11 April 2021 04:02

MediAvataar's News Desk

MediAvataar's News Desk

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The Apple TV+ global comedy sensation “Ted Lasso” was honored at the 2021 Writers Guild of America Awards, winning Best New Series and Best Comedy Series.

Since its debut, the beloved freshman comedy series has been recognized with a multitude of awards and nominations, including being the only comedy series honored as an AFI Program of the Year; a Golden Globe Award for Jason Sudeikis in the Best Comedy Actor category; three Critics Choice Award wins including Best Comedy Series, Best Actor in a Comedy Series for Sudeikis, and Best Supporting Actress in a Comedy Series for Hannah Waddingham; and nominations from the Producers Guild of America for Comedy Series, plus two nominations from the Screen Actors Guild for Outstanding Performance by a Male Actor in a Comedy Series and Outstanding Performance by an Ensemble in a Comedy Series. Including today’s recognitions for “Ted Lasso,” Apple has been honored with a total of 86 awards wins and 329 awards nominations and accolades, since its global launch just over a year ago.

The Best New Series WGA Award was received by “Ted Lasso” writers Jane Becker, Leann Bowen, Brett Goldstein, Brendan Hunt, Joe Kelly, Bill Lawrence, Jamie Lee, Jason Sudeikis, Phoebe Walsh and Bill Wrubel.

The Best Comedy Series nod went to “Ted Lasso” writers Becker, Bowen, Goldstein, Hunt, Kelly, Lawrence, Lee, Sudeikis, Walsh and Wrubel.

Apple’s “Ted Lasso” stars Sudeikis as Ted Lasso, a small-time college football coach from Kansas hired to coach a professional soccer team in England, despite having no experience coaching soccer. Waddingham, Hunt, Jeremy Swift, Juno Temple, Goldstein, Phil Dunster and Nick Mohammed star alongside Sudeikis in the ensemble cast.

In addition to starring, Sudeikis serves as executive producer, alongside Lawrence via his Doozer Productions, in association with Warner Bros. Television and Universal Television, a division of NBCUniversal Content. Doozer’s Jeff Ingold also serves as an executive producer with Liza Katzer as co-executive producer. The series was developed by Sudeikis, Lawrence, Hunt and Kelly, and is based on the pre-existing format and characters from NBC Sports.

The complete first season of the critically acclaimed hit comedy “Ted Lasso” is available on Apple TV+ on the Apple TV app.

Total Global Viewership for Marvel Studios’ “The Falcon and The Winter Soldier” Lands as Most Watched Series for its Opening Weekend on Disney+

Disney+ Original series “The Falcon and The Winter Soldier” from Marvel Studios ranked as the most watched series premiere ever on Disney+ during its opening weekend, Friday, March 19 – Sunday, March 22, and the most watched title overall for the same time period on a global basis, including in Disney+ Hotstar markets.

The premiere of “The Falcon and The Winter Soldier” joins the premieres of Marvel Studios’ first live-action series, “WandaVision,” and the season two premiere of “The Mandalorian” from Lucasfilm as the three most-watched Disney+ Original series opening weekends to-date.

Marvel Studios’ “The Falcon and The Winter Soldier” stars Anthony Mackie as Sam Wilson aka The Falcon, and Sebastian Stan as Bucky Barnes aka The Winter Soldier. The pair, who came together in the final moments of “Avengers: Endgame,” team up on a global adventure that tests their abilities—and their patience. Directed by Kari Skogland with Malcolm Spellman serving as head writer, the six-episode series also stars Daniel Brühl as Zemo, Emily VanCamp as Sharon Carter, and Wyatt Russell as John Walker. “The Falcon and The Winter Soldier” debuted worldwide on Disney+ March 19, 2021.

Transactional movie revenues across pay TV and online stores, excluding premium VOD, increased by 14% YoY in 2020, exceeding the $6bn mark for the first time, according to Omdia’s latest Consumers and Movie Windows report.

Despite the growth in transactional video (TVOD) revenues, consumer spend in these areas were unable to compensate for the declines in box office revenues caused by the COVID-19 pandemic Total consumer spending on movies in cinemas, TVOD and physical was down 43% compared to 2019, but remains flat with the addition of subscription online video.

As a result of the COVID-19 pandemic, studios are experimenting with ways to recoup lost revenues due to theatres being closed for extended periods. Many studios have provided greater emphasis on their own direct-to-consumer (D2C) streaming services as well as experimenting with traditional release windows placing a greater emphasis on PVOD and SVOD.

This approach has meant that some studios with a D2C platform are able to use new release movies to drive SVOD uptake and generate recurring revenues. However, SVOD availability not only breaks the transactional video window but significantly reduces the lifespan of a movie. While subscription online video is behind a paywall, the relatively low price and large catalogues means it acts in a similar fashion to the second pay TV or free TV windows.

SVOD availability skips through all stages of the traditional windowing system. This not only limits exploitation opportunities but impacts industry standards and KPIs for measuring success.

Consumer Appetite for PVOD / TVOD:

Over 57% of US online adults stated that they are willing to pay a premium for early access to new movie releases with the average maximum spend totalling $15.16, only $1 more than the average cost of digital retail movies. However, among households of 4 with children under the age of 18, 71% are willing to pay for PVOD at an average price of $20.07. Within this consumer group, those that visited the cinema more than six times a year prior to the pandemic are willing to pay $28, approximately the same price of a family cinema ticket.

There are also great opportunities for repeat purchase with over 93% of 2020 PVOD users expressing interest in further PVOD purchasing with nearly one in two willing to pay up to $20 per release.

However, for studios to match the $10.7bn box office revenues of 2019 through PVOD, each household would have to make at least 5.5 PVOD transactions equating to 700m transactions within one year. This rises to 17 PVOD transactions per family for households with four children.

Increase in Demand for content:

In 2020, consumer demand for online video content increased across all business models. The year saw an influx of new TVOD users, a rise in VOD consumption as well as increased SVOD conversion and uptake. Contrary to popular belief, consumers that engage more with subscription online video services are more likely to visit the cinema than the average consumer, as well as being more likely to purchase or rent via digital video stores.

Omdia found that willingness to pay for premium titles increases with the number of online video subscriptions, in particular among those consumers with 4 or more video services. This highlights the opportunity for studios to use new release movies to generate incremental TVOD revenues while driving subscriptions and retention on D2C services.

While ‘cinema power users’ were the primary consumer group driving TVOD revenues in 2020, their greater appetite for content access also saw them gravitate towards unauthorised websites at an increasing rate. Among this high spending consumer group. 22% admitted to watching content via unauthorised sites in November 2020, representing revenue loss for content providers.

Fateha Begum, principal analyst at Omdia, commented: “It is clear that the demand for content is continuing to increase across all consumers and whilst studios are reacting to this demand by providing more new content to SVOD, there is a balancing act that needs to continue.

“PVOD presents a great opportunity for studios however, it is not a magic cure to recoup lost revenues through the global pandemic. It should not be viewed as an alternative to the cinema but an accompaniment. In response to the global pandemic studios have been able to experiment with theatrical windows and release times, but once things go back to normal, we anticipate that whilst consumer demand remands for new releases, release windows will go back to resemble those pre pandemic.”

Over-the-top (OTT) video has hit critical mass, and nowhere is this more apparent than in the Asia Pacific region. Media Partners Asia predicts that the online video industry in Asia Pacific (excluding China) will grow at roughly 15% per year to reach US$23 billion by 2024. The global pandemic has accelerated existing digital consumption trends, propelling OTT from a niche offering into the mainstream.

Consumers have embraced OTT for their video entertainment needs, and brands are increasing their ad spend as they seek hard-to-reach audiences at scale. Brands also value studio-quality, long-form content on OTT, along with the advantages that come along with buying OTT inventory programmatically, like data activation and comprehensive measurement.

APAC is already home to a diverse ecosystem of global, regional, and local OTT players offering a variety of subscription and ad-funded access models with a vibrant mix of local and international content — and there’s monumental growth ahead as the ecosystem continues to evolve. SpotX is proud to be a leader in OTT advertising and we have helped shape the industry in APAC, partnering with media owners and buyers to navigate the rich and fragmented AVOD landscape.

To gain a better perspective of the APAC video consumer and their viewing behaviour and ad preferences, SpotX commissioned research firm Milieu Insights to survey 7,000 participants across seven key markets: Thailand, Vietnam, Philippines, Indonesia, Singapore, Australia, and Japan.

In our “OTT Is for Everyone” report, we’ve uncovered insights that answer:

Who is watching OTT content?

How are they watching?

Why do they choose to watch OTT over other platforms?

How impactful are OTT ads?

How tolerant of ads are they?

How do OTT ads influence purchase behaviour?

What do we really know about OTT streamers in the APAC region? These are the top research findings:

1. OTT has reached critical mass in APAC markets.

The estimated reach of active OTT viewers in the APAC markets surveyed is 392 million people – larger than the total population of the United States. Over two-thirds (69%) of video viewers in the region watch streaming video at least once a week, confirming that both the audience size and regularity of OTT viewing has matured and entered the mainstream.

2. Viewers watch OTT more than TV and video-sharing platforms.

OTT viewers are highly engaged, with a majority watching more than two hours of content per day. On a regional basis, this is higher than time spent with content on traditional TV or video-sharing platforms and highlights an important shift in viewership behaviour.

3. APAC is a mobile-first region, but connected TV is growing fast in some markets.

APAC is a mobile-first market — 66% of video viewers spend the most time watching on mobile devices. Yet smart TVs are gaining ground, as 22% of viewers own a smart TV. In advanced markets, including Australia, Singapore, and Vietnam, 20% of video viewers say smart TVs are their most-used device.

4. Streamers prefer ad-funded content.

Most video viewers (67%) prefer to watch free, ad-supported content versus only 23% who prefer to pay for an ad-free service.

5. OTT ads rival social ads and resonate better than TV ads.

Streamers say that OTT ads are equally as effective as ads shown on video-sharing platforms in attracting their attention. They also report that OTT ads are often more impactful than traditional TV ads.

6. OTT ads can drive greater purchase behaviour than TV and user-generated content.

OTT ads capture viewers’ attention, but importantly, they are also effective at driving sales. Over one-third (35%) of ad-supported OTT viewers reported making a purchase after seeing an ad during programming they watched.


Written by Nigel Kwan,VP of Marketing for SpotX across South East Asia, Australia, New Zealand, and Japan.

From March 17 to 23rd, here are the most in-demand movies and TV shows for 2 million Reelgood users in the United States.

Top 10 Movies Across All Streaming Services

1.Zack Snyder’s Justice League
2.Another Round
3.Million Dollar American Princesses: Meghan Markle
4.Nomadland
5.Cherry
6.Sound of Metal
7,Mank
8.Justice League
9.Pieces of a Woman
10.Coming 2 America

Top 10 TV Shows Across All Streaming Services

1.The Falcon and the Winter Soldier
2.Attack on Titan
3.The One
4.South Park
5.Yellowstone
6.WandaVision
7.Grey’s Anatomy
8.American Idol
9.Debris
10.The Walking Dead

 

Source:Reelgood

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