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

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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.

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Source: qz.com

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Apple TV+: Attention and retention are everything

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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

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

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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?

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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:

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All change in the UK SVOD market

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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

Can’t find the new Apple TV+ shows, like ‘Dickinson?’ This shortcut can help.

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The Apple TV app is so bad, someone had to create a shortcut just to make it easier to navigate to the new Apple TV+ content. Apple may have invested billions in its Apple TV+ streaming service and hosted star-studded events to tout its new shows, but what it apparently didn’t do is give much thought to designing its TV app to help direct users to its exclusive content.

Instead, the Apple TV+ shows were mixed in with everything else at launch — forcing users to scroll past What to Watch recommendations and more from the larger iTunes catalog just to find the Apple TV+ section.

And even if and when you found that Apple TV+ section, each individual show page is poorly organized, too. Instead of following the standard format where a season’s episodes are listed in vertical order on an iPhone, Apple’s TV app opts for a horizontal scroll instead. It’s frustrating. It’s confusing. No one likes it.

Apple TV+ may only include a handful of shows at launch, but it still deserves its own, dedicated tab — like Apple’s very own Netflix within the larger construct of the TV app. Part of the problem, as detailed by 9to5Mac here, is that Apple’s TV app has been designed to be a jack-of-all-trades. It connects you to your iTunes library of rentals and purchases, to your add-on premium subscriptions, to your TV Everywhere-authenticated apps, and to some — but not all — of your favorite streaming services.

But the end result is an app that’s sort of a mess and one that failed to carve out a dedicated space for Apple TV+.

This problem also annoyed MacStories Editor-in-Chief Federico Viticci, who wanted an easier way to navigate directly to the Apple TV+ catalog content.

His solution? An iOS shortcut.

Viticci figured out a way to create URLs that will open any Apple TV+ section you want to get to in the TV app. Similar to how Apple Music web links can be edited to direct to content right in the Apple Music app, Apple TV+ web links can also be tweaked to launch the TV app — without redirecting you through Safari first. This is done by replacing the “https” part of the content URL with “com.apple.tv,” he explains.

With this discovery, Viticci was then able to create a shortcut that lets you go directly to any Apple TV+ page — including the “front page” for Apple TV+ or the individual show pages for shows like The Morning Show, For All Mankind, See, and Dickinson.

Apple TV+’s catalog is a bit larger than that, of course, and will continue to grow. But you can continue to edit the shortcut to meet your needs.

To add something new to the default list of shows, you’ll first have to locate the show in the TV+ app — good luck! You’ll then tap the “Share” button then choose “Copy” to copy the link to your clipboard. In the shortcut, you’ll add a new “Text” item to the action that’s at the beginning of the shortcut, and name it what you like. Finally, you’ll paste in the link you had copied into the “Value” field.

Ta-da! You updated the shortcut!

Or if you just want to use the iOS shortcut as is, so you can get right to Dickinson, you can add it by clicking here.

Viticci tells TechCrunch he expects to keep adding sections as well as links for more shows, as these become available. The shortcut, which is called simply “Apple TV+ Launcher,” will be updated in the MacStories Archive so people can re-download the latest version as needed, he says.

Of course, when people are building a shortcut to work around an app’s poor navigation, there’s a bigger problem that needs to be addressed.

Now, it’s possible that Apple intentionally mixed in Apple TV+ content in such a way to not make it look like it was using its platform power to give its own service a boost, in light of the recent antitrust and anticompetitive investigations into its business practices. But Apple usually doesn’t go so far as to offer a poor user experience — that’s just not in its ethos.

Besides, Apple certainly wasn’t shy about marketing the streaming service in other ways — as with the push notifications or the big Apple TV+ banner at the top of the Apple TV homescreen, for example.

Instead, this just looks like a case of needing to tweak the app’s design.

Until then, we can just use the shortcut to help.

(Image credits: MacStories)


Source: techcrunch.com

Continue Reading Can’t find the new Apple TV+ shows, like ‘Dickinson?’ This shortcut can help.

How To Open the Apple TV+ Front Page and Individual Shows Directly in the TV App

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Update, November 7: The shortcut has been updated with links to all currently announced Apple TV+ shows. You can find the updated download link below and in the MacStories Shortcuts Archive.

I was listening to the latest episode of Upgrade, and, among several fair points about the shortcomings of Apple’s TV app for iPhone and iPad, Jason Snell mentioned an issue that stood out to me: if you don’t know where to look, it can be hard to tell where exactly the Apple TV+ service lives inside the Apple TV app. This sentiment was echoed earlier today in this article by Benjamin Mayo at 9to5Mac:

Apple has made very few changes to the TV app design and feature set to accommodate the TV+ launch. TV+ is shoehorned in as just another source of content with very little consideration. With other streaming services, if you want to commit to their world and explore everything they have to offer, you can just open the dedicated app and never touch the TV app. With TV+, that’s simply not possible.

There is a channel section of the TV app that is dedicated to TV+ content — but it’s far from perfect. Finding the TV+ section requires a lot of scrolling, meandering past several screens worth of Watch Now recommendations for everything in the iTunes catalog.

I’ve been watching The Morning Show over the weekend (which I surprisingly liked a lot; I’m going to start For All Mankind and See next), and even though I’m used to the TV app’s quirks by now, I recognize that its navigation should be improved. And in particular regarding the new Apple TV+ service, I do believe that it’s somewhat buried in the TV app experience – by default, Apple doesn’t offer a single, easy way to open a “page” with Apple TV+’s complete catalog. So, I had to figure out a solution on my own.

Continue Reading How To Open the Apple TV+ Front Page and Individual Shows Directly in the TV App

Apple Releases Trailer for The Banker Arriving in Theaters December 6th and Streaming on Apple TV+ in January 2020

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Apple has released a trailer for its upcoming movie, The Banker, on its Apple TV YouTube channel. The company describes the film as follows:

Based on a true story, “The Banker” centers on revolutionary businessmen Bernard Garrett (Anthony Mackie) and Joe Morris (Samuel L. Jackson), who devise an audacious and risky plan to take on the racially oppressive establishment of the 1960s by helping other African Americans pursue the American dream. Along with Garrett’s wife Eunice (Nia Long), they train a working class white man, Matt Steiner (Nicholas Hoult), to pose as the rich and privileged face of their burgeoning real estate and banking empire – while Garrett and Morris pose as a janitor and a chauffeur. Their success ultimately draws the attention of the federal government, which threatens everything the four have built.

The film, which is rated PG-13, will be released in theaters December 6th and stream Apple TV+ in January 2020 following a similar pattern to The Elephant Queen and Hala which are also Apple Original movies. It’s an interesting approach and one that is likely designed to ensure the films are eligible for awards like the Oscars, while simultaneously creating marketing opportunities and viewer awareness in advance of their debut on TV+.

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Apple TV+ Now Available: Here’s Its Full Launch Lineup

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Apple TV+ is now available, a video subscription service that Apple has been working on for over two years now. The new streaming service debuts in over 100 countries, and can be accessed now inside the TV app on iPhone, iPad, Mac, Apple TV, Roku and Amazon Fire TV devices, and select smart TV manufacturers, as well as from tv.apple.com.

Apple TV+ costs $4.99 per month, but all users are offered a 7-day free trial; also, anyone who has purchased a new iPhone, iPad, Mac, Apple TV, or iPod touch since September 10 will receive a free year of service. Finally, even if you don’t subscribe at all, Apple has made the first two episodes of all of its series available for free viewing in the TV app.

While the cost of entry is low for Apple TV+, what you get for the price is also fairly limited at the moment. Apple has branded TV+ “the first all-original video subscription service,” which means there’s no back catalog of legacy content, only brand new shows and movies that have never been released before. This angle could be spun as a positive thing in some respects, because many streaming consumers these days care most about new content, but it also means you can quickly watch everything TV+ has to offer and be stuck waiting for more content.

Here’s the full lineup of everything Apple TV+ offers today:

Continue Reading Apple TV+ Now Available: Here’s Its Full Launch Lineup