Will Jio raising tariffs make India’s data boom go bust?

  • Post Category:Apple TV+

Are days of cheap data over in India?

The fear just got real for anyone who’s been closely watching the successful run of India’s digital dream over the past few years. Telecom majors Reliance Jio, Vodafone Idea, and Bharti Airtel have over the past few days said they may jack up tariffs soon due to financial stress.

Experts feel that more than consumers, it is the entire gamut of internet-based industries that have flourished in India in recent years that will bear the brunt.

“Social networking apps such as TikTok could see a drop in userbase and engagement rate. The bandwidth-intensive, gaming, music and video streaming apps will be the worst affected,” said Ami Shah, co-founder of a Mumbai-based social media marketing firm, IntelliAssist.

Over the past couple of years, Indians have lapped up all kinds of mobile apps thanks to cheap data. Myriad global players have found takers in the country. This includes video- and music-streaming apps such as Netflix, Prime Video, and Spotify, and social media or entertainment apps such as TikTok. Domestic firms like digital payments app Paytm, too, have had a field day.

“An increase in tariffs may deter users from spending time online and completely cut off the few who may not be able to afford the hike at all,” Nagesh Banga, deputy country manager of video streaming platform Bigo Live told Quartz.

Facing the rain

The tariff hikes will hurt rural India deeply.

Before Jio’s arrival disrupted India’s telecom industry in September 2016, Indians used data sparingly. With the company offering data nearly free of cost, other players were forced to slash prices. Eventually, there was an abundance of inexpensive data and consumption boomed.

Almost a year after Jio’s launch, average data consumption rose from around 1GB a month per user to up to 9GB, a 2017 report by digital media network Culture Machine and Kantar IMRB showed. Indians almost stopped monitoring data usage while streaming video, news, and music.

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Besides, a different kind of userbase emerged from India’s tier 2 and tier 3 cities, the 2017 report said.

Digital payments skyrocketed and social video-sharing apps gained immense popularity. For instance, a majority of Tiktok users are from tier 2 and 3 cities. Half of Paytm’s userbase, too, comes from outside metros. A slew of internet startups from e-commerce sites Amazon and Flipkart to food-delivery company Swiggy and Zomato to hotels group OYO have introduced regional language support given the potential of these markets.

However, despite the world’s cheapest data charges, millions of Indians are still untouched by this digital wave. Jio itself has acknowledged that there are over 400 million Indians outside even the considerably expanded data and 4G coverage.

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“Even though it’s ‘following’ the other two, Jio’s raising (of data) rates is significant, because this young operator is the price leader and disruptor and now a very big player,” said Prasanto K Roy, an independent policy consultant and a technology writer. “If it didn’t also raise tariffs, the other two major operators would have had very little wiggle room in raising their prices, if they wanted to stay competitive. With all three operators (the fourth, government-run BSNL, is irrelevant) raising prices, I’d expect to see a real increase.”

Notably, at over 330 million, Jio has the largest chunk of India’s mobile subscriber base. Vodafone Idea and Bharti together have half of the total 1.17 billion.

A silver lining for all

Some feel, though, that the hike won’t affect India’s ongoing digital growth much.

Operators could seek to increase the average revenue per user (ARPU) instead of just minting more money out of every call or gigabyte. “I’d expect to see tweaks in the packages that would encourage more consumption, and thus more monthly spend,” Roy said, noting that currently, the Indian mobile user spends less than $2 monthly.

When Jio began charging 6 paise per minute for calls to other operators, it compensated users by giving out more data. Telecom firms could raise the offerings in their minimum packages, giving out 2GB daily instead of only 1GB. This way, over-the-top services and social video-sharing could perhaps remain unscathed.

Industry watchers are also optimistic that the hike may spark innovation. Since Jio has created a perfect playground, hooking Indians to the internet with the data revolution it fuelled, it’s time for internet businesses to innovate.

“Both utility and entertainment providers will reinvent their business models,” said Shah. “Think of a new franchise business called the PUBG cafes or partnerships with high local brick-and-mortar entities for ‘download now to watch while offline’ or perhaps a new agreement with telcos itself.”

Meanwhile, the government has offered some succour to the battered firms. Yesterday (Nov. 20), it approved the plan to defer spectrum dues payment to the tune of Rs1.47 lakh crore till 2022.

“We want no company to shut its operations. We want everyone to flourish,” finance minister Nirmala Sitharaman had said a few days ago.

Source: qz.com

Continue Reading Will Jio raising tariffs make India’s data boom go bust?

Apple TV+ Guide: All of the Original Video Content [Update]

  • Post Category:Apple TV+

Apple is spending billions on TV shows and series. We’ve put together an Apple TV+ guide for all of the original content that the company has right now, and will have in the future. We learned during the March 2019 keynote that the content will be available this fall. The list will be updated continuously, so be sure to bookmark this page.

Truth Be Told

One of the new shows coming, Apple is working with Reece Witherspoon’s production company Hello Sunshine. Based on the novel Are You Sleeping by Kathleen Barber. The show will star Octavia Spencer. Apple has officially signed a 10-episode season. Actors will include Lizzy Caplan, Aaron Paul, Ron Cephas Jones, Elizabeth Perkins, Mekhi Phifer, Michael Beach, Tracie Thoms, and Haneefah Wood.

Amazing Stories

Apple is working with Steven Spielberg to bring back his Amazing Stories series, which ran for two seasons in the 1980s. So far Apple has committed to 10 episodes, with Bryan Fuller as showrunner.

The Morning Show

Reece Witherspoon and Jennifer Aniston will star in a as-yet-untitled drama. It’s not a morning talk show, but a drama about creating a morning talk show. Apple has committed to two seasons of 10 episodes, each lasting an hour. The writer and executive producer is Jay Carson, who previously produced House of Cards.

Apple TV guide the morning show

For All Mankind

Ronald Moore—who made the remake of Battlestar Galactica—has been signed on by Apple for a new sci-fi series. The series is called For All Mankind, and it will be co-executive produced by Matt Wolpert and Ben Nedivi. The series will explore what would happen if the global space race never ended.

Home

Home will be a show that will “offer viewers a never-before-seen look inside the world’s most extraordinary homes, and delves into the minds of the people who built them.” Apple has committed to one season of 10 episodes, each lasting an hour. It will be a documentary series produced by Matt Tyrnauer and Corey Reeser.

See

See will be a futuristic drama written by Steve Knight and directed by Francis Lawrence (Hunger Games). There is no release date yet, and the number of seasons or episodes Apple has ordered is also unknown.

Apple TV guide see

Kristen Wiig Comedy

Under Apple, Kristen Wiig will star in her own comedy series. It will be created and produced by Colleen McGuinness. Apple has committed to one season of 10 episodes, each lasting a half hour. The series doesn’t have a title yet.

Vital Signs

Vital Signs will be a miniseries produced by Dr. Dre. Each episode will focus on a specific emotion, and will be a semi-autobiographical story of Dr. Dre’s life. The miniseries was originally rumored to be released in August. Since it hasn’t, we don’t know if Apple canceled the project or is holding onto it for a future release.

Drama by Damien Chazelle

Director Damien Chazelle (La La Land) will write and produce every episode of a new drama series for Apple. There are no details yet, but the series will be executive produced by Jordan Horowitz and Fred Berger.

Little America

Apple originally considered the series back in February as a straight-to-series production, and now it’s past consideration and officially under the Apple brand. Written by Emily V. Gordon, Lee Eisenberg, and Kumail Nanjiani, Little America is inspired by true stories featured in Epic Magazine.

Apple TV guide little america

Swagger

The latest series that Apple is creating is a drama based on the early life and career of NBA star Kevin Durant. It’s called Swagger and it will explore the world of Amateur Athletic Union (AAU) basketball and the lives of the players, their families, and coaches. It will be produced by Brian Grazer and Ron Howard’s Imagine Television, alongside Kevin’s own Thirty Five Media.

Carpool Karaoke: Season Two

Carpool Karaoke is being moved from our Old section to the New, because it’s being renewed for a second season. The show will be managed separately from Apple’s other original series projects that fall under the purview of Jamie Erlicht and Zack Van Amburg.

Apple TV guide carpool karaoke 2

Servant

Apple has ordered a straight-to-series psychological thriller from M. Night Shyamalan. It will have 10 episodes and it’s called Servant. It follows a Philadelphia couple in mourning after an unspeakable tragedy creates a rift in their marriage and opens the door for a mysterious force to enter their home. It will be produced by Shyamalan’s Blinding Edge Pictures along with Ashwin Rajan, Jason Blumenthal, Todd Black, and Steve Tisch.

Central Park

Apple order an animated musical comedy show from Bob’s Burgers creator Loren Bouchard. It’s called Central Park, a story of how a family of caretakers living and working in Central Park save the park. It’s produced by 20th Century Fox and stars Josh Gad, Leslie Odom Jr., Titus Burgess, Kristen Bell, Stanley Tucci, Daveed Diggs, and Kathryn Hahn. There will be 26 episodes split into two seasons.

Foundation

Apple has landed a TV series adaptation of Foundation, a popular science fiction trilogy by Isaac Asimov. It will be a straight-to-series production by Skydance Television. Two executive producers will be David S. Goyer (The Dark Knight, Terminator) and Josh Friedman (Avatar 2, War of the Worlds).

Dickinson

Apple ordered a straight-to-series of Dickinson. Written by Alena Smith, it will be a modern comedy set in the 1800s, and explore the constraints of society, gender, and family from Ms. Dickinson’s perspective. Each episode will be a half-hour long. Emily Dickinson will be played by Hailee Steinfeld, while Jane Krakowski will play her mother Mrs. Dickinson.

Apple TV guide dickinson

Shantaram

Shantaram tells the story of Lin, a man on the run from an Australian prison as he tries to assimilate into the city of Bombay. He lives in the slums of India, far away from friends and family. Eric Warren Singer will be the writer and executive producer for the series.

Calls

Created by Timothee Hochet, Calls is a French original series produced under the CanalPlus’s Creation Originale label. The English adaptation will be a straight-to-series order of 10 episodes. Calls is described as a “project that takes storytelling innovation to the next level, allowing audiences to experience short stories through real-life audio sources and minimal visuals.”

Helpsters

Apple announced it ordered multiple live-action and animated series from producer Sesame Workshop. Although “Sesame” is part of the name, the popular show Sesame Street isn’t part of the agreement. There is no information yet on when it will be released.

Apple TV guide helpsters

Pachinko

Apple has added another book adaptation to its lineup: A series based on Min Jin Lee’s best selling book Pachinko. The book chronicles the lives of a Korean that immigrated to the U.S., and Apple signed it into what Hollywood Reporter calls “a sizable script-to-series commitment.”

Comedy With Rob McElhenney, Charlie Day

Apple ordered straight-to-series comedy with It’s Always Sunny stars Rob McElhenney and Charlie Day. It will be set in a video game development studio and star Rob McElhenney and Charlie Day, both of whom will also serve as writers and executive producers for the show.

Losing Earth

A television series based on a New York Times article called Losing Earth: The Decade We Almost Stopped Climate Change is coming to Apple TV. It’s an epic 30,000 word article and Apple bought the rights to it. It recounts the story of a small group of American scientists, activists and politicians tried to save the world from the ravages of climate change before it was too late, from 1979 to 1989.

Apple TV guide losing earth

Wolfwalkers

Cartoon Saloon’s Wolfwalkers is an animated movie that shows how a young girl’s life is changed when she goes to Ireland with her father to kill the last pack of wolves.  The story was written by Will Collings, and the movie is co-directed by Tomm Moore and Toss Stewart.

Defending Jacob

Chris Evans (Captain America) stars in Defending Jacob. Created and written by Mark Bomback (Planet of the Apes trilogy) based on William Landay’s bestselling novel, the limited series is described as “a gripping, character-driven thriller based on Landay’s 2012 novel published by Random House. The book tells the story of a father dealing with the accusation that his son is a 14-year-old murderer.”

My Glory Was I Had Such Friends

Apple gave a straight-to-series order of a show starring Jennifer Garner, and produced by J.J. Abrams. The show will be called My Glory Was I Had Such Friends, based on the 2017 memoir of the same name by Amy Silverstein. It follows a group of women who supported Ms. Silverstein as she waited for a second heart transplant that saved her life.

The Elephant Queen

The Elephant Queen is a documentary about Athena, a giant matriarch elephant who faces a challenge when faced with a drought: Should she lead her family away from the local watering hole they call home, or lead them into the badlands in search of food and water? She has to decide whether the youngest elephants can make the journey.

Apple TV guide elephant queen

Sci-Fi Series

A 10-episode season of a sci-fi series is coming to the company’s unnamed video platform from David Weil and Simon Kinberg. We don’t know specifics yet but according to Deadline, sources say it will be a “large large budget, ambitious, character driven genre show that will go into production this summer.” Casting is underway.

CIA Drama

Apple has ordered a straight-to-series CIA drama based on an upcoming memoir by Amaryllis Fox. It will star Brie Larson, who will be both the star and executive producer of the show. The drama is based on the real-life experiences of Ms. Fox, a former clandestine CIA officer.

Lisey’s Story

Apple won a bidding war for an adaptation of Stephen King’s horror-romance called Lisey’s Story, with a straight-to-series order of eight episodes. It’s about a deeply personal thriller that follows Lisey (Moore) two years following the death of her husband. The story explores a series of events that causes her to begin facing amazing realities about her husband that she had repressed and forgotten.

Mental Health Series

Prince Harry and Oprah Winfrey will be creating a documentary series on mental health. It will launch next year, as Prince Harry announced on his Instagram page, and has already been in production for several months.

Apple TV guide oprah

Mr. Corman

The series will follow an elementary school teacher struggling with adulthood in Lost Angeles. Mr. Gordon-Levitt will produce under his HitRECord banner alongside A24.

The Mosquito Coast

Published in 1981, The Mosquito Coast follows an idealist who uproots his family and moves to Latin America. Neil Cross will be the showrunner and will adapt the book to a series.

Apple TV guide mosquito coast

A Christmas Carol

Apple won a bidding war for a live action musical starring and produced by Will Ferrell and Ryan Reynolds. Mr. Ferrell and Mr. Reynolds are thought to be earning a combined total of around $60 million.

Ted Lasso

Jason Sudeikis is bringing his Ted Lasso series to Apple TV+. Sudeikis plays Lasso, an idealistic all-American football coach hired to manage an English football club despite having no soccer coaching experience at all. This marks Sudeikis’ first regular onscreen television role since he left “Saturday Night Live” in 2013.

ted lasso Apple TV guide

Slow Horses

Slow Horses is the first book in the series known as Slough House by Mick Herron. Slow Horses follows a team of MI5 British intelligence agents. Gary Oldman’s character will be Jackson Lamb, the leader of the spies who ends up in Slough House, the “dumping ground” of MI5.

Source: macobserver.com

Continue Reading Apple TV+ Guide: All of the Original Video Content [Update]

HBO’s former CEO is the latest big-time TV executive to shift to streaming

  • Post Category:Apple TV+

Richard Plepler

Apple wants its new streaming service to be like the high quality offerings of HBO under its former CEO, Richard Plepler. What better way to do that than to hire Richard Plepler?

The executive, who left HBO in February, is in “advanced talks” to join Apple, the Wall Street Journal reported yesterday. If the deal is finalized, Plepler will produce original TV series, films, and documentaries exclusively for Apple TV+. After most of its original shows were met with a tepid reaction from critics, Apple’s signing of Plepler would be a much-needed boost for the nascent streaming service.

Plepler is the latest in a long run of well-respected cable and broadcast television executives to take their talents to the streaming world, seeking the piles of money and creative freedom that come with it.

Channing Dungey, the former president of ABC Entertainment, left the network late last year to join Netflix as its vice president of original content. Jennifer Salke, the former head of NBC Entertainment, now leads Amazon Studios. And former ABC Studios chief Patrick Moran joined Amazon as a producer last month.

But Plepler is the biggest name yet to transition to streaming. An HBO employee for nearly three decades, he was the pay-cable channel’s CEO from 2013 until his departure earlier this year. Known for his deep tan and an unrivaled ability to woo Hollywood talent, Plepler led HBO through a period of transition as it launched its first standalone streaming product, HBO Now, in 2015. During his time as CEO, HBO won more than 160 Emmys for shows ranging from Game of Thrones to Veep.

Plepler’s tenure at HBO was in jeopardy the moment AT&T purchased the network’s parent company, Time Warner, and renamed it WarnerMedia in 2018. The telecommunications giant brought in former NBC Entertainment boss Bob Greenblatt to oversee all of WarnerMedia’s TV entertainment assets, including HBO and the upcoming streaming service, HBO Max.

According to the Hollywood Reporter, Plepler was concerned about “HBO’s shrinking autonomy within the expanded WarnerMedia portfolio.” Plepler may have been right to be concerned: A presentation WarnerMedia held last month for investors and media members strongly hinted the classic HBO brand will be diluted as the company prioritizes streaming.

The deal makes a lot of sense for both parties. Plepler won’t have to worry about shrinking autonomy at Apple, which is marketing Apple TV+ as something much like what HBO was under Plepler—a curated offering with the industry’s best talent. Meanwhile, Plepler instantly gives Apple a much sought-after air of prestige.

Source: qz.com

Continue Reading HBO’s former CEO is the latest big-time TV executive to shift to streaming

HBO’s former CEO said to be in talks with Apple TV+ for an exclusive production deal

  • Post Category:Apple TV+

The man who oversaw the creation of some of HBO’s most highly praised “prestige TV” could soon be making shows for Apple TV+, according to a new report from The Wall Street Journal. Richard Plepler, who was HBO’s chairman and CEO up until he parted ways with the company last February following its acquisition by AT&T, is nearing an exclusive production deal with Apple’s new original content streaming service, the report says.

Plepler, who spent almost 30 years at HBO, including six as its CEO during which the media company aired some of its biggest hits, including “Game of Thrones,” would definitely bring some big-name industry influence to Apple’s efforts. Not that Apple TV+ lacks for that in its early offing, either: The premiere slate of original shows include Jennifer Aniston and Reese Witherspoon-led “The Morning Show,” and a show centerd around Oprah’s Book Club, just to name a couple of examples.

The deal, which isn’t yet final but might be signed officially “within the next few weeks,” per the report, would be between Apple and Plepler’s RLP & Co., a production company he established after leaving HBO. There’s nothing yet to indicate what kind of projects he’d be working on for Apple TV+, but it’s a logical target for Apple’s new original content enterprise to pursue, given that its focus thus far appears to be on fewer, big-budget, high-profile projects, but critical reception hasn’t been up to par with the kind of TV that HBO has a track record of producing.

Source: techcrunch.com

Continue Reading HBO’s former CEO said to be in talks with Apple TV+ for an exclusive production deal

Disney+ Available Now, Integrated with Apple’s TV App But Not as a Channel

  • Post Category:Apple TV+

Today Disney has launched what’s almost certain to become one of the most successful streaming services over time: Disney+. Apple users can enjoy the new streaming service through the Disney+ app for iPhone, iPad, and Apple TV. You can subscribe directly inside the app to start a 7-day free trial, after which it costs $6.99/month or $69.99/year. Disney is also offering a bundled option, where Disney+, Hulu (with ads), and ESPN+ are available for a single $12.99 monthly fee; to sign up for that bundle, you need to visit disneyplus.com.

Disney+ features an enormous back catalog of Disney favorites, from classic animated films to the worlds of Star Wars, Marvel, Pixar, and National Geographic. Not only that, but Disney has prepared a healthy slate of originals to accompany the launch, the clear standout of which is the Star Wars-based The Mandalorian. Combining originals and catalog fare, Disney+ is unquestionably the strongest content debut ever for a streaming service.

The app experience of Disney+ seems at least as good as other streaming services, and in some cases even better. As seen in the image above, Disney+ on the Apple TV offers an easy way to log in if you’ve already set up your account on an iPhone or iPad. Unlike most other streaming apps, which require entering a code on your TV, the Disney+ app can automatically log you in on your Apple TV when you have the mobile app open on the same Wi-Fi network.

Disney+ content inside Apple's TV app.

Disney+ content inside Apple’s TV app.

You can also connect the Disney+ app to Apple’s own TV app, enabling you to track everything you’re watching from Disney inside the TV app’s Up Next queue. You’ll see Disney+ shows and movies advertised inside TV’s Watch Now tab, where they can be added to your queue. This way, content from Disney+, Apple TV+, HBO, and other sources can all reside in one universal hub.

Unfortunately, Disney+ isn’t available as a channel inside the TV app, it only offers an app integration. What this means is that you’ll have to download the Disney+ app on all your devices to play the service’s content, whereas with channels content you can watch without needing a separate app. Also, whenever you initiate playback in TV you’ll be bumped out to the Disney+ app, making for a clunkier playback experience than you would have if the service was available as a channel.

The streaming wars are only just now starting to heat up, and the launch of Disney+ is a significant moment in those wars. While for some, the new service represents yet another video subscription they’re asked to pay for, it truly is remarkable that the dream of unbundling content from expensive cable or satellite packages is finally coming true.


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The reason Hollywood giants waited so long to challenge Netflix

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A screen displaying the share price of The Walt Disney Company is seen on the trading floor at the New York Stock Exchange (NYSE) in New York

The long anticipated battle royale over TV streaming is finally becoming real: Apple TV+ has just launched in over 100 countries, kicking off with broadcast news drama The Morning Show starring Jennifer Aniston and Reese Witherspoon, and dystopian sci-fi series See.

Disney+ enters the fray today (Nov. 12), initially in the US and then further afield in the early months of 2020. It will be leveraging everything from the Star Wars back catalogue to The Simpsons. Meanwhile, WarnerMedia and Comcast/NBCUniversal are to follow in 2020 with their own respective platforms, HBO Max and Peacock.

Much has already been said about this challenge to Netflix, which has dominated the market for almost a decade. Netflix entertains an audience of almost 160 million subscribers around the world, while second placed Amazon Prime is now slightly shy of 100 million. But while analysts try to second guess how these platforms will be affected by new arrivals, the launches also prompt another question: why has it taken so long for this challenge to finally emerge?

Birds in the hand

Apple’s hesitation is understandable given its outsider status to the streaming industry. The delayed entrances of Disney, Warner, and NBC are more puzzling, though: these multi-billion-dollar giants have extensive knowledge of the entertainment business and lots of capital to support aggressive entry. They also saw what happened to the music majors when upstarts iTunes and Spotify took charge of downloads and streaming.

The behavior of the Hollywood entertainment giants can be explained by an old, sometimes forgotten theory that describes disruptive technologies: the innovator’s dilemma. It was documented as early as 1997 by Harvard professor Clayton Christensen in a book of the same name that has become one of the seminal titles in the economics of innovation.

The dilemma refers to the choice that established firms must make between investing in their existing products and innovating to create new ones. For years, Hollywood chose the former. The most likely explanation is that these companies postponed going down this innovation route into TV streaming because they were afraid it would cannibalize their existing businesses.

Cannibalization is where an established company has to destroy some of its sales and even partnerships to make room for a new product or service. Take the example of Friends: WarnerMedia, which owns the classic sitcom, has received formidable income from Netflix for the past few years for the rights to rerun the show. For 2019 showings alone, Netflix reportedly paid WarnerMedia $100 million.

This is the sort of offer that is hard to refuse for a show whose last episode aired 15 years ago. It will be a big revenue loss to Warner when it switches Friends to its HBO Max platform in the new year. Netflix has instead struck a deal to rent Seinfeld, another 90s favourite, from Sony Pictures Television.

Disrupt and be damned

The innovator’s dilemma crops up in all businesses where there is substantial technological change. It can be characterized as a choice between the two types of technological innovation: sustaining, where technology improves existing products or services; and disrupting, where it creates a new market.

Sustaining innovation is the path commonly followed by established firms, since they already have the experience, the market share, and often the capital to invest in improving current products. An example would be smartphones, in which market leaders Apple and Samsung lead the way in improvements from one generation to the next.

Contrast this with disruptive technologies, where the new entrants are usually the innovators. This might sound like a case of incumbents failing to follow consumer demand—in other words, they have stopped listening to their customers. Instead, they are listening maybe too much. They prioritize defending their existing audience rather than leading these people towards the change that they will inevitably embrace.

Why, then, is Hollywood now changing tack? The answer is presumably that they believe the market has changed, and is moving towards a new equilibrium. This will be partly due to improvements in household internet speeds, and partly from the new supply of customers created by the disruptor, Netflix. WarnerMedia, for example, is betting that streaming has reached the stage where it can earn more from Friends on its own platform than by licensing it to Netflix.

Yet this is not the way that an established company should have approached this decision. Instead they should concentrate more on the future: once you accept that each product or service has its life cycle and will eventually come to the end, the only way forward is to try and disrupt the market yourself.

As Apple’s Steve Jobs once said, “If you don’t cannibalize yourself, someone else will”. To this day, Apple aims to prioritize disruptive innovations regardless of whether it will damage the sales of some of its other products in the process. By doing this wherever it is appropriate, you avoid the innovator’s dilemma entirely.

The TV streaming business—like all other businesses going through technological change—is a game of winner takes all, in which only a small number of players will come to dominate. According to the theory of the innovator’s dilemma, it is the innovator that tends to win.

By allowing Netflix and perhaps Amazon to develop such a commanding lead in this space, the Hollywood majors may not now be able to catch them—even with their huge production budgets and content libraries. Either way, it is going to provide a fascinating case study for this whole area of research.

If this is more of a cliffhanger than you can stand, let me end with a consolation: viewers can expect to pay rock bottom prices for all this content until the battle is over. This means that there will be no shortage of distractions in the meantime.

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Looking for more in-depth coverage of streaming? Sign up for a free trial of Quartz membership, and read our premium field guide on the future of entertainment as we know it.

Source: qz.com

Continue Reading The reason Hollywood giants waited so long to challenge Netflix

Apple TV+: Attention and retention are everything

  • Post Category:Apple TV+

TV+

Apple’s TV+ shows may not yet have achieved the swift audience demand traction new shows on more established streaming media channels command, but it is still a strong beginning, says Parrot Analytics.

Context is everything

I contacted the company’s Samuel Stadler for clarification following a recent report in Variety which claimed “tepid” demand for Apple’s new shows. I questioned that analysis as previous research from the firm cited in the latter report indicated strong interest in Apple’s TV products.

Stadler explained that in this case, both of his company’s analyses were correct, but that the timeframes and titles used to provide the context differed. He noted that in comparison to Handmaid’s Tale, Apple’s shows had generated above average pre-release interest.

However, the second report cited by Variety has a slightly different context.

“This compares the four Apple shows to the market title average 1 day after launch,” he said. “Here we use the top 20 shows of 2019, based on their +1 day launch performance, to give context to how well the Apple TV+ shows have performed.”

The thing is, the claims are not indicative, he said:

“We must note that 24 hours of demand is by no means indicative. We must give these titles time to become known,” he explained. “Apple TV+ is new platform – it’s a slow burn and its hundreds of millions of hardware users will ensure that the platform will be a strong contender long-term.”

Attention is what matters

In other words, claims of tepid interest may be being overplayed — and indeed, may not actually be the metric that matters.

What matters, the analysts have explained in a previous (and extensive) report, is that players in the SVOD space seize space in what it calls the “Attention economy”. What matters in that isn’t short term interest in shows, but long-term loyalty and dedication.

Achieving this will likely become a mix of show quality, cutting edge scripts, and service delivery that minimises friction while also enabling access to multiple services. Consumers will react negatively if forced to use multiple apps, or finding themselves unable too easily access services from within the services they prefer.

That’s a challenge for all players in the space, with incumbents quarrelling over rights of ownership around fees, subscription prices and more.

Apple seems to be attempting to meet these problems, but hasn’t yet achieved that end. In the prelude to the launch of Apple TV+ we did see some positive moves in the direction of consumer-friendly services integration. Apple’s TV app is available on hardware from Amazon, Roku and a growing number of TV manufacturers, as well as online.

Apple’s Channels business may émerge to be a smart way to integrate third party services within its TV offering, though I sense the company may also need to find some way to work with other outlets, including air carrier and hotel entertainment systems to push its proposal over the edge.

The bottom line? Apple is already registering in the SVOD space, even as that part of the industry heads inexorably into high drama.

Watch this space.

Source: applemust.com

Continue Reading Apple TV+: Attention and retention are everything

Original Content podcast: Apple’s star-studded ‘Morning Show’ gets off to a bumpy-but-promising start

  • Post Category:Apple TV+

We weren’t sure what to expect from the launch of Apple’s new subscription streaming service. There were reports that the company was committed to staying family friendly, rather than exploring the adult content and creative liberties that both premium cable and streaming can offer. Plus, most of the trailers were pretty underwhelming.

For our 100th (!) episode, your regular Original Content podcast hosts are joined by TechCrunch writer Sarah Perez to discuss all the Apple TV+ shows we’ve sampled so far — “For All Mankind,” “See,” “Dickinson” and even “Snoopy in Space.” And we were pleasantly surprised by what we found.

Just a few episodes in, “For All Mankind” (an alternate history in which the Soviet Union won the race to the moon) and “See” (set in a world where everyone has lost the sense of sight) have turned some of us into fans. And even “Dickinson” — which has the seemingly impossible task of telling Emily Dickinson’s story using modern slang— turns out to be a strange and watchable experiment.

We save our most extensive discussion for the most high-profile title of the bunch: “The Morning Show,” which stars Jennifer Aniston as Alex Levy, longtime host of an AM news show also called “The Morning Show,” and Reese Witherspoon as local news anchor Bradley Jackson, whose confrontation at a coal mine protest ends up going viral right as Alex’s show implodes, thanks to sexual misconduct allegations against her longtime co-host Mitch Kessler (played Steve Carell).

Obviously, the show has star power, and the leads are supported by talented and familiar faces like Billy Crudup, Mark Duplass and Gugu Mbatha-Raw.

The performances are all strong, with Aniston and Witherspoon carrying the show: Aniston convincingly portrays a woman who’s both devastated by the revelations of her on-screen partner’s behavior and desperate to seize the opportunity that these revelations create. Witherspoon, meanwhile, adds complex shading to perhaps her trademark role as a spunky, ambitious upstart.

The writing, on the other hand, is a bit uneven. There’s an unfortunate tendency towards speechifying about big themes like The Role of Journalism in America — at times, it feels almost Sorkin-esque, but without the eloquence or snappiness of Aaron Sorkin’s best dialogue.

So far, though, the speeches have been balanced out by strong characterization and some satisfyingly dramatic twists.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also send us feedback directly. (Or suggest shows and movies for us to review!)

And if you want to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:30 Apple TV+ roundup
27:02 “The Morning Show” review (spoiler-free)

Source: techcrunch.com

Continue Reading Original Content podcast: Apple’s star-studded ‘Morning Show’ gets off to a bumpy-but-promising start

Which new streaming service is right for you?

  • Post Category:Apple TV+

new streaming services

The streaming wars have begun and there’s suddenly a lot more TV to watch: Apple’s new service, Apple TV+, launched Nov. 1. Disney’s offering, Disney+, debuts Nov. 12. NBCUniversal’s Peacock and WarnerMedia’s HBO Max will be available in April and May, respectively.

With the emergence of so many new platforms, the entertainment landscape has become a confusing jungle to navigate. Simply making an informed choice about which service to subscribe to can be more frustrating than exciting.

Some of you will no doubt sign up for more than one of these new streaming services. Others will decide they’re fine with their existing Netflix, Hulu, or Amazon subscriptions and eschew the new guys altogether. But if you need some guidance figuring out which new option is best for your particular viewing habits, let Quartz help you out with our quiz:

Looking for more in-depth coverage of streaming? Sign up for a free trial of Quartz membership, and read our premium field guide on the future of entertainment as we know it.

Source: qz.com

Continue Reading Which new streaming service is right for you?

All change in the UK SVOD market

  • Post Category:Apple TV+

What effect will the biggest wave of change in the video-on-demand (VOD) market since the launch of Netflix and Amazon Prime Video have in the UK?

Competition in the UK streaming market is heating up. Apple TV+ launched on November 1, 2019, the launch of Britbox is imminent with a beta testing phase currently in place, and Disney+ and other media owners are gearing up to launch streaming services in the UK in 2020.

What’s the current picture?

Right now, Netflix clearly dominates the subscription-VOD (SVOD) market in terms of usage. Netflix has a market share of 61% based on average daily SVOD usage, Amazon Prime Video is in second position with a 25% share, Now TV is in third position at 11% while Disney Life takes 2%. The figures are based on the latest findings in Goldmedia’s VOD-Ratings (*) data for October 2019.

Stranger Things was the most watched title with Season 3 driving the most viewing followed by Power. The Big Bang Theory was the third most watched title due to viewing across the seasons. Unbelievable, in its first season, took overall fourth position. Season 9 of Suits pushed this title to fifth position with the help of viewing of earlier seasons.

The top 10 analysis is based on viewing by all viewers in front of the screen covering all titles on SVOD platforms and includes viewing of all seasons of any title.

Co-viewing builds usage levels to these titles.

Analysis of the number of people in front of the screen by title reveals that Stranger Things, the top title this month, also had the highest number of viewers on average compared with other titles in the top 10.

Account sharing impacts market position

Analysis of how many people share an account, with family or friends for instance, reveals differences in levels of password sharing between providers. According to analysis of October 2019 data, there are 2.6 users for every Netflix account, compared to only 1.9 for Amazon Prime Video, which in part explains higher usage levels of Netflix. Now TV has 2.3 users per subscription.

What can we expect next?

With Apple TV+ now up and running and other new VOD platform providers lining up to launch we would expect to see a shift in the market shares. Britbox is planning to enter the market later this year, Disney+ is likely to start in early 2020 and NBC Universal has announced it is launching its streaming service Peacock in 2020. Meanwhile Sky and HBO have closed a new output deal which gives Sky continued access to HBO’s new production and content library.

The UK is currently facing the most significant change in the streaming market since the launch of Prime Video and Netflix five years ago. New business models may emerge, and the current market position will no doubt change. From the point of view of VOD providers in the UK, 2020 looks set to be an eventful year.

(*) The latest findings from VOD-Ratings are based on analysis of usage of UK SVOD content and providers in October 2019. VOD-Ratings is an analysis platform based on continuous surveys of usage of paid-for VOD content and has been developed by German consulting and research group Goldmedia.

VOD-Ratings has been measuring viewers and usage of the pay-VOD market in the UK since January 2019. Methodologically, the survey is based on a rolling online survey using the ‘day-after-recall method’. Up to 60,000 respondents aged 16+ are surveyed per year. Goldmedia developed VOD-Ratings in Germany where the service has been running since 2017.

Source: broadbandtvnews.com

Continue Reading All change in the UK SVOD market