Grace Street Media’s Post

From the Journal: It didn’t make a billion dollars at the box office. It didn’t bring home any Oscars, either. It wasn’t even the most popular Disney animated movie in the year it came out. “Moana” was released in 2016, but it’s much bigger on streaming than it ever was in theaters. It has been viewed for a total of more than 1 billion hours, according to Nielsen, which amounts to one person sitting through the movie 775 million times. Or watching “Moana” for 150,000 years straight. And it’s somehow still getting bigger. It was one of the most-watched movies in 2020, 2021 and 2022 for U.S. audiences. Then we managed to watch more of “Moana” on Disney+ in 2023. It was both the No. 1 movie in all of streaming last year and the No. 1 movie over the past five years combined. But it’s not just the biggest hit of #Hollywood’s streaming age. It also happens to be the biggest surprise. “Moana” is one of those movies that kids see one time, then a second and third time. Before long, the whole family has seen it a hundred times. All of the top streaming hits are children’s movies, but “Moana” stands out for its consistency and stickiness: It’s the only one that ranked in the top 10 of Nielsen’s annual streaming lists in 2020, 2021, 2022 and 2023. The movie business is unpredictable because all sorts of factors can determine success in theaters—timing, marketing, competition. And even a bad movie can outperform expectations at the box office. But only a great movie can have staying power at home. [...] One of the many peculiar things about the most popular streaming movie is that it’s not on the most popular streamer. At least not any more. But before Disney+ existed, “Moana” was available on Netflix in 2017 and 2018. By the time Disney’s rival streamer launched in late 2019, there was already a huge audience that had been primed to watch and rewatch Disney movies whenever they wanted. Back then, Netflix wasn’t publishing its own data about what people watched and for how long, so it remained a secret that “Moana” had become a smash hit at home. But as soon as their streamer went live, it became clear to The Walt Disney Company executives that “Moana” was going to be much, much bigger in living rooms than it ever had been in theaters. And when Nielsen began releasing weekly top 10s for #streaming viewership in 2020, “Moana” was on the list and it’s been there for 60% of the weeks since. I suspected there was some kind of hidden explanation for the movie’s seemingly inexplicable second life, but the company’s executives insist that its success was entirely organic—and I now believe them. It’s all but impossible to artificially, algorithmically manufacture a hit streaming movie because it depends on people feeling a natural urge to watch it again. And again. And again. “It’s not something that you can make happen,” Bush said. “A swell of interest is something that has to be homegrown.” #film Disney Streaming #cinema

The Film Industry Isn’t Dying—We’re in a Renaissance Just like the French New Wave, which was born from rebel filmmakers who were shut out of studios operations, we are witnessing a similar shift in the industry today. Many claim the film industry is dying, pointing to the financial struggles of streaming platforms and the decline of traditional cinema revenue. However, many see it differently. This transformation is reminiscent of the Hollywood Renaissance, eras that redefined cinema by shifting power to independent filmmakers. A recent article on the economics of streaming highlights the challenges facing major studios and platforms (https://lnkd.in/gPQDk8aQ). But rather than signaling the industry's demise, these challenges are paving the way for a new era of innovation and creativity. Independent filmmakers, who create genuine stories instead of rinse-and-repeat formulas, are now more connected to their audiences than ever before. With unprecedented access to affordable technology and distribution channels, they can tell unique stories that resonate on a global scale. This democratization of film production is fostering a vibrant ecosystem where diverse voices and fresh perspectives can thrive. The industry isn't dying; it's evolving. We're witnessing a shift that empowers creatives outside the traditional studio system, echoing the revolutionary spirit of past cinematic movements. The future of film lies in the hands of the storytellers. #FilmIndustry #IndependentFilm #CinemaRevolution #StreamingEconomics #CreativeInnovation

The Surprising Success of Low-Budget Films Low-budget films are carving out a unique space in the entertainment world, proving that compelling storytelling can triumph over massive production budgets. These films often rely on creativity, innovative marketing strategies, and strong performances to captivate audiences. With platforms like streaming services democratizing access to global viewers, low-budget movies are finding unprecedented success and critical acclaim. From independent festivals to box-office hits, these projects showcase that resourcefulness and passion often resonate more powerfully than lavish sets and special effects. #IndieFilms #LowBudgetSuccess #StorytellingMatters #CreativeCinema #FilmIndustry #IndependentMovies #StreamingPlatforms #BoxOfficeHits https://lnkd.in/d_7-XBjd

TV, Film & Media Industry International News Roundup, Weekend 2-3 November 2024 From Sony's lawsuit against CBS over Wheel of Fortune and Jeopardy! Distribution to Jordan Peele's "No Drama" initiative supporting new horror filmmakers, there's no shortage of headline-grabbing news. The landscape is rapidly evolving, with the Film Academy restructuring, Nielsen's streaming data changes, and Comcast's potential cable spinoff. Also, insights into MrBeast's brand partnerships, AI-driven TV innovations, and indie film's fight for survival are reshaping the field. Plus: News, Insights, Executive Moves, Festivals & Markets, In Development, Deals, Cancellations, Events and Jobs with BFI, ITV, Disney, Netflix, Virgin & BBC. #EntertainmentIndustry #MediaTrends #FilmNews #Streaming #AI #IndependentFilm #Sony #JordanPeele #Comcast #LinkedInNews

✅🖥️ The Hollywood Reporter (4/11): “The film racked up 677MM minutes of viewing in the United States in the week of March 11-17 (it debuted on Disney+ on March 14), finishing second among movies and eighth among all titles for the week. Disney had previously said that The Eras Tour (Taylor’s Version) had 4.6MM views (defined as total viewing time divided by running time) worldwide over its first three days; the four days of Nielsen measurement translate to about 3.22MM views of the 3 1/2-hour film. Peacock’s Apples Never Fall, which had a binge release on March 14, debuted in sixth place among original series with 476MM minutes of viewing. Both Poor Things (376MM minutes) and Oppenheimer (286MM minutes) made the top 10 movies a week after winning multiple Oscars. Nielsen’s streaming ratings cover viewing on TV sets only and don’t include minutes watched on computers or mobile devices. The ratings only measure U.S. audiences, not those in other countries.” ⬇️ #streamingtv #ctvadvertising #binge https://lnkd.in/eGC9-i_a

A new report reveals that Japan's theatrical releases have rebounded to pre-COVID levels with over 1,200 titles this year, and local films continue to dominate—accounting for approximately 70% of box office revenue. While the online video sector is projected to grow at a 7% annual rate and capture 45% of screen industry revenue by 2029, the resurgence of cinema underscores Japan’s enduring love for the big screen experience. Read more: https://ow.ly/I0mI50U8vPc

As a consumer, I really enjoyed (formerly) HBO Max's "Project Popcorn" initiative back in 2021. It was fantastic to have the ability to watch new theatrical movies at home on the same day they were released in theaters. I was more than happy to pay my monthly HBO Max subscription fee for that level of new content. The problem, as it seems, was that Project Popcorn was not very profitable or beneficial for HBO Max in the long term. As soon as new leadership took over the company after the merger with Discovery, they said adios to Project Popcorn. It's been 3+ years now since Project Popcorn, and to the best of my knowledge, we've not seen any of the premium streamers attempt any other sort of major programming or content strategies like Project Popcorn since its demise, in the effort to get a leg up on their competition. Other than Disney+ merging Hulu's offerings into its service last year, all of the premium streamers seem pretty much the same as they were 3 years ago. Netflix then is pretty much Netflix now. Same with Amazon Prime, Peacock, Paramount, etc. My question to all of you folks in media - did Project Popcorn kill innovation in premium streaming? Have the major media companies been spooked out of trying new content strategies in streaming in the wake of Project Popcorn? I'd love to hear your thoughts!

As New Release films move to the streaming small screen, curated film backlist moves to the big screen. Just like musicians now rely on touring because the profit proposition is better than streaming, media content owners see the value proposition of showcasing backlist content and driving fans to event viewing. This is an interesting move for Sony and I like it. In a digital world, where everything is delivered to a screen consumer's perceived content value shrinks. It also creates "marketing stations" in local communities to promote and cater to fandoms for cult and classic properties. They have my attention. #branding #contentmarketing https://lnkd.in/eg2Hjin4

The landscape of the movie industry is undergoing a dramatic transformation, driven by the preferences and behaviors of Generation Z. Born between the late 1990s and early 2010s, Gen Z is the most connected and digital-savvy generation, and they are reshaping how movies are consumed, marketed, and appreciated. This generation's unique viewing habits, such as a preference for streaming and short-form content, are influencing every aspect of the industry. Additionally, Gen Z's desire for diverse and authentic storytelling is pushing filmmakers to create more inclusive narratives. From their online engagement to their impact on cinema experiences, Gen Z is revolutionizing the movie industry. #GenZ #MovieIndustry #StreamingServices #SocialMedia #DigitalContent #CinemaExperience #DiversityInFilm #EconomicInfluence #PopCulture #EntertainmentTrends

Excellent points by my colleague Jackie Brenneman. Additional point on the WSJ piece, is that it is gossip about corporate jockeying and jealousies masquerading as industry analysis. And this bit of analysis gets things exactly backward: "Stephen Galloway, dean of Chapman University’s film school, said the problems in the theatrical business—with consumers going to the theater less than they used to—make it hard to justify heavy spending. That is especially true for a company like Warner Discovery, which is also battling other challenges. Zaslav, he said, “has much bigger concerns” than the stagnant movie business." The business is stagnant because it hasn't been invested in. Jackie shows the effect of that lack of investment, and Zaslav's bigger concerns are a debt-laden and staggeringly unprofitable DTC business and a linear and cable TV business being cannibalized by it. Theatrical tiles provide multiple opportunities for revenue, including streaming, and measurable profit and loss.