Posts Tagged ‘netflix’

House of Cards, #OptOutside and McWhopper Win Top Integrated Honors at Cannes

June 25, 2016  |  Media Week  |  No Comments

CANNES, France—Frank Underwood is a man who gets what he wants. And today he clearly wanted a Grand Prix at the Cannes Lions. BBH New York's "FU2016" campaign for House of Cards' fourth season on Netflix took home the top award in the Cannes Lions International Festival of Creativity's Integrated category. The centerpiece of the campaign was a faux political ad that ran during December 2015's GOP presidential debate on CNN, where 18 million people tuned in to watch the Republican candidates spar. The ad for the fictional Underwood's campaign overshadowed conversation about the real candidates online and became a top trending topic on Facebook and Twitter during the debate.

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VCCP Acquires Muh-Tay-Zik Hof-fer to Form Creative Partnership

May 23, 2016  |  Media Week  |  No Comments

Over the years, agency holding companies have approached San Francisco-based agency Muh-Tay-Zik Hof-fer about partnerships, but its executives dismissed them every time. "We never gave it much thought. It wasn't something we needed or were looking for," said John Matejczyk, the agency's executive creative director. But when London-based VCCP came calling, seeking out a U.S.-based partner, the arrangement made sense for both agencies. Today, Muh-Tay-Zik Hof-fer and VCCP are announcing a new creative partnership. The two agencies will form an international network, continuing to operate with the same staff, and combining their client roster. "We wanted to find a partner in the U.S. who had the same focus on creative work, the same challenger mentality. We spent two years looking for that agency, and when I met these guys, I thought, I wasted two years of my life," said Adrian Coleman, co-founder and CEO of VCCP. "It's the coming together of two agencies that can help grow each other." Added Matt Hofherr, director of strategy at Muh-Tay-Zik Hof-fer, "It's about like-minded people. It felt like a marriage of sames: same principles, same drive, same ambitions." Muh-Tay-Zik Hof-fer's clients include AAA, Audi, OXO, method, SoFi, for which it produced spots for this year's Super Bowl, and Netflix, for which it launched a clever streaming Yule Log campaign in 2013. VCCP's clients include BMW Motorcycles, O2, Molson Coors and easyJet. The new network will include VCCP's offices in London, Madrid, Prague, Sydney and Berlin, and Muh-Tay-Zik Hof-fer's office in San Francisco

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European Union Mulls 20% Content Quota for Netflix and Amazon Prime

May 19, 2016  |  Variety  |  No Comments

The European Commission, the European Union’s executive arm, is mulling a move to impose a 20% European content quota on video streaming sites like Netflix and Amazon Prime. More to follow.

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Venables Bell Wins Best of Show at The One Show for REI’s #OptOutside Campaign

May 14, 2016  |  Media Week  |  No Comments

Venables Bell & Partners took home the coveted Best of Show award at The One Show in New York on Friday night for REI's #OptOutside, a cross-platform campaign in which the outdoor retailer closed on Black Friday and urged employees and customers alike to get outside and enjoy nature on a day best known for rampant consumerism. "This is an amazing honor," said Will McGinness, executive creative director at the San Francisco agency. "This wouldn't have been possible without our incredibly brave clients who were willing to take their beliefs as a company and act on them in such a bold way. #OptOutside was an idea that came from the core of who they are as a company and ended up transcending marketing into an actual movement. Which is something you rarely see." Spark, Tool of North America, North Kingdom and Edelman also worked on the REI campaign. Adweek responsive video player used on /video. Ellie Kemper, star of the Netflix comedy Unbreakable Kimmy Schmidt, hosted the 43rd Annual One Show Awards at Cipriani Wall Street on Friday night, which honored the year's best film, interactive, cross-platform, IP, mobile, social, UX/UI and radio work. The One Show also hosted a separate gala on Wednesday night at Gotham Hall, hosted by Michael Ian Black, at which the print and outdoor, design, direct, branded entertainment, responsive environments and PR winners were announced

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Naomi Watts to Star in Netflix Drama Series ‘Gypsy’

April 18, 2016  |  Variety  |  No Comments

Naomi Watts has signed on to star in Netflix’s psychological drama series “Gypsy,” from Working Title, Universal Television and writer Lisa Rubin. More to come

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Kimmy Schmidt Is Blissfully Ignorant of Internet Acronyms in Netflix’s Season 2 Ads

April 14, 2016  |  Media Week  |  No Comments

Get ready to have some uncomfortable conversations with your parents when they ask you to explain these new ads for Unbreakable Kimmy Schmidt. Slated to start appearing across popular websites and in a variety of outdoor locations like bus shelters, billboards and subways, the campaign from Netflix and Burbank-based agency Midnight Oil promotes the debut of all episodes of Season 2 on Friday. As you can see below, each ad plays with a popular and mildly edgy online acronym, like the ol' chestnut MILF and a few lesser-known and unchivalrous quips like SOMF ("sit on my face"). "We're fans of the first season, so we had a blast remembering all of its jokes, storylines and hilarious moments while developing the new creative with the Netflix Originals team," said Michelle Azzopardi, vp of creative at Midnight Oil. "It was important for us to maintain Kimmy's voice and honor her spirit throughout this campaign, reminding core fans why they loved Kimmy while also appealing to a whole new audience." Check out the ads below:

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Orange Is the New Black Star Reveals Her Favorite ‘Guilty Pleasure’ TV Shows

April 12, 2016  |  Media Week  |  No Comments

Specs Age 26 Claim to fame Stars as Taystee on Netflix's Orange Is the New Black; currently appearing as Sofia in The Color Purple on Broadway Base New York Twitter @thedanieb Adweek: What's the first information you consume in the morning? Danielle Brooks: Most of the time, it's Twitter. It's an easy way to get the news and know what's going on in the world. There's also this newsletter called theSkimm that I read. I love it because their headlines are so up to date with my generation [laughs], and it talks about really complicated subjects but in terms that I understand. And then after that, I'll hit Instagram. Who do you follow on Instagram? I love following plus-size models like Precious Lee , Ashley Graham and Tess Holliday . I also follow a lot of pages about fitness or detoxing and healthy eating because that's kind of where I am right now with spring, summer coming [laughs]. I follow all my girls from Orange. And I love BeBeautifulLA , who posts beautiful pictures of black women showing off stretch marks or wearing full African garb or naked, but done tastefully. She also posts beautiful poems about loving yourself and your body.

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How Millennials Consume TV Depends on Which Stage of Life They’re In

March 24, 2016  |  Media Week  |  No Comments

There's a reason that millennials are so hard for advertisers to pin down: Their media consumption is in constant flux, given that adults in that 18-34 demo are in "rapid transition." That's according to Nielsen's Q4 2015 Total Audience Report, released this morning, which delved into the media consumption habits of advertising's most elusive, and often mystifying, demographic. The report found millennials who have started a family spend significantly more time watching TV—an average of an hour per day more than those who don't have children or still live with their parents. "It's not about age, it's about life stage," wrote Glenn Enoch, evp, audience insights for Nielsen, in the report. "18-34 year olds are not a monolithic group with a common set of technologies or behaviors. Their lives are in rapid transition as they join the workforce, move into their own homes and start families." The Total Audience Report, which is not to be confused with the Total Audience Measurement ratings that Nielsen is rolling, broke millennials into three separate life stage groups: Dependent Adults (those who are living in someone else's home, usually a parent or parents), On Their Own (those who are living in their own home, with no children) and Starting a Family (those living in their own home, with children). For example, 97 percent of 18-year-olds live in someone's else home, usually a parent or parents. But 90 percent of 34-year-olds live in their own home, while 60 percent of those have children. In the middle of the demo, roughly one-third of 26- and 27-year-olds falls into each of the three life stages. Those three groups had very different media preferences during Q4 2015: Nielsen The On Their Own group is more likely than any other millennial group to have a multimedia device, high-speed internet and laptops, as well as access to an SVOD service like Netflix, Hulu or Amazon. Seventy-eight percent of On Their Own Millennials have subscription video on demand (SVOD) services like Netflix and Hulu, compared to 64 percent of Dependent Adults and 58 percent of Staring a Family. On Their Owns spent more than 94 hours using PCs, tablets and smartphones in November 2015, which was around 10 more hours than all 18-34 adults that month and 18 more hours than Dependent Adults. Starting a Family millennials are more likely to own DVRs (47 percent), DVD players (69 percent) and tablets (65 percent). That group also spends the most time at home of the three groups, and not surprisingly, it watches the most live TV (3:16 per day, in hours: minutes) and also has the most total TV screen use (4:40). The average 18-34 person spent 2:45 watching live TV each day in Q4 2015, and another 1:23 using TV-connected devices, for a total of 4:08 of TV time each day. The Starting a Family group spent 3:16 a day watching live TV, an hour more than On Their Owns (2:06), while Dependent Adults watch less live TV (2:32) and spend less time with TV overall (3:44). On Their Owns have the lowest ownership of traditional sources of video and spend the most time outside the home.

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With Its Total Audience Measurement Delayed, Nielsen Will Share More Connected TV Data

March 23, 2016  |  Media Week  |  No Comments

Networks will have to wait a few months longer for full access to Nielsen's new Total Audience Measurement data, but in the interim, the company is preparing to share more information about usage of connected TV devices like Roku and Apple TV. Nielsen announced today that beginning April 25, it will make brand-level data available from connected TV devices, including streaming video devices and game consoles—Roku, Apple TV, Amazon Fire TV, Google Chromecast, Xbox, Sony PlayStation and Nintendo Wii—as well as enabled smart TVs. This will allow clients to track how many homes across the country own TV connected devices and which brands, and how those numbers grow over time. Clients will be able to determine how much time people spend with devices overall and link program viewing to those specific devices. The company is also creating a new metric called Total Use of Television (TUT), which adds connected TV usage to linear usage for what Nielsen calls "a complete view" of TV usage. "Our device breakout data will report how much viewing to a particular network, program, episode or telecast came from a particular device type or device brand for measured content," said Sara Erichson, evp, client solutions and audience insights.

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How FX Bids for New Series Without the Big Budget of Netflix

March 22, 2016  |  Media Week  |  No Comments

As streaming services like Netflix, Amazon and Hulu snap up original series away from linear networks, as well as lure creators with big paydays and promises of creative autonomy, their competitors have had to alter their approaches to bidding for new projects. One of those is FX, which lost out on the bidding for Aziz Ansari's comedy Master of None and the upcoming drama The Crown. Both of those shows went to Netflix after the streaming service "overwhelmed us with shock and awe levels of money and commitment," FX CEO John Landgraf told reporters in January . He also used a "Moneyball" analogy when comparing FX to Netflix, explaining, "Basically, we're competing against payrolls, if you will, a la the Oakland A's and New York Yankees, that are three or four times ours." Because he can't match Netflix dollar for dollar, Landgraf has shifted the focus of his pitches, highlighting other attributes of the network when bidding for shows. Landgraf highlights his marketing team, which has been named PromaxBDA's In-House Marketing Team of the Year for five consecutive years. "I think the talent appreciates that," he told Adweek. Landgraf also emphasizes the personal touch and attention he can give FX's shows versus Netflix, which now has 100 series in the pipeline—55 for adults, 45 for children. "Our network is more of a bespoke organization than a factory. We're at about 18 shows, and that's the most that I can personally pay attention to," said Landgraf. While he could maybe do as many as 20, "I'm at the max in terms of being able to read scripts, watch rough cuts, have a thoughtful input and dialogue." And that's important, even when the network doesn't have much creative feedback in terms of notes for producers. Landgraf said that his deal with Louis CK for Louie specified that the network wasn't able to give him notes.

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