Jordan Benedict

Check out my latest article in TheWrap, highlighting the most anticipated TV shows of October! Leading the new releases is CBS’s reboot of Matlock, while the hit procedural Tracker tops the list of returning series. Dive into the full details here below...#StreamingAnalytics #EntertainmentIndustry #WhipMedia

3

Sometime the losses are justified. Reporting losses for tax benefits or cancelation of productions in an effort to save money on new union laws. Increasing wages always reduces total jobs available. It's an economic impossibility to do other wise. (We did a live stream on that). Disney reported a loss last year but also spent nearly 10 billion buying majority share of Hulu. Their loss was almost the same as the purchase. All that to say it's not entirely corporate greed that got him a raise but his ability to cut and save the company money in the future at the expense of a temporary loss. The one thing we have to stop is the sin of envy and this idea that some people don't deserve what they are paid. Some do. John Williams SHOULD be paid more than a composer right out of film school and it's ridiculous to believe otherwise. The same is true for CEOs.

3

Engaging with younger audiences requires a keen understanding of their preferred platforms and communication styles. NBCUniversal's innovative promotion of Wicked through a bespoke roleplay experience on Roblox exemplifies this strategy. With almost half a billion monthly active users, Roblox has become a vital space for brands targeting Gen Alpha and Gen Z. At Shiz University in Roblox, players can immerse themselves in the Wicked narrative, interacting with beloved characters while enjoying trailers, exclusive content, and even purchasing movie tickets. This interactive approach not only keeps the audience engaged but also fosters community connections as players participate together in this unique experience. As studios like NBCUniversal continue to explore the vast opportunities within gaming platforms like Roblox, they are setting new benchmarks for audience engagement in the digital age. The fusion of entertainment and interactive gaming is not just a trend; it’s a pivotal strategy for reaching and resonating with younger generations.

26

The Growing Importance of TV Operating Systems in the Media Market The significance of TV operating systems (OS) in the media market is increasing rapidly. While Google and Apple dominate the mobile sector, TV platforms evolve beyond their influence. TV manufacturers create their own ecosystems through proprietary OS, offering consumers more choices. Media professionals must understand each manufacturer’s TV OS to grasp the unique content and user experiences provided. Historically, TVs were broadcast receivers. Today, they are smart media hubs led by platforms like Samsung’s Tizen, LG’s WebOS, Hisense’s VIDAA, and the recently launched Titan OS by Philips TV in February 2024. While Netflix, Amazon, Disney Plus, and YouTube are still central, proprietary platforms from TV manufacturers are growing, creating new revenue streams. From a global perspective, this discussion excludes Amazon Fire TV and Roku. Samsung’s Tizen OS is known for its intuitive interface and extensive content. Samsung TV Plus offers free content, enhancing user satisfaction. Samsung has also adopted FAST (Free Ad-Supported Streaming TV) and AVOD (Advertising Video on Demand) content, strengthening its platform. Similarly, LG’s WebOS, through LG Channels, provides diverse content with an OTT-like interface. LG has embraced FAST channels and AVOD content, offering a richer media experience. Their revenue model mirrors the advertising models of other OTT services, essentially providing free access to content. Hisense’s VIDAA OS, via VIDAA Channels, offers a wide range of free content, improving usability. However, Hisense lags behind Samsung and LG in adopting FAST and AVOD content. However, their growth has been the most remarkable recently. Meanwhile, Philips TV introduced Titan OS in February 2024, with user-customized content and a proprietary FAST platform. TCL uses various OSs, like Google and Roku, but also maintains proprietary platforms like TCL Channel and TCL TV+. These platforms offer unique content and services, differentiating user experiences through their ecosystems. Industry professionals must pay attention to TV manufacturers’ strategies. Leveraging these platforms is a critical opportunity for content distribution, opening new avenues for reaching audiences. TV OS has evolved to become central to the user experience. Major manufacturers like Samsung, LG, Hisense, Philips, and TCL offer distinct content and services through their OS. Samsung and LG, in particular, have enhanced their competitiveness by integrating FAST channels and AVOD content. As TV OS’s importance grows, understanding and utilizing these platforms will be essential for successful business ventures. #tvos #tizen #webos #vidaa #samsung #tcl #lg #hisense #titanos #philips

144

18 Comments

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

5

2 Comments

“Sony Music Entertainment is set to acquire the catalog of legendary rock band Queen in a landmark deal worth GBP £1 billion (USD $1.27 billion at current exchange rates). That’s according to Hits, which reported on Wednesday (June 19), citing sources, that Sony Music has emerged as the winning buyer for Queen’s recording and publishing rights, as well as royalties from previous deals with Disney Music Group and Universal Music Group. Disney owns the band’s recorded music catalog in North America, while UMG has a global distribution agreement with Disney. Separately, Queen band members Brian May, Roger Taylor, and John Deacon – plus the Freddie Mercury estate – each own equal shares in the company Queen Productions Ltd, which owns the group’s recording catalog outside the US and Canada, Music Business Worldwide noted in a report last year. UMG, as Disney’s distributor, will reportedly retain distribution rights in North America, although Sony will receive the royalties. UMG’s worldwide distribution rights will then transfer to Sony in 2026 or 2027, making Sony Music the sole distributor and owner of all Queen content globally, Hits explained. The deal also reportedly includes name and likeness rights, opening doors for merchandise and other ventures. Meanwhile, Queen’s founding members, May and Taylor, who continue to tour with vocalist Adam Lambert, will reportedly retain control of revenue from live performances.” Read the full article for more: #Queen #SonyMusic #UMG #DisneyMusicGroup #UniversalMusicGroup #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Artists

1

A couple of months ago I posted about RIAA suing Verison. Last month Verizon shot back: https://lnkd.in/g23p4KSX What will be the end result of this “conversation’ playing out in court. In the long term. Is this a result of technology (streaming services) not addressing the problem that they were trying to solve? Perhaps this is a signal that further innovation is needed in how content is managed, distributed, and monetized online. There's a strong argument that, while tech helped create more accessible music platforms, it hasn't fully addressed the concerns of artists, songwriters, and other creators. Is this lawsuit an opportunity to revisit those revenue-sharing models and perhaps craft something fairer?  We want to move forward and not limit creativity as it seems the problem is still not solved. Where do we go from here?

2

1 Comment

For all intents and purposes, this puts The Roku Channel (not to be confused with the Roku platform or the Roku device) in the traditional "Cable TV" aggregator mode: A nice cluster of Free channels and services, with premium upgrade services on top. When the sports services sort out their issues (you know, some time in 2032 . . . ) I would see The Roku Channel putting those as premium upgrade services as well.

4

“Apple Music is rolling out a new ‘premium’ data analytics toolkit for its record label and distributor partners. The new ‘Apple Music Partner Program’ features various tools for Apple Music’s partners to track trends on its streaming service as well as global radio plays using Shazam technology. According to the landing page for the platform, it offers “access [to] more tools to break the next talent, spot emerging trends, and uncover new insights about your content”. “Apple Music already runs another analytics platform in Apple Music For Artists, which was made available for every artist on Apple Music in August 2019. Apple Music For Artists allows artists to monitor the volume of their streaming plays on Apple Music, all within a data set that updates daily. Spotify launched its own Spotify For Artists app in 2017 (an evolution of the ‘Fan Insights’ tool it introduced two years earlier) to provide artists and their teams with information pertaining to their popularity on the service. Like Spotify for Artists, the Apple Music For Artists service is available as both a desktop interface and a standalone mobile app.” #Apple #AppleMusic #Artists #RecordLabels #Spotify #Fans #Fandom #Streaming #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicTracks #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

5

1 Comment

Comcast's recent announcement of the StreamSaver #bundle with Peacock, Netflix and Apple TV + , marks a significant step forward toward "Cable 2.0" in the streaming industry - where streaming wars are moving from platform vs. platform, to bundle vs. bundle. The new offering, set to launch next week, packages Peacock's ad-supported premium tier with Netflix's basic ad tier and Apple TV+ for $15 a month, yielding savings of around 35% compared to subscribing to these services separately. Bundling provides consumers with a comprehensive entertainment package at a more manageable price, addressing the financial constraints many face when choosing between multiple streaming services. This approach mirrors the traditional cable bundles, making it easier for consumers to access a wide range of content. Media companies are under pressure from investors to scale their streaming services and achieve profitability, while also facing stiff competition from tech giants like Amazon and YouTube. These proposed ‘mini bundles’ not only offer a more reliable revenue stream for companies but also helps mitigate the issue of subscriber churn, which has been a persistent challenge in the industry. The entertainment industry is in a transition, with rising content costs and market saturation driving prices higher. Bundling services not only provides a more reliable revenue stream for companies but also helps stabilize the market by offering consumers more value. Unfortunately, this also means the end of the ad-free, a la carte offerings that many consumers have come to enjoy, as the focus shifts towards comprehensive bundles that limit flexibility but enhance overall value. #LITrendingTopics #StreamingWars #Bundling #SubscriberChurn https://lnkd.in/esZpwnEJ 

42

1 Comment

What's The Score? Yesterday, I announced my new collab with Comscore, Inc. called THE SCORE: The FIRST EVER monthly report that measures ad exposure on TV, rather than pure viewing time. https://lnkd.in/e92u8RY3 Why? Because, let's be honest, what's the point of general viewership data that doesn't measure what's actually monetizable? The chart I dropped yesterday bucks the conventional Media hive mind, showing that 85%+ share of ads viewed on the TV are actually on Pay TV/Broadcast, while just 15% are on Streaming. THIS chart ⬇ shows what happens when you look at "share of ad voice," and go beyond JUST the top 15 channels. Here are some of my biggest ah-ha's... 👟 In 2Q of 2024, the Broadcast networks accounted for more than 40% of all TV ad exposure, with the Big Four leading the pack. 👟 However, Hulu & YouTube are hot on FOX TV's heels, while FOX News still remains a Pay TV powerhouse. 👟 Despite all the buzz around premium SVODs and their shiny ad tiers, outside of Hulu, NONE of the other premium players generate a significant share of TV's ad views, yet. 👟 When added ALL TOGETHER, Netflix (#24), Peacock (#31), Paramount+ (#33), Amazon Prime (#35), Disney+ (#56), HBO Max (#86) / Discovery+ (#133), and AMC+ (#163) - represent just 3.2% of ad exposure on TV; less than Fox News, Hulu or YouTube BY THEMSELVES. 👟 The data proves that cable TV ain't dead yet - with each of MSNBC, CNN, TNT, and HGTV, INDIVIDUALLY, garnering more ad exposure in 2Q than Prime, Netflix & Disney+, COMBINED. For my deeper analysis on Comscore, Inc.'s data, more info about THE SCORE, and the meaning behind the 👟s, hit the link: https://lnkd.in/eS5hGTQ7 The mission of this new collab is to give YOU - Media mavens, agencies, and brands an accurate & USEFUL understanding of CTV audiences, by introducing a new way of measuring them. Total viewing #measurement without proper context does not help the ad buyers FOR WHOM TELEVISION MEASUREMENT IS ACTUALLY INTENDED, nor the larger Media community who NEED to monetize TV viewing now, more than ever. The full report will drop just in time for #AWNY. In the meantime, any/all feedback is welcome - lmk what you think! #measurement #CTV #advertising

300

45 Comments

Another big licensing deal in podcasting! In addition to selling the audio podcast inventory, Amazon will distribute video episodes and translate them for global distribution. These types of deals show how effective podcasting can be in proving IP. Once you have a hit, you need to figure out your 360-degree strategy for global audiences, live events, merchandise, etc. Q3 just started, and we'll still see a couple more of these before the end of the year, as predicted in the DWNLOAD Media Report. https://lnkd.in/efJVZXEE

44

Prime Video & Amazon MGM Studios’ latest move into live news coverage, including streaming the night of the upcoming presidential #election, is another significant blow to traditional broadcasters, who are already struggling to retain viewers. Many have shifted to on-demand and streaming platforms, leaving broadcasters fighting to stay relevant. Streaming services, which once focused solely on on-demand #entertainment, are increasingly expanding into live programming, such as sports and now breaking news. Prime Video's election coverage could mark the first significant foray into live news programming by a major standalone streaming platform, primarily known for films, scripted originals, and reality shows. By integrating live news, #PrimeVideo is positioning itself to compete directly with broadcasters in a domain historically dominated by cable networks during pivotal events like elections. This shift underscores the broader trend of streaming platforms evolving into full-service #media ecosystems. With live content becoming a key differentiator, it is becoming harder to see how traditional broadcasters will maintain their foothold in this space. As more viewers demand dynamic, flexible viewing experiences, live programming offers streaming platforms an edge, helping drive subscriber engagement and retention. It's likely that other major digital platforms will follow suit in the near future, further accelerating the shift away from traditional broadcasting models. In essence, this move is both a strategic evolution and a glimpse into a future where streaming platforms dominate not only on-demand entertainment but also real-time events, marking a potential endgame for traditional broadcasters and cable. https://lnkd.in/gD9y9pVE #LITrendingTopics #StreamingWars

36

1 Comment

It's NOT. But what this really is about is a call-to-action and reaction to the industry earthquakes of the past year or so. One thing's clear: It's never going to be same again. And to be honest, things will probably be worse for a while longer before they get better - if they even do get better. But we have to change. We have to adapt. That's just the way it is, folks. #animation #cartoons #cartoonnetwork https://lnkd.in/gn3T-9fP

42

4 Comments

Like most FAST services, such as Paramount’s Pluto TV, The Roku Channel, Xumo and smart TV OEM platforms Samsung TV Plus, Vizio WatchFree+ and others, Tubi offers a mix of live linear-style streaming channels as well as on-demand content. Murdoch on Wednesday’s earnings call said that across content available on the platform, 90% of viewing happens in the on-demand environment. “This is very important because when the viewing comes on-demand and it’s proactively on-demand, as opposed to passively sort of sitting back and watching a FAST channel, that’s much more valuable to advertisers,” Other FASTs are leaning into on-demand as well. Samsung TV Plus, for example, initially focused more on linear FAST channels but during this year’s NewFronts presentation said it plans to double the amount of VOD content available, after having already done so last year. “money will continue to flow from linear entertain television, particularly cable entertainment networks, into streaming” including AVOD, SVOD, and ad-supported SVODs, Murdoch said. “That trend… will not slow" #FAST #AVOD #streaming #on-demand #content #TV

5

1 Comment