MediAvataar's News Desk
WarnerMedia Sales & International announces new role for global rollout of the direct-to-consumer offering
WarnerMedia, a division of AT&T Inc., today announced that Johannes Larcher will join the company in August as Head of HBO Max International. He will report to Gerhard Zeiler, Chief Revenue Officer, WarnerMedia & President, WarnerMedia International Networks.
Larcher will be responsible for the international rollout and management of WarnerMedia’s direct-to-consumer product HBO Max, which launched successfully in the U.S. on May 27, 2020. His first focus will be the launch in Latin America, which is expected in 2021.
Larcher will work closely with Whit Richardson, President, WarnerMedia Entertainment Networks, Latin America and Priya Dogra, President, WarnerMedia Entertainment Networks, EMEA & APAC.
Gerhard Zeiler said: “I got to know Johannes as a passionate entrepreneur. His leadership skills, together with his strong direct-to-consumer and digital experience, international business foundations and tech expertise give him the perfect background to drive the growth of HBO Max beyond the United States.”
Johannes Larcher said: “Living at the crossroads of digital technology and content, I’m thrilled to help create unforgettable entertainment experiences for consumers in international markets and make HBO Max an indispensable streaming service around the world.”
Johannes Larcher currently serves as Managing Director, Digital at MBC Group, the Middle East’s leading media company based in Dubai; where he successfully transformed the group’s flagship digital product, Shahid VIP, into the world’s largest Arabic language video streaming service with over 1.4 million subscribers. From 2016 to 2018, he was Co-Founder and CEO of SubVRsive in Austin, Texas, a WPP funded, Emmy-nominated Virtual and Augmented Reality studio. From 2009 – 2013, he served Hulu as Senior Vice President, International, where he led the launch and initial growth phase of Hulu Japan. Earlier, Larcher was president and CEO of online video education start-up Academy123, sold to Discovery; and served as GM International for paid search pioneer Overture Services until its acquisition by Yahoo! in 2003. Larcher started his career in 1995 at McKinsey in Los Angeles, where he served media, entertainment and technology clients. Larcher holds a Master of Arts from the University of Music and Performing Arts in Vienna, and a Master of Business Administration from the Wharton School, University of Pennsylvania.
International Amazon Original Series Jungle Prince of Delhi will be based on a story from New York Times in collaboration with Sister Krasnoff/Foster Entertainment
The show will be directed and produced by renowned filmmaker Mira Nair
Amazon Prime offers incredible value with unlimited streaming of the latest and exclusive movies, TV shows, stand-up comedy, Amazon Originals, ad-free music listening through Amazon Prime Music, free fast delivery on India’s largest selection of products, early access to top deals, unlimited reading with Prime Reading and mobile gaming content with Prime Gaming, all available only for Rs 129 a month
Amazon Studios secured the exclusive rights to develop The New York Times’ and Ellen Barry’s acclaimed story and podcast, The Jungle Prince of Delhi. a 2020 Pulitzer Prize finalist, a mesmerizing story of the eccentric royal family of Oudh, deposed aristocrats living in a ruined palace in the Indian capital, claiming to be the heirs to a fallen kingdom. The show will be directed and produced by filmmaker Mira Nair.
The Jungle Prince of Delhi is slated to be an international series that tells the incredible personal story of this displaced family, set against the backdrop of the partition of India, and fits with Amazon Studios’ goals of developing and producing content for a global audience.
The in-demand project came together via a collaboration among the producing team of Stacey Snider, Jane Featherstone and Kate Fenske/SISTER, Gary Foster and Russ Krasnoff’s Krasnoff/Foster Entertainment, and Christina Lurie’s Fourth and Twenty Eight Films who are joining forces to produce with Ms. Barry and Caitlin Roper of The New York Times.
Anonymous Content represented The New York Times and Nair is represented by ICM Partners.
Statement from Ms. Roper, head of scripted entertainment at The New York Times: “Pulitzer Prize winning journalist Ellen Barry's beautifully written tale of the Oudh family revealed deeper truths rooted in the violence and trauma of the partition of India. The moving story, and the 3-part audio series for The Times's podcast, The Daily, were the result of years of reporting and investigation across continents. Since its publication, The Times has been searching for the right partners to expand the story’s reach and we are thrilled to work with the incomparable Mira Nair, and to be producing The Jungle Prince series with Amazon Studios alongside Krasnoff/Foster Entertainment, SISTER, and Fourth and Twenty Eight Films.”
Bob’s Burgers, Solar Opposites and Archer Receive Multiple Nominations for the “Hilarious Animated Hulu Awards”
It should come as no surprise to any streaming TV viewer that adult animation reigns supreme. In fact, nearly 40% of Hulu viewers faithfully devour adult cartoons every month. Die-hard fans of the popular genre have waited long enough to weigh in on their favorites!
Beginning today, Hulu is celebrating the animation lover in all of us by hosting the HAHA Awards (Hilarious Animated Hulu Awards) – the first ever all-animated awards honoring the year’s best in adult animated TV shows and iconic characters now streaming on Hulu. The ten categories recognize sophisticated pets, epic battles, the best hangover performance and more. Because sometimes a happy hour escape to Springfield’s Moe’s Tavern or The Drunken Clam is exactly what you need.
“As the streaming TV leader in adult animation content, we’re particularly proud of the diversity of voices, shows and storytelling displayed by the first ever HAHA Award nominees,” said Ryan Crosby, VP, Hulu Marketing. “Frame by frame, adult animation captures the most iconic characters, funniest catch phrases and real life storylines, so we wanted to recognize some of the industry’s very best in a way that only Hulu could.”
The forty hilarious nominees were announced today with Hulu favorites Bob’s Burgers, Archer, Bless the Harts, Duncanville and Solar Opposites leading the nominations with four apiece – including recognition in top categories like “Best New Show” and “Breakout Star of the Year.”
Hulu subscribers and non-subscribers can cast votes for their favorites in all categories on the official awards website or via social poll on Hulu’s Twitter channel through Sunday, July 19. The complete list of the 2020 HAHA Award nominees is listed below. All winners will be announced on Thursday, July 23.
With shows like Family Guy, The Simpsons, Bob’s Burgers, Rick and Morty, Solar Opposites and many others – Hulu has built the largest streaming TV library of adult animation content. Earlier this year, Hulu also launched two original adult animation shows with the premieres of Solar Opposites and Crossing Swords. Solar Opposites quickly emerged as the most-watched Hulu Original comedy premiere to date.
Best New Show
Bless the Harts
Best Fart Performance
Cleveland (The Cleveland Show)
Peter (Family Guy)
Rick (Rick and Morty)
King (Crossing Swords)
Best Hangover Performance
Mr. Burns (The Simpsons)
Francine (American Dad!)
Bob (Bob’s Burgers)
Best Dance Performance
Homer (The Simpsons)
Bobby (King of the Hill)
Jimmy Jr. (Bob’s Burgers)
Jack & Annie (Duncanville)
Most Epic Battle Scene
Bob (Bob’s Burgers)
Stan (American Dad!)
Peter (Family Guy)
Best Talking Pet
Pupa (Solar Opposites)
Klaus (American Dad!)
Snowball (Rick and Morty)
Most Awkward Moment
Korvo (Solar Opposites)
Wayne (Bless the Harts)
Most Insulting Insult
Louise (Bob’s Burgers)
Cleveland Brown Jr. (The Cleveland Show)
Hank (King of the Hill)
Quagmire (Family Guy)
Louise (Bless the Harts)
Breakout Star of the Year
Korvo (Solar Opposites)
Patrick (Crossing Swords)
Jenny (Bless the Harts)
Individual Documentaries Will Air Simultaneously on FX and on Hulu on Fridays at 10 p.m. ET/PT Beginning July 10th Followed by a New Documentary Each Month
First Episode Captures Lives of Doctors and Nurses in New York City at the Height of Coronavirus Pandemic
The New York Times Presents is Produced by The New York Times and Left/Right in Partnership with FX and Hulu
FX and Hulu have partnered to launch The New York Times Presents, a new documentary series from the team behind The Weekly exploring breaking news, investigations and character-driven stories and features reporting from journalists at The New York Times, it was announced today by Nick Grad, President, Original Programming, FX Entertainment.
The New York Times Presents is a series of standalone documentaries powered by the unparalleled journalism and insight of The New York Times, bringing viewers close to the essential stories of our time.
The New York Times Presents will feature 10 individual documentaries that will air on FX and on Hulu on Fridays at 10 p.m. The series will air one episode per month, beginning with:
“They Get Brave” (7/10/20, 10 p.m. ET/PT on FX and on Hulu) – As the coronavirus ravages more and more American cities, we look back to the place hit hardest: New York City. Doctors and nurses documented their lives, capturing awe‐inspiring resolve in the face of a breakdown in the health‐care system. Producers/Directors: Samantha Stark, Alexandra Garcia, John Pappas and Lora Moftah.
“This Is Dominic Fike: The Next Big Thing?” (8/7/20, 10 p.m. ET/PT on FX and on Hulu) – The making of a pop star in 2020: A young musician is plucked from obscurity and given a $4 million record deal. Meet Dominic Fike as he prepares for his first international tour and makes his debut album. Producer/Director: Alexandra Garcia.
The series will also feature a documentary about the killing of Breonna Taylor by police in Louisville, Kentucky. The award-winning director and producer Yoruba Richen and New York Times reporter Rukmini Callimachi, a four-time Pulitzer Prize finalist, are partnering on a film that will explore Ms. Taylor’s life and investigate the circumstances of her death. Ms. Taylor’s family and others will help reconstruct how the police, executing a search warrant, arrived at Ms. Taylor’s apartment shortly after midnight on March 13 and shot her five times.
Richen’s work has been featured on PBS, Frontline Digital, New York Magazine’s The Cut, The Atlantic and Field of Vision. Her latest film “The Green Book: Guide to Freedom” aired on The Smithsonian Channel in February 2019. She is the director of the documentary program at the Craig Newmark Graduate School of Journalism at CUNY.
Callimachi has spent the last six years covering the Islamic State and violent extremism for The Times. Her coverage of extremism has won the George Polk Award, the Michael Kelly Award and the Sigma Delta Chi Award. Her podcast, “Caliphate,” which explains the Islamic State’s murderous ideology, won the Peabody Award. Her collection of internal terrorist records is available to the public through a digital archive, launched in 2020 by George Washington University.
The New York Times Presents is produced by The New York Times and Left/Right, a Red Arrow Studios company. Executive producers are Ken Druckerman, Banks Tarver, Mary Robertson, Jason Stallman, Sam Dolnick and Stephanie Preiss. The series is from the team behind the documentary series The Weekly, a collection of 30 half-hour documentaries and The Times’s first major foray into television news, currently available on Hulu.
The Weekly, which premiered on FX in June 2019, won an Overseas Press Club award for its story on two American bicyclists killed by ISIS in central Asia. Its reporting on how a predatory lending scheme had corrupted the taxi industry in New York and elsewhere was part of a body of work that was awarded the Pulitzer Prize. Over the course of 30 episodes, reporters, producers and directors for The Weekly brought viewers on-the-ground reporting from across the U.S. and the world, including Belgium, Brazil, Colombia, Estonia, Israel, the Netherlands, Nigeria, Romania, Tajikistan and Ukraine.
With more than 1,700 journalists who reported from 159 countries this year, The Times publishes about 150 pieces of journalism each day, including exclusive reporting on topics ranging from politics to culture to climate to sports to business. The New York Times Presents will continue to tell those stories in a visual and unforgettable way.
Today’s kids may be less likely to sit in front of a TV set and more likely to sit in front of a tablet, smartphone, or laptop. These changes in children's content consumption behaviors are also reflected in their journey in finding and connecting with their next favorite TV show. As families and children become more integrated in digital spaces, their behaviors provide insights into the stories and characters that both children love and parents approve.
In this analysis, Parrot Analytics provides insight into the increasingly digital lives and TV preferences of children around the world. We reveal how children's development is reflected in they ways demand is expressed for kids titles and how this can inform strategy.
Understanding the Digital Natives: How Do Kids Find and Connect with their Favorite Content?
In 2019, Game of Thrones, the fantasy drama spanning eight seasons, was the most in-demand series globally, shocking no one. Knowing the power the tentpole series held over audiences around the world, the win was expected to say the least, especially since 2019 was the year of the much anticipated series finale.
What some might find surprising, is that somehow a little pig from the UK accumulated over 3x times the subscribers of the behemoth GOT series on YouTube. While, in most day-to-day conversations adults may not have heard of the character from the titular series Peppa Pig, parents and those working in children’s content understand its dominance amongst children. They also understand why Peppa Pig is the behemoth in the YouTube space.
The proliferation of platforms and screens has not only affected adults—it’s penetrated the children’s market. In 2018, PEW Research Center found that the majority (81%) of US parents allow their children to watch content on YouTube at least sometimes, if not regularly. Common Sense Media, in that same year, found that 60% of parents reported that their child has their own mobile devices, while 14% said their child shares a device with others. These percentages have likely increased since 2018. Advertisers have been monetizing the digital space accordingly, understanding the financial power of the younger age demographic. Forecasts for 2021 in the US project an estimated 1.7 billion projected to stem from digital advertising formats in the children’s space, showcasing their power.
But to be effective in the children’s space, is to understand how they consume content—which is absolutely different than their adult counterparts. In other words, strategic decisions require taking into account children’s content consumption behaviors as well as their content options. As Netflix and other digital streamers invest in the kids space increasing consumers’ options, the challenge of having maximal impact space also increases.
How Do Consumer Journeys Provide Roadmaps for Strategy?
Leveraging demand, we can uncover the ways children are expressing interest in content and how children differ from adults in order to inform children’s content strategy, distribution decisions, acquisition optimization, and marketing. Like adults, children, perhaps with the supervision of their parents, demand content via a variety of digital avenues: social media (i.e. twitter), social video (i.e. youtube), research (i.e. wikipedia) and finally downloading/streaming (P2P).
Kids vs. non-kids: Differences in content demand and monetization
The largest difference in non-kids and kids’ expression of content demand is within their engagement in piracy and social video. More than double the demand share for kids content comes from social video as compared to adults. The increased share in social video appears to predominantly stolen or lost from the piracy bucket, where children’s content is pirated at less than a third of adult’s content.
Consequences for content monetization
While adults might use spaces like YouTube to engage with clips and trailers of their preferred content, children are more likely to watch full episodes of their favorite shows right on the platform. While piracy can often appear to be a lost opportunity for monetization for non-kids content, for kid’s content YouTube's demand can represent both lost and gained monetization opportunity. In other words, kids’ parents do not need to pirate content when social video provide options for their child to consume their favorite shows. Either content is cannibalized or kids content may be more frequently monetized on OTT platforms or linear channels as well as on YouTube as a second or third window.
While research and social media demand are less common amongst kids content compared to adults, these differences are not as large. We might assume that adults engage in more research activity and social media conversations about their content than their children would. However, parents and children may be just as likely to rely on research and social media to pick, or stumble upon, preferred content.
Informed strategic decisions can be made by evaluating the specific series of interest and comparing the demand type against the overall children’s series averages. If a particular series generates higher than average social activity, for example, a potential recommendation might be shifting marketing investment into the brand’s social environments to amplify the current behavior. Similarly, high research activity might indicate an opportunity to invest in search. Additionally, evaluating when each activity is usually at its highest for a specific subgenre of children’s series can provide insight into the optimal timing for marketing investments.
How Does Children’s Development Impact How They Express Demand?
Between the ages of 0 and 13, children undergo perhaps the most rapid changes to their brains, minds, and bodies as they are developing. Most children’s content creators recognize that changes physical and psychological abilities create differences in content interests. So, how does their development change the ways they express demand?
Younger children’s content, targeted to those below 5, have the greatest amount of demand expressed via social video consumption. This makes sense since younger children are perhaps most capable of engaging in this relatively passive behavior—one that they can do over and over again to their liking without any help.
School-aged children’s content (targeted to those between the ages of 5 and 12), on the other hand, involved expressing demand more frequently via social media, research and downloading/streaming (P2P). For the younger children in the school-aged group, some of this participation might be with the aid of a parent. Yet, as children develop more physical dexterity and ability to think independently, transitioning into tweens and eventually teenager, they engage in more active forms of expressing interest.
Understanding kids is more important than ever
With the increase of kids targeted digital originals, OTT entrants such as Disney+ in key markets, and children’s usage in the digital space, we can anticipate a greater shift of demand from linear to OTT in the coming years. To break through the clutter in the kids space and maintain a decent share of the audiences’ ever divided attention will mean clearly understanding where they spend their time in the first place along with what other content is fighting for a slice of their time.