability and the strength of its straightforward, thrilling gameplay, where survival is at stake in every duel.” Since its initial launch in the Netherlands in 2023, The Floor has captivated audiences worldwide, leading to its sale in 15 diverse markets. These include prominent television territories such as the USA, France, Spain, Germany and Italy, as well as emerging markets like Ukraine, Romania, Hungary and Argentina. About #TheFloor In The Floor, 100 quiz fanatics face off in quiz duels on a giant LED floor divided into one hundred equal squares, each representing its own field of knowledge. The goal is to conquer the entire floor and take home a huge cash prize. The rules are simple. A random contestant challenges an adjoining opponent in a quiz duel. They play against each other in the category of the opponent's square. Categories range from 'famous athletes' to 'Hollywood actors' and from ‘iconic buildings’ to 'mammals'. Some questions are visually supported by photographs, others by sound, while other duels focus on open questions, multiple choice, association: the possibilities are endless. The winner of a duel conquers his opponent's square, gaining more ground - the loser leaves the game. The further the game progresses, the more exciting the duels become and the higher the stakes. After eight episodes, who will be the last person standing on The Floor, winning a huge cash prize? The Floor is a format created and distributed by Talpa Studios.

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According to Nielson Market Research, streaming accounts for over 41% of TV Viewing, way ahead of the second most popular delivery channel; Cable (26%). The most watched thing on streaming is YouTube . Bigger than Netflix and more than 3x the share Amazon prime takes! If you accounted for the brand dollars, client and agency attention directed towards trying to create high quality entertainment and capture audience attention on these three platforms, I wonder what the numbers would look like? I won't try and pretend that I know for sure, because I don't, but, I would guess that a lot more brands would be dazzled by creating attention for themselves on a Netflix show or an Amazon Prime original than properly investing in making an original, high quality, YouTube show, led by some of the best creators on the platform and powered by sophisticated media targeting tools? Sounds awesome to me. Am I barking up the wrong tree though? Why doesn't this happen more?

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WBD - Iceberg ahead "Warner Bros. Discovery to split its streaming and studio units from its legacy TV networks as one option to boost its lacklustre share price. The FT reports chief executive David Zaslav was weighing strategic options, including spinning off its Warner Bros movie studio and Max streaming service into a new company unburdened by most of the group’s current $39 billion net debt." Clearly something is going wrong at WDB, it seemed a while ago a streamer with incredible potential, and Zaslav at Discovery was a key adovcate of the eco-system idea, at a time when Disney under Chapek was going all in on streaming, and cutting ties with the world of #paytv and #lineartv Now, in proposing this spin-off, it seems that roles are reversed, that Disney under Iger once more is looking more stable as they look at building partnerships again and licencing content, and WBD are looking at outlandish ideas. "A break-up appears to be the strongest option with most of its debt remaining with the mature pay-TV networks business (where most of the cashflow still is) in such a scenario. But analysts at Bank of America have warned that such a split could have a “potentially devastating” impact on bondholders, and WBD rival Lionsgate recently faced a creditor revolt after separating its Starz pay-TV network." The spin-off doesn't seem like it would solve the problems. While unloading the debt would help the shareprice, it doesn't boost Max's chances going forward in a competitive environment, where they've entered late into the game in most markets, and in European Sky markets UK, Germany Italy haven't even come in yet. Also, what kind of red tape bureaucracy would that create between the pay-TV side of the business and the SVOD platform when licencing content. Remember also, as the article says, the bulk of the revenue is with the legacy business. So either the SVOD service rapidly grows subscribers & sells advertising and becomes profitable, or it could end up looking like Disney, hitting a roof quickly and then struggling to move forward and entering into a maliase. It doesn't make sense to me at least. Perhaps Zaslav could look at himself, and what he has brought or not to WBD. He's one of the best paid TV executives in the world, getting record raises year-on-year and yet commercially, WBD have been doing worse. This outlandish path could lead to more problems down the line too, as the market is so fragmented and competitive, de-linking Max from the pay-TV side could bring negative consequences for the business. #tvindustry #television #streaming #streamingplatforms #streamingmedia #max #wbd https://lnkd.in/eAymF5Be

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I speak to so many professionals who seem to see media in terms of "traditional" and "digital" - just the two piles where one is sort of quaint, and the is super-rad and cool and the future. The truth is that humans are complicated and consume what they like, and more choice gives more options, but not necessarily replacement behaviours. Radio is the original social medium, has been a digital medium for 25 years now, and the personalities and brands that drive commercial radio are still amongst the most trusted in their respective markets. Wonder why? Jason Brownlee will explain

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Word is out! I will be hosting a panel at Advertising Week Europe with senior marketing leaders at BBC ITV and Channel 4. I can’t wait to sit down with Jane Stiller Katie Jackson and Paul Davies and discuss where TV is going and how marketers can navigate these times of change. Will you be there? #aweurope24

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Max in the UK - how will this change the market "Warner Bros. Discovery is holding early talks with multiple platforms about the distribution of its Max service when it launches in the UK in 2026. Max is launching later in the UK market than in other European territories because its HBO content is currently the subject of an exclusive deal with Sky, which incorporates shows such as Game of Thrones and Succession into its Sky Atlantic channel." "According to the FT, which first reported on the story, WBD has also entered into discussions with other broadcasters that include Amazon Prime, Virgin Media and EE. It is also still in negotiations with Sky and it seems somewhat implausible that the Comcast unit would be frozen out given the 10 million subscribers it is able to offer. It may however lose its exclusivity. Sky viewers can currently watch the basic Discovery+ service, without TNT Sports free of charge." This will be a big change in the UK TV market, not just the immediate impact of bringing Max into play, but also knock-on effects, the push of Sky to commission more series of their own, as they contend with Max becoming a rival of theirs with content that used to be on their slate. What new alliances will come out of this? Perhaps new licensing alliances will come about as the market changes. Would Max also license out its content to other #SVODs in the UK? I doubt this very much, as it would undermine their strategy, but licensing some content to ITV which is more #AVOD, could that be on the table? I think that Max has to be very careful in how it handles their entrance into the market. The deal on Sky on #paytv Sky provides them with guaranteed revenue, and if they move away from Sky, that guarantee will go away. Of course in theory, they can cut Sky out and be more successful, but Sky's subscriber base is strong, and they are an internet provider too, making them more sticky. Max will have to contend with #churn on their own. They won't go it alone, but if they make the wrong bet, they could see their revenue go down. Stick or twist? #streamingmedia #streamingplatforms #ottplatforms #wbd #subscribergrowth #tvindustry #mediaindustry #churnrate #uk https://lnkd.in/e_KAX2Qa

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Max rolls out with alliances "Warner Bros. Discovery has announced that Canal+ will offer its Max streaming service as part of a new bundle when it goes live on May 21. Max will also launch in the Netherlands and Belgium, where it will be known as HBO Max, as well as in Poland on June 11. In Belgium, subscribers will receive ‘early access’ before a full launch on July 1." "France is one of the territories where subscribers will benefit from a series of new distribution deals. “At launch in France, Max will be available to consumers through an unprecedented array of distribution partnerships across almost all the largest mobile, broadband, and pay-TV players,” Warner Bros. Discovery (WBD) said in a statement." France is perhaps showing a roadmap for the Sky countries, UK, Germany and Italy for WBD. If the launch goes well, it will probably provide a roadmap for the launch of Max in these territories, and will also provide some security to its long term partner Sky, and help them grow together with the new #ottplatform rather than the Chapek approach under Disney of going it alone. "Canal+ subscribers who already take the Ciné Séries, Friends & Family, Intégrale and Rat+ packages will have Max added to their packages at no extra cost. It builds on an existing distribution deal between Canal and WBD and will give Max access to Canal’s platforms in Poland, Hungary, Romania, Czech Republic, and Slovakia. In Poland, all platform users will gain access to the TVN channel. HBO, HBO 2 and HBO 3 will be part of the Standard and Premium package offer." However, how much of the Ciné Séries for Canal+ subscribers will include Max content? How much will be shared across this alliance? If it is shared, then what's the USP? If it's not shared, and all HBO content goes to Max, then doesn't Canal+ or another #paytv platform who partners with WBD lose its own appeal and subscribers could just move directly to Max? It seems like its a very fine balancing act. #television #tv #canalplus #tvindustry #streamingplaftforms #streamingservices #streamingmedia #mediaindustry #warnerbrothers https://lnkd.in/dGP44SE6

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Interesting new insights released by Ticketmaster UK this week on comedy in the UK* Some headlines to consider: "Comedy events in the U.K. have shot up by 34% over the past decade, making way for a thriving scene that’s creating more demand for new comedians." "Talent is expanding, with nearly 100 female comedian headliners having taken to the stage this year" "Comedy venues are becoming a place for socialising and bonding through the natural high of laughter" Preaching to the choir here at Big Difference Company with this one! We are all about supporting new, emerging and underrepresented talent through our Circuit Breakers, Leicester Comedian of the Year Competition, Bridging the Gap and The UK Kids' Comedy Festival programmes. We create a festival community annually in February here in Leicestershire with over 70 venues for 2025, all harnessing the power of comedy, socialising and laughter. "...younger people especially are choosing live comedy shows rather than more traditional dating experiences." - If only there were a major comedy festival happening over Valentine's Day for them to go to 🤔 *Statistics drawn from 2000 survey respondents, as with all surveys it's a snapshot and subject to the usual caveats this raises around biases and moods

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Imagine a world where our screens go dark. The International Alliance of Theatrical Stage Employees (IATSE) is on the brink of a strike. This isn't just about Hollywood; it's a ripple that could turn into a tsunami affecting Europe and the wider world. Hollywood might be the heart of cinema, but its pulse beats across the globe. A strike by IATSE means halted productions, delayed releases, and a significant financial hit not just to studios but to local economies reliant on the industry. From Los Angeles to London, jobs are at stake, and the economic fallout could be immense. But there's a deeper narrative. This potential strike underscores a global reckoning with the realities of working conditions in creative industries. It's a conversation about fair pay, respect, and safety on set—a dialogue that transcends borders. Europe, with its rich tapestry of film cultures, watches closely. The outcome could set a precedent for workers' rights worldwide. Moreover, the strike is a testament to the interconnectedness of our world. A disruption in Hollywood cascades through streaming services, affecting what we watch in Europe, Asia, and beyond. It's a reminder of the global village we live in, where an event in one corner of the world can touch lives everywhere. Let's talk about the broader implications of the IATSE strike. How will it reshape our understanding of the entertainment industry, workers' rights, and global solidarity? Share your thoughts below. Let's dive deeper into this discussion.

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