07 August 2020 03:13

APAC HEADLINES

Post by MediAvataar's News Desk
- Apr 22, 2020
The South China Morning Post is the first news organisation in Asia to join the Trust Project, a consortium of the world’s top media companies committed to the highest standards of journalistic quality, transparency and credibility. The Trust Project is a global ...
MediAvataar's News Desk

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This week, Peacock became the most recent studio-backed service to enter the increasingly crowded streaming market. The new service, backed by NBCUniversal, currently offers 720 movies and 916 TV seasons (excluding news and sports content). This makes it broadly comparable to other studio-backed services Disney+ and HBO Max, which currently offer 1100 and 2800 titles, respectively.

What differentiates Peacock from many of its major video-on-demand competitors is its business model. Peacock offers a free ad-supported tier alongside premium ad-supported ($4.99/month) and ad-free ($9.99/month) tiers. Nearly 80% of all content is available on the free tier. The content on premium tiers is weighted towards TV Shows (25% of all TV content hours are premium, as opposed to 10% of movies).

These premium movies are made up of a small deal with Lionsgate, while NBCU itself makes up almost 70%. But the NBCU titles currently omit many of its strongest box office performers of the past five years, including instalments of the Fast & Furious, Despicable Me and Jurassic World franchises. On the other hand, the free movie library is approximately 40% NBC content, while the rest is acquired from other big studios as well as smaller, independent distributors such as The Asylum.

Meanwhile, premium TV content is centred around boxsets. Though The Office may not yet be available, NBCUniversal has purchased major titles, including The Affair and Two and a Half Men, from CBS, and combined it with a handful of big NBC shows like House and Law & Order. A small number of shows have been set up for mixed business models: high-budget Peacock original series Brave New World offers two free episodes, with the remaining seven behind a paywall.

With this in mind, Peacock appears to be competing primarily as an AVoD service. Major network hits like Parks and Recreation, 30 Rock, Suits, and Battlestar Galactica have been made available on the free tier. While Peacock’s AVoD catalogue may be smaller than the likes of competitors Tubi and IMDb TV, those catalogues rely on older movies. Peacock hopes to stand out by offering a number of popular, modern series for free.

 

Source:Ampere Analysis

In the face of unprecedented economic disruption caused by the COVID-19 pandemic, non-metro markets are likely to recover faster than metro markets, an EY survey finds.

The EY report ‘Will non-metro markets propel India's recovery’, reveals a higher percentage of respondents from non-metro markets expect to spend more than before on several categories compared to metro markets indicating that when the lockdown ends, green shoots of recovery would probably sprout faster from the non-metro markets.

The survey covered a varied demographic mix of more than 4,000 respondents (2,000 each from metro and non-metro markets) to understand the potential impact of the pandemic from the consumer sentiment perspective. It covered key aspects linked to the current and expected attitudes, behaviors and spending trends of consumers as they adapt to the new reality.

Ashish Pherwani, Partner and Media & Entertainment Leader, EY India, stated,The COVID-19 pandemic has radically shifted our way of life. However, despite uncertain and challenging conditions, our research shows that non-metros express a higher degree of resiliency and a resolve to bounce back quicker compared to metros. We may see long-term and even permanent changes in consumption patterns”.

The survey results reveal that the pandemic and the ensuing social distancing measures put in place have led to fundamental changes in how Indians are consuming media, necessities, luxury products education and travel.

Some of the key insights from the survey include:

Health, hygiene and online services will continue to grow

While COVID-19 has impacted overall consumption, categories like heath products, household products, hygiene products, vitamins and supplements and online services (gaming, home entertainment, online education, online banking) are expected to benefit.

Non-metro market recovery is excepted to be faster than metro recovery

Categories like consumer goods, travel, entertainment, automobiles and white goods are all expected to see increased and faster recovery of demand from non-metro markets post the lockdowns.

Increase in digital adoption

Digital trials increased significantly during the lockdown period. However adoption was higher for metros vis-à-vis non-metros. Some of the obstacles stated by non-metro respondents included lack of technological knowledge, absence of smart phones and fewer language interfaces.

Newspapers remain the most trusted medium

The impact of coronavirus has unfolded at a dynamic rate, causing a sense of urgency to absorb information, increasing the consumption of news coverage at unprecedented levels. Newspapers continue to remain the most trusted news source. 42% respondents in non-metro markets spend more than 20 mins in reading a newspaper compared to 36% in metros.

While there has been major disruption to the daily routines of consumers worldwide as a result of lockdowns or other COVID-19 related restrictions, the podcast sector is proving resilient.

Before the outbreak of COVID-19, the podcast industry was experiencing rapid growth, with the number of monthly listeners reaching 862 million globally in 2019 and advertising revenue experiencing double-digit increases. But while there has been major disruption to the daily routines of consumers worldwide as a result of lockdowns or other COVID-19 related restrictions, the sector is proving resilient.

Spotify noted in its first-quarter 2020 earnings release that in terms of user listening habits, “every day now looks like the weekend”, as consumers listen when doing chores, cooking, or spending time with family, rather than during rush hours or lunch breaks. Spotify noted that this trend was “more significant” in its podcasts portfolio compared to its music content, but that while listening patterns have shifted, nothing changes its long-term view of podcasts’ potential.

While many podcast listeners do tune in when commuting to school or work in the car or via public transport, in-home listening is equally, if not more, popular in many key podcast markets such as the US and China. This means that podcasts are particularly well insulated to the effects of the pandemic, because podcasts lend themselves well to listeners spending extended periods of time indoors. Over one-third of respondents to Omdia’s COVID-19 Consumer Survey told us that COVID-19 had led to no change in the time they spend listening to podcasts, with a further 25% reporting that time spent accessing this content had either increased or significantly increased.

During the last few months, the type of content consumers are listening to has also shifted. Podcast platform Acast highlighted in April that there was increased demand for comedy, technology, and finance podcasts globally, while Spotify said wellness and meditation podcasts were experiencing an uptick in listens on its service.

Consumers told Omdia in our survey that they have become more interested in news and information content compared to before the outbreak of the pandemic, with many stating that they intend to continue with this level of engagement after the threat of COVID-19 diminishes. This is good news for the podcast industry, with the news genre accounting for over one-fifth of podcast advertising revenues in the US, according to the July 2020 PwC and IAB study. Daily news podcasts have become increasingly popular and have proven to be valuable resources for listeners in recent months.

While annual growth in advertising is expected to slow, many brands and businesses are using podcasts to deliver what they can’t via their normal advertising channel of choice, such as out-of-home advertising. Podcasts offer a new way of connecting with audiences, who are often highly engaged and receptive to podcast advertising. Between January and March 2020, Acast reported significant increases in ad investment in multiple categories including education, home improvement, and groceries, highlighting that while COVID-19 has caused considerable disruption, the podcasts sector is both adaptable and resilient to its effects.

 

Source:Omdia

Friday, 24 July 2020 00:00

Hulu Launches Generation Stream

Foundational Research Thought Leadership For Streaming TV

Hulu is introducing a new thought leadership research platform to the Streaming TV industry – Generation Stream.

More than just a study on an influential subset of viewers, “Generation Stream” is Hulu’s commitment to deeply understanding the power and impact of the streaming movement and the generation of TV viewers reshaping how we watch TV.

Over the course of the next few months, Hulu will unveil behaviors and motivations behind TV consumption, uncover trends that inform future behaviors, and reveal how to connect in meaningful ways with content, brands, and advertising.

“Diving into the experiences and moods of Generation Stream further cements streaming TV as a foundational part of a viewer’s day. The insights in this report uncover what inspires and moves this audience, so that Hulu and our partners can connect with them in meaningful ways, with content, brands and advertising,”said Julie DeTraglia, Head of Research & Insights at Hulu. “By exploring this coveted audience, who has been watching TV in a streaming environment for over a decade, ‘Generation Stream’ helps us understand the why, who and how of streaming TV viewers, and will continue to do so in the coming reports.”

Some key insights we’ve learned so far:

90% of 13-to-54-year-olds watch TV and movies on a video streaming platform

75% of 13-to-54-year-olds stream or mostly stream the video content

57% of 13-to-54-year-olds non-streamers say it’s likely they will subscribe to a streaming service within the next 5 years

Looking at Generation Stream specifically, we also learned that there are three key definitions for their viewing: Stream Only, Stream Most and Stream Also.

37% of Generation Stream Stream Only

47% of Generation Stream Stream Most

16% of Generation Stream Stream Also

New series based on the best-selling novel by Lauren Beukes to be executive produced by Moss and Appian Way

Apple announced a series order for “Shining Girls,” a new metaphysical thriller based on the 2013 best-selling novel by Lauren Beukes and starring Emmy Award winner Elisabeth Moss. Hailing from MRC Television, the series will be adapted for television and executive produced by Silka Luisa, who will also serve as showrunner.

Moss will star as a Chicago reporter who survived a brutal assault only to find her reality shifting as she hunts down her attacker.

In addition to starring, Moss will executive produce through Love & Squalor Pictures alongside Lindsey McManus. Leonardo DiCaprio will executive produce through Appian Way alongside Jennifer Davisson. Author Lauren Beukes and Alan Page Arriaga will also serve as executive producers on the project.

“Shining Girls” follows Apple’s recently announced a straight-to-series order for “The Shrink Next Door,” a new eight-episode limited series from Civic Center Media in association with MRC Television, starring Will Ferrell and Paul Rudd.

The new Apple Original series will join a slate of critically acclaimed and award-winning drama series on Apple TV+ including “Defending Jacob,” the NAACP Image Award-winning “Truth Be Told,” and the Golden Globe-nominated and SAG and Critics Choice Award-winning series “The Morning Show”; as well as the anticipated upcoming series “Mosquito Coast,” starring Justin Theroux; “Lisey’s Story,” written and executive produced by Stephen King and starring Academy Award winner Julianne Moore; and the historical drama series “Hedy Lamarr,” starring and executive produced by Gal Gadot.

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