Posts Tagged ‘netflix’

Here’s How The CW Is Forging Its Own Digital Path, Without Hulu

October 3, 2016  |  Media Week  |  No Comments

This week, as The CW begins to debut its season premieres, viewers used to streaming those shows on Hulu will be in for a surprise. The network's five-year deal with the streaming service has lapsed, which means that for the first time, The CW's website and apps will have exclusive in-season streaming rights to its shows like Supergirl , which has migrated over from CBS, Jane the Virgin and The Flash . It's a brave new digital world for The CW, which created its CW Seed digital platform in 2013 in part so it would one day be prepared to go it alone without Hulu. Last week, the network rolled out its CW app on Roku, Apple TV, Xbox, Chromecast and Amazon Fire, and will be amping up marketing efforts to direct audiences to the new digital destinations. "When you know this is the only place you have to go, that makes a big difference, and it helps our business model," said network president Mark Pedowitz. While ABC, Fox and NBC, whose parent companies jointly own Hulu, were able to sell a big chunk of their ad inventory on the streaming service, The CW was not given the same access to Hulu ad revenue. (That did not change when Time Warner, which jointly owns The CW with CBS Corp., acquired a 10 percent stake in Hulu in August.) "We had none of it, and I'm sure a lot of advertisers went there to get our shows," said Rob Tuck, evp, national sales for The CW. "The advertisers had been looking for more from us because our inventory was somewhat constrained, and we now have been able to release it. We've got a lot more available to us, and clients definitely responded. Our digital growth this year was really significant." Sources close to Hulu counter that the company didn't want to pay more to renew its deal, and be required to take on the entire network's portfolio without in-season stacking rights to all episodes of a current season when only The Flash and Arrow were generating meaningful traffic on the site. In addition to being the only network to offer unauthenticated access via its apps ("our median age on digital is 23, and our viewer does not want to authenticate," explained Tuck), Pedowitz and Tuck have reduced The CW's digital ad load this season, from 12 minutes per hour, which mirrored the linear load, to seven-to-nine minutes per hour. "We're trying to figure out what is the right load so that viewers feel that they've had a great viewing experience," said Pedowitz. While The CW ended its partnership with one SVOD, it has enhanced its relationship with another. In July, the network signed a lucrative, multiyear deal with Netflix, giving that company exclusive streaming rights to full seasons of each CW series, beginning just eight days after its season finale. Under its previous CW deal, Netflix did not get streaming access until several months after a season had concluded

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How Marvel Juggles the Development of 6 Intertwined Netflix Superhero Shows

September 30, 2016  |  Media Week  |  No Comments

TV's crowded superhero genre needs to make room for a new entry today, as Netflix drops the first season of Marvel's Luke Cage. It's the third entry in what is now a six-series universe of Netflix shows revolving around Marvel's street-level heroes and villains in New York's Hell's Kitchen. Almost three years ago, Marvel and Netflix announced four separate series—Daredevil, Jessica Jones, Iron Fist and Luke Cage—to culminate in an Avengers-style team-up in a miniseries called The Defenders. Since then, Netflix has released two seasons of Daredevil (and ordered Season 3 in July), one season of Jessica Jones (and ordered Season 2 in January) and now Luke Cage. In April, it announced a spinoff series, The Punisher, centering around the character (played by Jon Bernthal) who was introduced in Daredevil's second season. That makes six Netflix Marvel series in all—with some characters appearing in multiple shows, like Luke Cage, who was first introduced last fall in Jessica Jones—which need to be plotted out and juggled by Jeph Loeb, Marvel's head of television and the executive producer of all Marvel's television series. While Marvel has announced its film schedule for the next several years (it currently extends to a fourth Avengers film due on May 3, 2019, with three 2020 release dates already earmarked for still unnamed films), the company plays things much closer to the vest on the TV side. Next year will bring Iron Fist and The Defenders and then … only Loeb knows for sure. "We very much have a schedule as to when things are happening, but we have chosen to say, look, this is where we are right now," said Loeb. "I also personally tend to find that when you talk about something that's coming, as opposed to what is happening right now, that people want to talk about the new thing, the new, shiny penny." Also, Marvel is ultimately at the mercy of Netflix and the other networks that air its shows. "Unlike the motion picture division, which has the ability to say, 'On this date we're doing Ant-Man 2,' the television driving is always going to be talking to our [network partners], and they're the ones that are going to tell us whether or not there's going to be another season," said Loeb. "I can't do anything about that. All we can do is tell the best stories we can and hope that the audience comes." But it also makes things more challenging for the showrunners behind Netflix's Marvel shows who not only have to wait to find out whether their shows will be renewed, but at which point in the ongoing saga the next season will actually air. Jessica Jones showrunner Melissa Rosenberg said that Season 2 will air at some point after The Defenders, but she didn't have any input as to when it would be slotted. "I just show up when they tell me to and pick up the pieces that are laying there for me, and start to play," said Rosenberg. Before she began to plot out the story lines for Jessica Jones' second season, Rosenberg met with Doug Petrie and Marco Ramirez, the Daredevil Season 2 showrunners who are overseeing The Defenders, for a detailed rundown of what was in store for her characters in that miniseries

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‘You’re the Worst’ Star Aya Cash on Finding Validation Through Instagram

September 20, 2016  |  Media Week  |  No Comments

Specs Age 34 Claim to fame Stars on FXX's You're the Worst (Wednesdays, 10 p.m.); appears in the new Netflix anthology series Easy (premieres Sept. 22) Base New York Twitter @maybeAyaCash Adweek: What's the first information you consume when you wake up in the morning? Aya Cash: I would like to say that I make a cup of coffee and I read and meditate, but I absolutely pick my phone right up to check my email, and often when the show is airing, I check my social media as well. Do you not use social media when the show is on hiatus? Yeah, I try not to. I take [social media apps] off my phone on the regular, and I never have alerts turned on, which is very helpful in keeping me less engaged. But unfortunately when the show is airing, I tend to be on it way too much. I try to set boundaries. I don't think social media is innately evil; I just think the way I use it is. So how do you use it? You know, the constantly checking … I've even joked about it in posts where I'm like, "Please validate me right now because I'm feeling shitty, but here's a picture of me looking like I've never looked in my life!" Sometimes you get on and feel bad about yourself because everybody's life looks better than yours and then you look at your [social media] and realize your own life looks better than yours and you think, "What am I contributing to?!" You often Instagram your reading list, which is pretty cool. Well, my mom's a writer and I'm also an only child, so I grew up reading a lot. Once on Twitter I asked people to recommend some books for me, and I ended up reading six or seven of the recommendations and liking them all. There's actually another actress—I won't name her name—who actively pursued a friendship with me based on my reading list [laughs]. What's on your list right now

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The People v. O.J. Simpson, Game of Thrones Dominate 2016 Emmys

September 19, 2016  |  Media Week  |  No Comments

On the night before the 2016-17 TV season began, the television industry honored its very best shows and actors at the 68th Emmy Awards—and the broadcast networks once again found themselves dominated by cable and streaming networks. For three hours on ABC, a series of broadcast stars strode onstage at the Microsoft Theater, and more often than not, presented Emmys to HBO's Game of Thrones, FX's The People v. O.J. Simpson: American Crime Story, and Amazon's Transparent. Of 27 Emmy awards, just four went to broadcast outlets: Kate McKinnon won for supporting actress in a comedy (NBC's Saturday Night Live), NBC's The Voice was named best reality competition program, Regina King won for supporting actress in a limited series (ABC's American Crime) and Fox's Grease: Live was honored for directing in a variety special. HBO and FX dominated the evening, with 6 Emmys apiece, led by Game of Thrones and The People v. O.J. Simpson: American Crime Story. Netflix and Amazon were also well represented (with 3 and 2 awards, respectively), and even BBC America snuck in, as Orphan Black's Tatiana Maslany, who read her acceptance speech via smartphone, was a surprise pick for best actress in a drama series

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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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