Tag: Disney

  • Foxtel to launch streaming service on 25 May

    Foxtel to launch streaming service on 25 May

    MUMBAI: Australian pay TV company Foxtel will launch a new entertainment streaming service on 25 May, entering the crowded streaming market.

    The official announcement has ended all speculations regarding the launch that have been doing the rounds.

    The next-generation streaming service, which will offer more than 10,000 hours of content including movies and dramas, will be competing with giants like Netflix, Amazon and Disney+.

    Though there has not been any official announcement of the name, Foxtel had recently registered ‘Binge’ brand name and logo trademarks.

    It is still not known the kind of subscription model the new streaming service will adopt. Media reports say it could be similar to that of Kayo, Foxtel’s sports streaming platform, which works on a monthly subscription free model.

    The platform will be hosting content from Sony, BBC Warner Bros, and HBO Max. Over the last one-and-half years, Foxtel has been renegotiating content deals with studios to get SVOD rights for the new streaming service.

    “There has been a lot of speculation about our new streaming service and its name, and we are pleased to finally be ready for the big reveal to Australia next week,” says Foxtel Group CEO Patrick Delany.

    He termed the streaming service as Foxtel’s ‘growth engine’. The purpose of the new OTT, he said, will be to target consumers who seek to consume the premium content offered by the company.

    “We have been beta-testing the service for a few weeks and we are sure Australians will love everything about it. It brings an exciting new brand to younger streaming audiences with a very different and compelling product experience, and a distinctly curated mix of the best drama and movies from the world’s best entertainment brands,” he added.

    He said that the launch will be another milestone in the Foxtel Group’s strategy to transform itself and bring its unparalleled catalogue of entertainment and sports to even more viewers in Australia. “Our goal is to consolidate our position as Australia’s preeminent subscription television and streaming provider,” he said.

    Foxtel’s subscription television service has 2.5 million customers, providing premium experience – the best of television and on-demand services.

  • Covid2019 cuts back customer acquisition costs

    Covid2019 cuts back customer acquisition costs

    MUMBAI: Covid2019 has plummeted what was a skyrocketing cost of customer acquisition, according to a report that delves deep into the correlation between the pandemic and the entertainment industry. According to the special report, Navigating Covid-19, by Parrot Analytics, this is exciting for platforms launching in the middle of pandemic such as Quibi, HBOMax, and Peacock. Yet, as time stretches on, OTTs may lose subscribers whose free trials end or who churn due to the recession. After the lockdown, the demand for content may be even more important as out-of-home activities will pose greater competition.

    Under stay-at-home orders, OTTs are gaining subscribers due to consumers’ heightened perceived value of their catalogue offerings.  

    The report says that the global lockdowns, forcing everyone to be home, have led to increased content consumption (viewership, ratings, etc.). Yet, this increased consumption has been accompanied by the unique challenges of satisfying audiences while production of key tentpoles has been halted and delayed. Broadcasters and cable (Pay-TV) have additional hurdles compared to OTTs. They must also cope with reduced ad revenue within the industry, making their ability to optimize their airing schedules and to fill content gaps even more crucial. Nonetheless, OTTs and Broadcasters alike are looking to solve their challenges by acquiring and producing virus-proof content.

    Meanwhile, distributors have an opportunity to revisit and leverage their reserve of content. They can offer unique packages of titles that will allow platforms and channels to retain their viewers and subscribers. Producers are challenged with finding innovative ideas and formats as well as adapting existing ideas to new restrictions placed during and post-lockdown. Simultaneously marketers are left searching for fragmented and dispersed audiences, recalculating and holding on allocating budget.

    Pay TV

    In the short-term, Pay TV has similarly seen a surge in viewership and ratings. Yet, as industry analyst Rich Green- field points out, this bump has been underwhelming. Greenfield is not alone; many analysts expect networks to feel more repercussions due to their losses of advertising, their reliance on live TV, and their battle for a digitally orient- ed key audience: those between 18-24. When consumers are faced with hard choices, Covid2019’s impact long-term may accelerate cord-cutting, contributing to Pay TV’s decline. However, broadcasters can avoid this by capitalizing on audiences who are tuning in now.

    What qualities have created opportunity under stay-at-home measures?

    According to the report, there are a few characteristics of SVODs that have been advantageous during the lockdowns.

    •           Size of catalogue:  The lockdown conditions have temporarily increased the value of all content, making it easier to reach the threshold of demand needed to acquire a customer. Thus, the larger the catalogue the greater the likelihood of customer acquisition at the moment.

    •           Supply of originals:  As stay-at-home orders continue, boredom and loneliness is on the horizon for many consumers. This makes original content that connects people more important than ever.

    •           Flexible viewing: With families, roommates, and others forced to share living spaces, SVOD content avail- ability on multiple screens is an advantage. The flexibility to watch on TVs, laptops, and phones allows consumers to watch their preferred content wherever they want and with whomever they want.

    •           Ad-free: Declining revenue from advertising poses a unique challenge at the moment; many companies have cut their marketing teams, frozen budgets, and are limited in ad-production capabilities. Thus, SVOD’s diminished reliance on ad-revenue is beneficial.

    Netflix

    Consider Netflix. Its large catalogue, supply of diverse original content, flexible availability and lack of ad-reliance allows it to thrive at this moment. The crisis has also temporarily reverted Netflix to an earlier phase in OTT life-cycles, in which total demand for content dictates subscriber growth and retention.

    Netflix is not alone, Disney+ also exhibits similar qualities. Although it has a limited supply of originals, its flexible access, ad-free platform, and large catalogue of premium children’s and family-friendly IP support its ability to thrive. Amazon Prime Video and Hulu are also well positioned with large catalogues, many originals, and flexible viewership.

    For Pay-TV, channels with large catalogues of family-friendly content, such as Discovery and Disney, are fulfilling increased demand from kids who are home due to school closures. Other broadcasters which are experiencing holes in programming are employing repeats or flashbacks of favourite episodes, searching for foreign acquisitions, and considering moving exclusive content from their OTT platforms back

    The key for producers and distributors is therefore to capitalize on this need for a larger catalogue and greater supply of originals. They can solve the pains of an aching industry with innovative content that fulfils and attracts the audiences that platforms, networks, and marketers are seeking to find.

    What can the industry do to thrive moving forward?

    In the midst of uncertainty, data allows decision-makers to be agile, says the report.

    Covid-2019’s effects on the global TV industry have likely just begun to unfold. As new consequences emerge, the industry will need to adapt swiftly by combining the art of storytelling with the science of human behaviour.

    Content preferences

    Audience content preferences have shifted due to Covid2019, these include a desire for original content, especially content that fills holes left by cancellations or delays.

    OTTs have an opportunity for growth due to increased streaming volume, but in order to prevent churn they must optimize their release schedules and content acquisitions.

    Broadcasters are challenged with holes in programming schedules, but can adapt by reinvigorating fandoms and finding replacement titles that will attract target audiences.

    Distributors should optimize their content packages for broadcasters and OTTs in need.

    Producers, despite shutdowns, can be resilient by prioritizing projects that fulfil audiences’ shifting demand and finding new formats to create fresh content.

    Marketers may need to pivot their channel spends, but can find ways to maximize their audience reach and tap into emerging preferences.

    OTT solutions

    Capture shifting preferences: By examining trends in content preferences, OTTs can prioritize speeding up releases or acquiring titles that may appeal to audiences’ shifting needs.

    Acquire vs. retain subscribers: Platforms must evaluate whether titles fulfil the preferences of existing subscribers or those yet to be acquired. Depending on an OTT’s goals, they may choose to prioritize a title that targets retention or to prioritize a title that targets acquisition.

    Ensure audiences are satisfied, but not overloaded:  Saturation is another term for diminishing marginal returns. Based on past data, OTTs can derive an optimal point or a point of saturation. To ensure audiences are not over- whelmed, OTTs should evaluate if there is headroom before speeding up releases or acquiring titles. Otherwise, due to genre saturation, titles may underperform.

  • Disney+ reaches 54.5 mn subscribers; execs pleased with India launch

    Disney+ reaches 54.5 mn subscribers; execs pleased with India launch

    MUMBAI: The Walt Disney Company (Disney) has witnessed a sharp fall in profit as a consequence of the Covid2019 pandemic. While the giant faced widespread disruption like many other organisations, it has one card in store: the newly launched streaming service Disney+. The streaming service is seeing a fast growth in subscribers, which now stands at 54.5 million as of 4 May. It seems shelter-in-place directive has worked in its favour as the service has added 21 million subscribers in less than two months.

    Disney senior executive vice president and chief financial officer Christine M McCarthy said in an earnings call that since they continued launches in several markets between quarter end and 5 May, the subscriber number has also increased reaching 54.5 million. She also added the subscriber mix reflects the same as it did on 8 April when they announced that the service surpassed 50 million subscribers globally.

    "At our direct-to-consumer international segment, operating losses were $427 million higher due to the cost incurred for the online launch of Disney+ around the world and consolidation of Hulu. Disney+ launched in the number of European markets in the world which contributed to a total paid subscriber base of 33.5 million at the end of the quarter and we are very happy with our successful rollout in Western Europe and India where we converted our pre-existing subscription base Hotstar service to Disney+Hotstar,” she added. In India, it already accounts for approximately eight million subscribers as per numbers shared last month.

    The new Disney CEO Bob Chapek, for whom it was the first earnings, also expressed his ecstasy over the successful rollout in Western Europe and India. “We have been thrilled with the performance of Disney+. Since our initial launch in November, we have continued to expand in other markets. In late march as planned, despite Covid2019, we had an incredible launch in Western Europe followed by a highly successful launch in India,” he added. While in India it was scheduled to launch during the billion-dollar sports event IPL to exploit the Hotstar user base, it launched around scheduled time despite the suspension of the tournament.

    “The Hotstar service in India was converted to Disney+ Hotstar, resulting in approximately eight million additional Disney+ paid subscribers. In general, wholesale arrangements have a lower average monthly revenue per paid subscriber than subscribers that we acquire directly or through third party platforms like Apple. In addition, the average monthly revenue per paid subscriber for Disney+ Hotstar is significantly lower than the average monthly revenue per paid subscriber in North America and Europe,” The Walt Disney Company said in a regulatory filing.

    Disney’s overall average monthly revenue per paid subscriber for the second quarter stood at $5.63. 

    "As we will use our branded film and television content on the Disney+ service, we are forgoing certain licensing revenue from the sale of this content to third parties in TV/SVOD markets. In addition, we are increasing programming and production investments to create exclusive content for Disney+," it added in the regulatory filing.

    Chapek added that the streaming service will begin rolling out in Japan in June, followed by Belgium, Luxembourg, Portugal in September and Latin America towards the end of the year. He promised that the vast collection of libraries in regional content available will continue to grow. He added that they will continue to make the planned investment that they always had into programming to drive subscription rate and retention.

  • Big growth in viewing in India led by originals: Netflix’s Ted Sarandos

    Big growth in viewing in India led by originals: Netflix’s Ted Sarandos

    MUMBAI: Last year, Netflix rolled out a mobile-only plan in India to suit the country's preference for smartphones over laptops. Moreover, it was a way to delve deeper into a market where its basic Rs-500-a-month subscription plan was sharply expensive compared to homegrown OTT giants. The bet got the success it hoped for and Netflix followed the footprint in other markets as well. After nearly a year, the streaming service seems satisfied in the uptake of mobile-only plans as well as its overall growth here.

    “It's a plan (mobile-only plan) that we've tested for a while and we have rolled it out now in a bunch of countries: India, Malaysia, Indonesia, Thailand and the Philippines. And it's consistent with the broad theme and goal that we have which is why we're seeking effective ways to make the Netflix service more accessible to more and more people around the world,” Netflix chief product officer Greg Peters said in an earnings call.

    This strategy has helped Netflix witness a significant increase in acceleration and addition of new members. From a revenue perspective, it's also helping the company go from "neutral to positive", which Peters says will be good in the long term for the business.

    While all streaming players have witnessed magical growth in users during this COVID-19 lockdown, everyone is keen to know about Netflix’s growth in the period. Peters said he would not draw any strong contrast between India and other countries around the world. He mentioned that it is putting high effort to make the offering more competitive and attractive to members.

    “We've seen a big growth in viewing in India and have had great success for our local originals. Most recently was She andGuilty and a few others have been driving a lot of engagement in local content on our India service and they also are big fans of our global original content like Lacasa de Papel. So we're growing the business of licensed originals, international and domestic, across the board,” Netflix chief content officer Ted Sarandos said.

  • Uday Shankar’s tips to win COVID2019 crisis

    Uday Shankar’s tips to win COVID2019 crisis

    MUMBAI: It is hard to measure the impact of COVID2019, harder to predict when everything will get back to normalcy. The uncertainty created by a virus, which is worse than a war, is instilling fear into minds. How does someone come out stronger amidst this chaos? The Walt Disney Company APAC chairman and Star and Disney India president Uday Shankar suggests simple measures – building core strength, reduce liabilities, taking calibrated risks and strategising.

    Even as the fear of catching the virus looms large, the economic instability is adding more worry. However, Shankar prioritises safety and reminds that unless you are safe there is nothing to look forward to.

    “The economy does look bad. There’s no trying to soften the bad news. So, let’s all get prepared. Today, if the entire country is going to be locked down, the wings of economy have come to a halt and it looks like a couple of quarters will be lost in terms of economic value,” he says reminding us about upcoming second-order, complex challenges like reduction in salaries, job losses, businesses struggling with liquidity and cash, etc.

    “This is a kind of economic setback that this country has not seen since independence. We had many hiccups and turbulences along the way but this kind of undifferentiated and pan-national economic crisis is not something we have seen,” he states.

    Despite all the negativity surrounding us, Shankar advises us to have a positive outlook. “I think the world has become tougher. This virus has created a crisis which is unprecedented. However, the world is not going to come to an end; this is not Armageddon. It has seen crises like this and has survived to grow stronger,” he says.

    Calling himself a ‘practitioner’, as is true with Shankar’s shift and rise from a journalism background to being one of the world mavericks of the media and entertainment world, his suggestion is to not let the fear of the unknown overtake you.

    Here are his four tips:

    Calibrated risks

    Shankar’s first tip to everyone – individuals and businesses –  is to reduce the risk. Focus on your core skills and build on that by acquiring knowledge. “Invest your time in learning a new skill. Knowing something is always uplifting. It gives you confidence. It is a journey from awareness to knowledge,” he says.

    However, he warns against gambling in this uncertain period. “There’s a difference between a gamble and a risk. You don’t know if this is the bottom or it’s further down. So, I don’t recommend gambling,” he points out.

    Reduce liabilities

    With less cash in your pockets, everyone needs to reduce their liabilities. Anything that’s not urgent can wait. Sharing an anecdote from his life at Star India, Shankar says that right after he took over the business, the world was hit by the 2008 economic crisis.

    “It looked like the world that would come to an end but I decided that there has to be an opportunity. My team and I decided to build on our core strength – our entertainment channel Star Plus. We decided to invest in that and not do anything new for some time. After that, our core business got stronger and we had fewer liabilities,” he shares.

    Strategise

    Even without an MBA background, Shankar spells out strategy in simple words: making choices. “There’s no better time than now to take decisions on what you will do, absolutely not do or postpone. All you need is clarity and purpose. Hit pause, rethink and think about how to lighten your load,” he guides those in the webinar.

    What has helped Shankar take the right calls in his journey from being a journalist to a media honcho is going with his gut instinct. He advises not to turn away from any information but process it for yourself.

    Star India, being one of the biggest content churning broadcasters, gets a lot of story pitches on a daily basis. Shankar picks what his gut says will work. “There’s no guarantee it will succeed but I will know that I failed doing what I wanted to do rather than what someone else wanted to do. You don’t want to fail and feel miserable that it was someone else’s suggestion. In most cases, the first attempt is not successful but if it’s something you’ve always wanted, you will make it work,” he says.

    Conviction

    Star India’s OTT platform Disney+Hotstar, launched five years ago as just Hotstar is today one of the top world players. But, in 2015, Shankar’s ambition was criticised. India was an expensive and data-dark market. But Shankar envisioned that people without TVs but with access to smartphones would want to consume video content. So, despite someone warning him that his “company has too much money and bosses too much faith in him”, akin to saying you’re investing in a losing proposition, his bet has played off.

    As data got democratised, opportunities opened up. “I wouldn’t have had the confidence if I did not have the conviction,” he says.

    Similarly, the company placed a bet on sports when everyone thought it had nothing new to offer. “I believed the power of cricket was only going to grow. That’s been our experience in the last five to six years. The number of consumers has doubled. The other is the story of kabaddi. They believed it was a 1000-year-old dead sport. Ronnie (Screwvala) was one of the first to believe that people will watch kabaddi if it’s made to look like a serious modern sport. Today, it is the second-most-watched sport in the country,” he reminisces.

    Along the way, he rejected taking up many other sports, such as basketball, which have been successful in other countries. “I believed I understood India and I realise that Indians would like to watch something they’ve grown up with and seen in their neighbourhood. So, my message is to stay with your conviction and do not go for applause in the stadium,” he says.

    His final message is to stay positive. If you're safe and healthy you will be able to finally triumph. He also tells people to look into the failures of those who have been successful. “There are a lot of us who admire many leaders. The problem with all of us is we read only the success. Rarely do we get an insight into the journey to success. All the people that I admire have had to face many setbacks, failures and handicaps before gaining the success that the world admires,” he states.

    Praising the country’s tackling of COVID-19, Shankar mentions, “This country has been ahead of the curve. Yes, a lockdown is miserable. But individuals and the country will come out stronger. We need to be positive and not selfish. Today, we need community, friends, family and the nation even more than we have needed in the past.”

    In a short Q&A session, Screwvala posed a question on how the youth can have long-term views rather than weekly. Shankar reiterates the need to think long-term because the short term is only likely to get worse.

    “It is going to be fluid and bad. Though we should hope for it to get better, we need to be realistically prepared for it to get worse. India is a country of youth. We have a long life ahead of us. A few quarters and even a year or two is not what we’re planning. The youth are impatient and full of energy. They want to achieve everything overnight. You will dissipate a lot of energy and get frustrated in doing that.

    To do that, Shankar says that people need to build endurance which he thinks is a skill visible in a marathon, even though the marathon runner may look ‘unattractive and unsexy’ as compared to a 100-metre sprinter.

    Speaking on consumer patterns, the Disney boss is aware that people will be extremely cautious about being in crowded places and that will determine their behaviour. The environment is going to be cynical and full of fear. Consumers will be conservative as the changing lifestyle will persist even after the lockdown is lifted. Hence, instead of going for five things at a time, he asks to take one-two tasks and see if they can deliver the same business goals.

    While many have been pushed into working from home, Shankar is no different. But this new normal, for him, has brought more efficiency.  “It is exhausting and tiring because there is no difference between work and home but I find myself more productive since I can focus more on what’s important and urgent. At work, we spend a lot of time doing trivial and inessential things,” he shares about his work-from-home experience.

    Leading a bunch of teams across APAC, Screwvala asks what qualities he admires in other countries. To this, Shankar says that China’s discipline and Japan’s dedication and collaborative spirit are admirable.

    To leaders, Shankar says that it is a time to pause and start again. He calls the COVID-19 crisis a washout. Just because something worked before the crisis, does not mean it will afterwards, too. “Production of our [Star India] shows has stopped and the habit may have been interrupted. The fact that it was doing well before lockdown is not the reason why the show will be watched again,” he says grimly.

    To the youngsters looking at a career in media, he says that one of the key reasons to choose this field is because “Even Corona doesn’t stop the consumption of media”. Shankar says that whenever the world feels uncertainty, it gravitates to media – content. Information and awareness give you a sense of comfort and assurance in the volatile world.

    However, the media is also relentless and if you don’t mind challenging yourself every single day, and being fine with the fact that what you’re going to say is going to be judged by every person, there’s every reason to be in media.

    He concludes with a cricket analogy. “It’s the time to watch every cricket ball and let most of the balls go. Then pick your ball and hit it out of the park.” 

  • ‘New doesn’t kill off the old but grows the industry’ – Phil Schuman

    ‘New doesn’t kill off the old but grows the industry’ – Phil Schuman

    MUMBAI: “One thing is always clear: those who embrace change consistently end up better off than those who can’t or don’t. All of this to say the entry of streaming into our industry is likely going to add more,” said  FTI Consulting senior managing director in business transformation and a leader of the media and entertainment practice globally Phil Schuman.  He was delivering a virtual keynote address "content strategies in the streaming era’  during the online version of  MIPTV 2020 earlier this month. MIPTV is normally held in the Palais des Festivals in Cannes, France every year, but was called off this year due to the Covid2019 pandemic, and the conference was streamed online.

    “New technologies emerge in consumer taste and demands always evolve but in the end the industry is still going to be here; and content will still be king. Again and again we have seen that the new doesn’t kill off and replace the old but grows the industry, creating more opportunities for everyone, and when I say more opportunity, I mean a lot more,” he says.

    “Let’s talk about the change in television. It’s been around as long as TV, but I have always found that my colleagues in the industry have the view that change is great, but just don’t change me! Every major change over the past 60 years in the television industry has been met with fear. Back in the 1970’s in the US when HBO started, people were concerned that it would kill theatrical, but it didn’t,” he said.

    “When multichannel pay TV broke out in the 1980’s as a mass medium people thought it would kill broadcasting. It didn’t at all. Now the fear is that Netlfix is killing television; but let’s look back and see how the industry fared among these changes in the past. PTV turned out to be a goldmine for studios, creating new rights windows for film libraries and syndication of popular broadcast series driving massive new incremental revenue streams,” he explained.  

    According to him, the innovation of pay television also paved the way for retransmission fees for free-to-air broadcasters an entirely new revenue stream that is projected to bring in over 12 billion dollars this year. Now I know hindsight is always 2020, looking back it’s hard to imagine what the broadcasters were so worried about the emergence of cable and pay television was probably the best thing that ever happened to them.

    “As we know the driver in television growth today has been the VOD segment and it’s been brisk at 15-plus per cent compounded annual growth rate since 2014. The number of scripted TV shows on TV now tops 500, growing 30 per cent in the last five years. And the diversity of channels and platforms has proliferated more in the last few years than in the previous 60. All this change has led to crazy stock valuations and huge mergers that have remade the landscape. Just five years ago, the capitalization of major players in the television landscape looked like this on the chart. With digital players being big but still close in scales of legacy players and they are being more major participants,” he said.  

    Today, he said, the major player comparative landscape looks quite different with major tech players with overwhelming capital size and fewer major legacy companies in pursuit and those legacy players are falling further behind in size to the digital players. “One point I would like to make though is that history tells us that today’s giants will not show all of the world they’d never seen. Let’s take a stroll down memory lane to emphasize that point.”

    “Do you remember when AOL met Time Warner they were going to be twice as big as their next rival and that spread fear in all the industry, and I don’t know that one worked out. How about when Comcast met Universal vertically integrating a major studio networks and distribution it was expected to be the end of non-exclusive network distribution. How about when AT&T met Warner Media. This deal also led to calls of doom that never happened and Disney and Fox? Looks to me these mergers generally add to the landscape after the integrations are completed. Now I will admit today is tricky. There is more competition, more diverse competition, than ever before. New guys have stormed the gates and everyone has had to adjust. Yes, Netflix can buy out Apple, so can Amazon, may be even Disney at this point,” he said.

    Streamers are also making huge investments in funding content production around the world, unlocking opportunities for storytellers everywhere. “By our count, content spent by Netflix, Amazon, Apple and Hulu in 2019 was over 30 billion dollars, much of it incremental increase in spend in the sector.

    The streaming sector itself continues to grow too. By our count, there are at least 15 sizable global or regional streamers, with more on the way.”

    Regarding the broadcasting sector, none of these legacy players have gone or going away. They may be a little smaller part of the overall puzzle, but there is clear tried and trusted demonstrated value in broadcasting that won’t be disappearing anytime soon.

    He asserts that broadcast is still unbeatable in reach. One major sporting event still brings an audience far larger than Netflix’s entire global subscriber base. Just look at the FIFA World Cup audience when compared to Netflix. This reach comparison remains true within local markets, too.

    “Take a look at the UK for example. As you can see the broadcast reach surpasses OTT service penetration. Today, the content creation market is crowded and competitive, but open. In the global category we have the major powerhouses such as Netflix, Amazon, Disney, and Apple. These are already flexing their muscles in buying global rights of the content; but let’s be clear. There are potential emerging global players as well, such as HBO Max and Peacock Hulu,” he added.  

    The landscape for buyers and sellers is drastically shifting with an influx of new entrants to the buyer market; buyers becoming sellers, and sellers becoming buyers.

    Creating organisations that are able to sell content tailored to their environment using an adaptive business model and varying return on investment. One related trend is to have in place financing for shows in advance for production as opposed to traditional deficit financing with later syndication.

    Another funding model is co-productions between US premium networks and other global networks with upside and risk shared across the partners.

    Go global in a local way. We have heard from streamers and broadcasters alike that the demand for locally produced content is very strong especially in Latin America. Local language content tops the most popular Netflix releases of 2019 in eight countries. So here’s the opportunity: while streamers may be building up internal development capabilities in the US and perhaps the UK, they have not yet built that capacity at scale in other countries, and when they do turn their focus to particular markets, they still need local production teams to satisfy content demand.

    Consortium content creation among various localised participants is the most common success tack that we have seen. This model has one major benefit: it allows for higher content cost shows to be acquired in any given market, but with the cost spread so that all parties can obtain the content within their respective budget. Atrium TV with member companies in Europe, Latin America and Asia is a private company trying to create consortium is just an example.

    There are also examples of ad hoc consortiums being created show by show where rights are shared.

    "With respect to streamers’ best practices, Netflix and Amazon, they will likely to need more local production access and all participants can work with them on this. With respect to the emerging global streamers such as Hulu, Disney+, Peacock, HBO Max, etc. They will likely need additional content above their own supply and can provide good partners for local broadcasters," he said. 

  • Disney+Hotstar boasts of 8 mn paid subscribers

    Disney+Hotstar boasts of 8 mn paid subscribers

    MUMBAI: Disney+ is making noise in the market even after its launch as it has surpassed the 50 million subscriber mark globally. The new streaming service from the mouse house has been racing ahead of all its guidance numbers and has reached the magnificent number within five months of its launch. Disney+ became available last week in India, where it is offered in conjunction with the existing Hotstar service, and already accounts for approximately eight million subscribers.

    “We’re truly humbled that Disney+ is resonating with millions around the globe, and believe this bodes well for our continued expansion throughout western Europe and into Japan and all of Latin America later this year,” Walt Disney Direct-to-Consumer & International chairman Kevin Mayer said.

    The number has almost doubled in two months as it reported 28.6 million Disney+ paid subscribers as of 3 February. In the past two weeks, Disney+ rolled out in eight western European countries including the UK, Ireland, France, Germany, Italy, Spain, Austria and Switzerland. 

    “Great storytelling inspires and uplifts, and we are in the fortunate position of being able to deliver a vast array of great entertainment rooted in joy and optimism on Disney+,” Mayer added. 

    These few weeks have been a bonanza for OTT services. Due to countrywide lockdown, more viewers are consuming online video content and signing up to more services. In India, the time spent on smartphones, the primary device to consume OTT content,  has also gone up.

  • Disney+ Hotstar to go live from 3 April

    Disney+ Hotstar to go live from 3 April

    MUMBAI: Star India has announced the upgrade of Hotstar to Disney+ Hotstar will take place on 3 April 2020. With a fresh new look and enhanced user interface, Disney+ Hotstar brings together the magic of Disney’s storytelling and the scale and technological expertise of Hotstar, giving users an unparalleled video streaming experience.

    As people across the country practise social distancing and stay at home, Disney+ Hotstar is set to offer an unmatched entertainment experience for families with the world’s best superhero movies, unrivalled animated films, popular kids programming, recently released Bollywood blockbusters, exclusive Hotstar Specials shows, unlimited LIVE sporting action, and much more. Starting 3 April three distinct offerings – Disney+ Hotstar VIP, Disney+ Hotstar Premium and an ad-supported basic tier will be available, offering consumers an abundance of choice.

    The Walt Disney Company APAC and Chairman, Star & Disney India president Uday Shankar said, “With the success of Hotstar, we ushered in a new era for premium video streaming in India. Today, as we unveil Disney+ Hotstar, we take yet another momentous step in staying committed to our promise of delivering high-quality impactful stories for India that have not only entertained but also made a difference in people’s lives, a promise that is even more meaningful in challenging times such as this. We hope the power of Disney’s storytelling, delivered through Hotstar’s technology, will help our viewers find moments of comfort, happiness and inspiration during these difficult times.”

    From the comfort of their homes, Disney+ Hotstar VIP subscribers can explore the world of great entertainment in a language of their choice. Subscribers will now get expanded access to the entire Marvel Cinematic Universe and the best of superheroes movies like The Avengers, Iron Man, Thor Ragnarok, latest and biggest movies including The Lion King, Frozen II, Aladdin and Toy Story 4. Families can spend quality time together with engaging content and characters like Mickey Mouse, Gajju Bhai, Doraemon and Shin-chan. Stay entertained with the latest Bollywood movies like Panga, Tanhaji and more immediately after theatrical release, watch exclusive Hotstar Specials shows in seven languages like the hugely popular Neeraj Pandey’s Special Ops, Out of Love, Criminal Justice, unlimited LIVE sporting action, and STAR serials before TV and much more. Users can now enjoy all this at an affordable price of Rs 399/- for a year.

    Subscribers of Disney+ Hotstar Premium will receive all the benefits of Disney+ Hotstar VIP, with the addition of access to English language content and 29 critically acclaimed Disney+ Originals, including The Mandalorian from executive producer and writer Jon Favreau; High School Musical: The Musical: The Series, a creative modern take on the hit franchise; and the live-action Lady and the Tramp, a timeless re-telling of the 1955 animated classic; and many more to come; as well as the latest American shows from studios like HBO, Fox, Showtime at the price of Rs 1499 for a year.

    All existing subscribers will be automatically upgraded to their respective new subscription plan and will be charged the new rates upon renewal.

    A separate Disney+ branded section will help users navigate the wonderful Disney, Pixar, Marvel, Star Wars, and National Geographic content available on the service. Subscribers will enjoy the benefits of unlimited downloads of all Disney+ movies and shows, as well as personalized recommendations. Additionally, parents can navigate through the kids-safe mode to access age-appropriate content. 

    Users will continue to enjoy high-quality free content such as daily catch-up TV shows in eight Indian languages, a vast library of blockbuster movies like Housefull 4, Chhichhore, Badhai Ho, Komali and many more, and LIVE and on-demand news in eight languages from the leading news channels in the country. Disney+ Hotstar will also have a comprehensive sports clips offering for its free users, covering major sporting events such IPL, BCCI cricket series, Premier League, ISL and PKL, with all the exciting action from the day available as match highlights, key individual performances and match analysis.

    As a prelude to the launch, Disney+ Hotstar will host India’s largest virtual red carpet event on 2 April with the premiere of The Lion King (in English, Hindi, Tamil & Telugu) at 6 pm followed by the popular Disney+ original The Mandalorian at 8 pm. Helping build a virtual community and conversations in these times of physical and social distancing, users will be able to interact on the social feed on the platform, as these premieres are happening. They can chat with their friends and family, share photos and badges with them and the rest of India, and also interact with some of their favourite celebrities who will be at the red-carpet premiere event with them, all while staying safe at home.

  • Disney+ launches in seven European countries

    Disney+ launches in seven European countries

    MUMBAI: Disney+ has launched in Europe as the coronavirus continues its macabre journey at different parts of the world. It may be recalled that just a few days ago, the streaming platform launched in India, only to withdraw abruptly the next day.

    The Walt Disney Company’s streaming service will launch in France on April 7.

    The European launch of Disney+ means that it will be available in the UK, Ireland, Germany, Italy, Spain, Austria and Switzerland. Disney+ will come with a comparatively lower bandwidth utilisation in view of the growing worries about the capability of some broadband infrastructure to manage the likely surge in consumer demand.  

    In 2019 November, Disney+ launched its service in the US, Canada, the Netherlands, Australia, New Zealand and Puerto Rico. 

    Disney+ provides a treasure-trove of more than 26 original movies and series, films, and television episodes and much more. The launch means that audiences in the UK, Ireland, Germany, Italy, Spain, Austria and Switzerland will be able to enjoy streaming of Disney+ on almost all major mobile and connected TV devices, which include smart television, streaming media players and gaming consoles. Disney+ provides commercial-free viewing and unlimited downloads on up to 10 devices, in addition to customised recommendations. While subscribers may set up to seven different profiles, parents are at liberty to set Kids Profiles which feature child-friendly interface. It enables parents to restrict inappropriate content.

    Kevin Mayer, Chairman of Walt Disney Direct-to-Consumer & International, said that launching in seven markets simultaneously is a new milestone for Disney. “As the streaming home for Disney, Marvel, Pixar, Star Wars and National Geographic, Disney+ delivers high-quality, optimistic storytelling that fans expect from our brands, now available broadly, conveniently and permanently on Disney+. We humbly hope that this service can bring some much-needed moments of respite for families during these difficult times.”

    Meanwhile, the streaming platform (DIS +14.5%) is enjoying its best day as a stock since October 2008. Though at $98.18, it's still significantly off a 52-week high of $153.41, or even the $140 mark of a month ago.

    According to MoffettNathanson, Disney was unencumbered by language barriers unlike Netflix which had to localize its content for various non-English-speaking regions. Moreover, Disney+ is rolling out in Europe at a time when a large part of the population is staying at home due to the COVID-19 pandemic. The lockdown is likely to help the service to boost its subscriber uptake. 

    Unlike other international markets, Disney already has its OTT presence in India through Hotstar which came under its umbrella after the 21st Century Fox acquisition. Bob Iger, the ideator of Disney’s streaming journey, wanted to exploit Hotstar’s popularity in the country and launch the merged and rebranded service during IPL. Due to the outbreak of Coronavirus pandemic, the cricket tournament has been postponed and the entry of Disney+ got delayed in India.

  • Disney+ launch in India stalled due to IPL delay

    Disney+ launch in India stalled due to IPL delay

    MUMBAI: COVID-19 pandemic has stalled the entry of Disney+ in India. The scheduled launch of the streaming service has been paused and the new date is yet to be revealed.  

    “We recently announced that Disney+ would launch in India through the Hotstar service in conjunction with beginning of the Indian Premier League cricket season. Given the delay of the season, we have made the decision to briefly pause the roll-out of Disney+ and will announce a new revised premiere date for the service soon,” the Walt Disney Company APAC President, Star and Disney India Chairman Uday Shankar said.

    Former Disney CEO Bob Iger said in an earnings call after Q1 result that it would be launching the service in India through Hotstar on 29 March at the beginning of the Indian Premier League. After a successful first few months of its domestic launch, Disney+ is now gearing up for its international expansion. Iger wanted Disney+ to leverage the success of Hotstar in India by bundling the two services. During IPL 2019 , Hotstar registered more than 300 million users.