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25

May

Netflix has started to roll out promos for its original series, Lilyhammer is their first 

Netflix has started to roll out promos for its original series, Lilyhammer is their first 

How 'The Best Exotic Marigold Hotel' Became This Summer's Surprise Indie Smash

“The Best Exotic Marigold Hotel” is poised to leap out of the arthouse and into the mainstream.

The story of a group of British retirees, grappling with illness and financial burdens, who decide to move to India is hardly the stuff of summer blockbusters. Yet the Fox Searchlight and Participant Media film has quietly racked up nearly $90 million worldwide, with $9.2 million of that haul coming in the United States.

It has accomplished this feat largely by being the anti-“Avengers.” While the Marvel superhero blockbuster has packed theaters with teenagers, “The Best Exotic Marigold Hotel” has instead focused on a neglected moviegoing demographic — senior citizens.

“This community is always looking to go see something where  they don’t have to listen to things explode or guns being shot,” Jim Berk, CEO of Participant, told TheWrap. “They just want a lovely day at the movies.”

27

Mar

If Web movie views double, Netflix -- not content -- is king

IHS forecasts online viewings will more than double to 3.4 billion this year, up from 1.4 billion in 2011. The number of viewings from DVD and Blu-ray will fall from 2.6 billion to 2.4 billion. According to IHS, while digital purchases only accounted for 1.3 percent of all movie consumption in 2011, Netflix, Hulu, and Amazon Prime accounted for a combined 94 percent.

Since Hulu and Amazon Prime are much smaller, Netflix owns most of that market. If Netflix can hold on to market share — with a streaming-video library filled with little known or dated titles — what would that say about the strength of the service?

IHS’ report is unlikely to be welcomed news in Hollywood.

29

Nov

VOD Rides to the Rescue of Indie Film

Buoyed by good reviews, “Margin Call” has been rented online 250,000 times, noted Jon Feltheimer, co-chairman and CEO of Roadside stakeholder Lionsgate, during a conference call with media and analysts following the studio’s recent earnings announcement. “Margin Call” has made nearly $4 million at the domestic box office, and Feltheimer said he expects the movie to make as much, if not more, on VOD as in theaters.

“Melancholia” has been a more modest performer theatrically, but it is on pace to rack up $2 million on video on demand.

Magnolia has had a number of even bigger VOD performers this year, such as the Sean Bean medieval horror film  “Black Death” and the Japanese action film “13 Assassins,” both of which have grossed roughly $4 million through VOD.

These films have built on the success of “All Good Things,” the Magnolia film that garnered so-so reviews when it was released last winter, but also made $4 million in VOD revenue.

28

Nov

In mid-September, Viacom executives found what executives later called an “inexplicable” glitch in viewership for the company’s popular child-oriented cable network Nickelodeon: Nielsen posted a ratings decline ranging from 15% to 20%. “Children’s overall media use has actually increased but is split between TV, video games, computers, social networking, DVDs, music and other types of formats,” said T. Makana Chock, associate professor at Syracuse University’s S.I. Newhouse School. “They are also multitasking more frequently.”

Indeed, a January 2010 study from the Kaiser Family Foundation determined that viewership of regularly scheduled TV programming by children ages 8 to 18 had declined by 25 minutes a day—the time such usage had fallen since Kaiser first started studying those media habits in 1999. While the younger set continues to watch TV, more “is either prerecorded or watched on other platforms,” the report found.

It’s a big deal when an analyst as respected as Credit Suisse’s Stefan Anninger slashes his pay TV subscription forecast for 2012 to a 200,000 loss from a 250,000 gain, which is what he did this morning. But the rationale behind his decision is even more noteworthy: He cites a Credit Suisse-commissioned survey that found evidence of a youthful revolt against the pricey video packages. Lots of young adults aren’t cutting the cord; they never subscribe in the first place. Anninger says that while the evidence is still mostly anecdotal, “we are confident that a relationship exists” between high pay TV prices and declining subscriptions. And the growing group of “cord nevers” (as opposed to “cord cutters”) is “the biggest challenge pay TV will face over the next 10 years” after piracy and soaring programming costs — although “it does not feel like the industry is yet willing to admit that reality.

18

Oct

Much like human beings have become increasingly untethered, so too is television. With smartphones and iPads now promoting content where, when and how consumers want it, the trend is not being lost on television. According to the MediaPost news item, ABC Studies iPad: Redefines TV Viewing, “The iPad surely will play a role in accentuating that lesser connection to time and place going forward. ABC would have studied viewer usage of other tablets, but none had critical mass. That might change with the introduction of the new Kindle.”

The news item goes on to define three emerging TV viewing trends:

1. Micro-mobility. Consumers would like TV content on-demand, but not just from the comforts of their home… they want it from the beach and commute to work to their backyards and across multiple platforms.
2. Parallel Play. Your wife is watching American Pickers while you’re sitting there next to her watching an episode of Pawn Stars on your iPad. Parallel play is all about people in the same room watching different shows on different platforms.
3. Marathoning. If it weren’t for marathoning, I would have never been able to see Mad Men or Battlestar Galactica. Marathoning is when a viewer watches multiple episodes of the same show, one after the other.
Think about how television makes it money.

The promise to advertisers was all about the captive audience at a set time on a set date. Yes, the branding power has now been extended because people do use a DVR or download their shows from iTunes, but this changes the advertising model. On top of that, the ability to skip and fast-forward commercials has been the bane of television since the first VCRs were introduced. There is no doubt that brands and their media reps are getting smarter and better at capturing attention, but the format of TV advertising must adjust to this… much like it will have to adjust even more as these new trends in usage and consumption continue to evolve.

11

Oct

Blip.tv released the findings of the largest research initiative to date focusing on original web video.

The study, performed by Dynamic Logic, offers insights into how, when and where blip.tv audiences are consuming online video, and has strong implications for the future of televisiona and online video. The study’s results shed light on viewer attitudes towards online advertising, the extent of cord cutting, and the prime hours for original series viewing.

Key findings include:

- Viewers are cord cutting. Online video consumption is rising as TV viewership is shrinking: compared to six months ago, viewers are watching nearly 9% less cable television, and increasing online content viewing by 26%. Online programming consumption on Mobile and video game platforms is up 19% and 18%, respectively.
Original online series are being watched during prime-time hours. Findings show that 8-11 pm is the most common time period for people to watch. 6-8pm is second most common.
- Advertising is more acceptable for original online series than for television streamed online. The research showed that for blip.tv’s audiences, 43% reacted positively to pre-roll advertising on original online series, whereas only 30% reacted positively to pre-roll advertising on television content streamed online.
- The average viewer of online series is 33 years old, and college educated. And the viewers are evenly divided between men and women.