Posts for 'SVOD'

Most media and technology companies have now reported Q1 ’23 results. We dig into who’s up, who’s down and who’s pick ‘em, and where they all might be headed. We share all this with the caveat that one quarter’s results are not the final word on a company’s ability to survive and thrive going forward. We hope we’re not in any way contributing to the short-term, quarterly performance myopia so common on Wall Street.

Rather, we’re looking at these companies’ results in the context of prior results, the competitive landscape and their particular products’/services’ positioning. All while trying to do some basic “pattern recognition” - what have we seen before and how is this likely to play out in TV and video. Our discussion is primarily focused on Netflix, Roku, Amazon, AMC, Disney, Comcast, Vizio, YouTube, The Trade Desk, Paramount, Diamond Sports Group, Tegna, Dish and how they’re sorting themselves in the up, down and pick ‘em categories.

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Back in our Oct. 21, 2022 podcast, “Netflix is Poised for 2023 Revenue Growth,” Colin and I articulated all the reasons we were optimistic about Netflix’s upside in the new year. Primarily we were focused on its newly launched $7/month “Basic with ads” tier and its plans to eliminate password sharing throughout the world.

Flash forward 7 months, and Netflix provided its first tangible results and commentary from the initiatives, as well as optimistic signs of where things go from here. In today’s podcast, Colin and I dig into these signs, including most prominently Netflix’s disclosure that $7/month "Basic with ads" subscribers already produce a higher average monthly revenue than do its $15.50/month "Standard" plan (ad-free) subscribers. Some basic math reveals that "Basic with ads" subscribers drive at least $8.50/month in ad revenue for Netflix, which in turn means that aproximately 55% ($8.50 / $15.50) of "Basic with ads" subscribers’ total revenue is already derived from ads, not subscriber payments.

That Netflix accomplished all of this despite 1) it still being very early days for the ad offering, 2) a massive headwind in the ad business due to recession/etc. worries, 3) all of its ad revenue being “linear TV replacement” or upper-funnel reach and frequency inventory, with nothing yet from more valuable full/lower funnel offerings, suggests the ad business is already a big win for Netflix and has huge potential.

(At this point I can’t resist noting that I have been badgering Netflix for years to launch a lower-priced ad-supported tier because of the upside…see “Why Netflix Will Launch an Ad-Supported Tier in 2020” from Dec. ’19, “6 Reasons Why Netflix Should Launch an Ad-Supported Tier Now” from Mar. ’20, and “Revisiting Why Netflix Should Launch an Ad-Supported Tier” from Mar. ’21 for a sample of my haranguing. So, in the category of “better late than never,” hallelujah, Netflix finally, finally put aside its religious objections to advertising and saw the light.)

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This week on Inside the Stream we focus on two main topics: first, is Warner Bros. Discovery’s decision to brand/bundle its streaming services under “Max” going to be successful, or is it going to be “Min” (as in have Minimum impact)? There’s little daylight between how Colin and I see things.

Of all the many issues, to me the most worrisome is the fact that the discovery+ library is being thrown into Max for no additional cost. That means WBD assigns its incremental, measurable value in the bundle at $0.

Next we turn our attention to the dynamics in the CTV/device industry. Colin is excited about a new initiative Google unveiled this week, where it provides improved guide/UI access to 800+ FAST channels. Colin sees this as a meaningful competitive differentiator, and believes Google TV / Android TV will grow briskly outside of the U.S. and even gain a few points of market share domestically.

It’s hard to argue against better discovery being valuable, yet I don’t see it as a game-changer in the CTV space, at least domestically, because, well, to start with, very few people actually use Google TV domestically.

In fact, according to insights from Beachfront’s CTV Marketplace for H2 2022, Google TV’s share of impression volume was a measly 1.9%. Meanwhile Roku, the perennial market share leader in the U.S., notched 39.2% of impressions, roughly consistent with the range I’ve seen for Roku for years.

While Colin and I agree that Google TV / YouTube / YouTube TV is a formidable collection of assets for Google, I remain quite sanguine about Roku’s ability to compete in the land of the giants. There have been no shortage of Roku naysayers over the years, since I wrote “Scrappy Roku Makes More Deals, Keeps Elbowing Its Way Into the Big Leagues” back in January, 2013, following a keynote interview I did with CEO/Founder Anthony Wood at NATPE in Miami.

In the 10 years since, Roku has more than held its own, and is arguably the most innovative company in the ad industry. Roku is focused and relentless, and it has a very strong talent bench. As I put it in 2013, Roku remains “more a work horse than a show horse.” As for Google, a sub-2% CTV/device share after all these years? The good news: there (continues to be) really only one way to go from here.

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Each week on "Inside the Stream" Colin and I try to share fact-based conclusions about critical industry issues. Listeners have continually told us that they derive value from having a weekly resource that helps demystify the confusing cross-currents found in the daily headlines. By seeing things just a little more clearly, listeners are able to be more effective in their roles and hopefully help their companies succeed.

However, given all of the various independent and interdependent industry drivers, it’s impossible for anyone to have a “crystal ball” on where things ultimately land. So today, Colin and I take a step back to consider all of the different factors that we believe will influence average SVOD spending going forward (in truth the acronym SVOD is practically outmoded with the leakage of live sports from pay-TV to IP/mobile networks and the prevalence of hybrid paid/ad-supported services, so it might just be better to call everything a “streaming service”). We were prompted to consider the question based on a new forecast from Ampere.

Colin and I agree on one thing up front: average U.S. household spending on SVOD/streaming services will be higher in 5 years than it is now. This conclusion reflects simple Price x Quantity (“P x Q”) economics; prices for streaming services are only going in one direction, and the number of streaming services the average household subscribes to will almost certainly increase as content proliferates and sports migrates to streaming.

But how much higher spending will be is a function of many different factors. We identify 6-8 of these factors and try to flesh out their respective influences. Whether they will all net out to average SVOD spending increasing by 2%, 6%,12% or something else vs. current is anyone’s best educated guess. But educated guesses are better than nothing.

Listen to the podcast to learn more (29 minutes, 34 seconds) and let us know what you think.

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This week on Inside the Stream Colin and I do an “around the horn” of four significant industry topics. We lead off with the expected bankruptcy filing of Diamond Sports Group earlier this week, the largest owner of regional sports networks (RSNs), resulting in a complete wipeout of the equity-holders. Where to from here is anyone’s best guess; but I reiterate my stance that sports teams’ franchise values and players’ salaries have already peaked. When the dominant player in an industry - with over 50% market share - goes belly up, nothing good happens next.

Next up is an update on WBD’s planned pricing strategy for its combined HBO Max and discovery+ streaming service launching soon. Colin’s been all over this one for months and is really scratching his head, as am I.

In time for March Madness, YouTube TV has launched a new feature called “multiview” allowing subscribers to stream a mosaic of four pre-selected games and choose which audio feed they prefer. I think it’s really cool, and as you’ll hear in real-time I realize that it might mean YouTube TV “automagically” just quadrupled its ad inventory for multiview users. If so, that’s a neat trick; new CEO Neal Mohan is off to an even stronger start than I expected!

Finally, Colin gives a short wrap-up of the latest doings in the burgeoning FAST market. It’s getting harder and harder to keep up.

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Disney reported its fiscal 2023 first quarter this week, the first since Bob Iger returned to the CEO role. While other parts of the business are doing reasonably well, for Direct-to-Consumer, which includes Disney+, Hulu and ESPN+, subscriber gains were weak and ARPU was down. Iger also shared that Disney will cut its content spending by $3 billion this year. For Colin and me, all of that makes Disney’s DTC future seem murky.

Disney also plans to lay off 7,000 employees and take a $5.5 billion charge, while also stating it intends to restore its dividend by the end of the year - all a big victory for Wall Street. The layoff continues a disturbing pattern by most large tech and media companies (a topic about which I do a mini-rant during the podcast, sorry) which has put CEOs' lack of accountability on full display and smashed any delusions anyone might have had about any sort of an employer-employee "social contract" still existing (again sorry, I digress)

The most meaningful quote from Disney’s earnings call on late Wednesday was when Iger said “…the streaming business, which I believe is the future and has been growing, is not delivering basically the kind of profitability or bottom-line results that the linear business delivered for us over a few decades.”

Nor will it ever.

As Colin and I discuss this week (and as we’ve discussed ad nauseam in the past), the linear business model was based on the pay-TV multichannel bundle, which was the very definition of artificial economics. In the bundle, lots and lots of channels were delivered for a single price. The bundle’s monthly price steadily increased over the years as broadcast and cable TV networks raised their carriage fees paid by pay-TV operators.

The “elephant in the room” was that most pay-TV subscribers watched only a handful of TV networks, and yet paid for ALL of them. By far the biggest beneficiaries of pay-TV’s artificial economics were sports networks, with ESPN at the very top of the list. I first wrote about the “sports tax” 12 years ago in “Not a Sports Fan? Then You're Getting Sacked For At Least $2 Billion Per Year.” Things have only gotten worse for non-sports fans since. However, with streaming’s rise, the elephant is now fully visible, and has driven cord-cutting to record levels.

And just as the Internet has ruthlessly rationalized the economics of practically every other industry, it is now doing the same to the TV industry. The Internet allows zero room for artificial economics and anyone who violates this precept is an ostrich with their heads fully underground. Iger understands this, and his quote should fairly be seen as a signal to Wall Street that Disney is extremely unlikely to ever achieve historical financial performance in its TV businesses.

As if all of that weren’t enough, Iger then went on CNBC’s “Squawk Box” yesterday and told David Faber that “Everything is on the table…" with respect to Hulu’s eventual ownership resolution (reminder, Disney has a deal in which Comcast can force Disney to buy its 30% stake for a set minimum price that would translate into around $9 billion).

Iger’s comments basically turned Hulu into a hot potato. Really dedicated VideoNuze readers will recall that almost 5 years ago, in March, 2018 I wrote “Why Comcast Should Take Control of Hulu.” Then, subsequent to Comcast’s Peacock reveal in January, 2020, I followed up with “Quick Math Shows Comcast Missed Out On Almost $6 Billion in Revenue By Not Buying the Rest of Hulu.”

Instead, Comcast/NBCU launched Peacock and will have lost over $5.5 billion on it just between 2022-2023. If Comcast does come back in and buy Disney’s 70% stake in Hulu it will rank as the #1 irony in all the years I’ve been in the industry.

And it would make Disney’s DTC future even murkier still.

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On this week’s podcast, Colin Dixon and I boldly  introduce to the industry a new acronym (technically it’s a “macronym” or “nested acronym”).

We’re all aware that free ad-supported TV (“FAST) services are currently all the rage and that many are predicting it will become a multibillion dollar streaming segment in the years ahead.  

Content providers, TV OEMs and TV networks are seizing the opportunity by launching new FAST services to capitalize on two key trends - advertisers’ insatiable demand for premium CTV ad inventory and viewers’ SVOD fatigue especially as economic uncertainty surges.

All of this makes FASTs a “road to gold” in the short-term.

But, in the longer-term, an unintended consequence of FASTs’ growth may be to precipitate accelerated churn among SVOD providers. Hence the new macronym: SVOD Losses On the Way (“SLOW”).

There are still only 24 hours in the day, and viewers constantly make choices about what to watch, what services get displaced and what they’re willing to pay for. If viewers reapportion their viewing time to strong FAST services that are flooding the market, then they’re being “trained” to consume free premium video via FASTs. Further, their expectations for ever-better shows to be accessible without payment also escalates.

SLOW is a concept I’ve been contemplating for some time, especially as I read one FAST-boosting report or article after another, as well as observing the slowing growth SVODs are already experiencing.

But this week’s announcements of WBD moving “Westworld” plus a trove of other programming to Tubi and to The Roku Channel FAST services really crystallized things for me. After all, “Westworld” is a show that garnered 54 Emmy nominations and 9 wins in its four-year run. Its popularity has faded recently and HBO cancelled it, but it still boasted a familiar, name-brand cast. For HBO, it was no “Game of Thrones” or “The Sopranos,” but it was respectable. Now all 36 episodes will be available completely for free on Tubi and The Roku Channel.

To be clear - and as I say in the podcast - I remain a fan of FASTs. I’m only raising the caution flag that the decision-making around which FASTs to launch and what premium content will be included must be made with a lot of strategic awareness. Companies condition their customers what to expect; once this conditioning is set it is incredibly difficult to recondition them.

Note: There will be a dedicated session on whether FASTs are a road to gold or a road to “SLOW” at VideoNuze’s CTV Advertising PREVIEW virtual event on Feb. 28th afternoon. Sign-up is complimentary. Initial speakers being announced next week.

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In this week’s podcast, Colin and I discuss Warner Bros. Discovery’s plan to launch a new streaming bundle in France dubbed “Warner Pass,” exclusively on Amazon Prime Channels, which Variety reported. Warner Pass will include all HBO content, plus 12 WBD channels including CNN, Discovery Channel, Eurosport and others.

The move caught our attention because WBD has been quite vocal about its intention to launch a combined HBO Max / discovery+ service (expected to be simply called “Max”), which the Variety report noted it still plans to introduce in France in 2024.

Colin and I think Warner Pass could offer clues about how WBD will price the combined service eventually (especially in Europe). Yet it raises a concern that having two different streaming brands in France with similar content is clumsy and could cause consumer confusion (not to mention spending required to support two streaming brands).

Further, as we discussed in December, Warner Pass is yet another step in reversing the company’s strategy on third-party distribution. Prior WarnerMedia management decided to pull HBO from Amazon Prime Channels and others in September, 2021. As I wrote back then, in a direct-to-consumer world, not owning the subscriber, nor seeing their detailed viewing data, are real drawbacks.

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On this week’s edition of Inside the Stream, nScreenMedia’s Colin Dixon and I dig into four topics: World Cup streaming quality and the lack of 4K differentiation, Netflix’s offer to refund advertisers due to inventory shortfalls, WBD’s decision to remove “Westworld” from HBO Max, and the proliferation of music-oriented FAST channels.

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HBO Max is coming back to Amazon Prime Video Channels, reversing a move by prior owner WarnerMedia just over a year ago. Removing HBO Max led to an immediate loss of 5 million subscribers who had signed up through Amazon Channels (it’s unclear how many rejoined directly).

On today’s podcast, Colin and I try puzzle through why WBD, which is now HBO’s owner, would want HBO Max to rejoin Amazon Channels. Although Amazon will surely generate some incremental HBO Max subscribers, their lifetime value is likely to be far lower than HBO Max subscribers who sign up directly with the service. That’s because Amazon has “customer ownership” of these subscribers and shares little to no data with SVOD providers that would be critical to retention (starting with an email address to directly communicate with them). I wrote about my personal experience with this in August, 2021.

The move seems to suggest a push for incremental subscribers, despite the likelihood of a higher churn rate. That’s at odds with streaming services executives recent emphasis on profitability over pure subscriber growth. It’s possible Colin and I are missing something here. If you think you know what it is please let us know.

To wrap up the discussion we also discuss WBD's reported new strategy to collect its streaming services under the "Max" brand in 2023.

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Although Disney gained a healthy 14.6 million direct-to-consumer subscribers in its fiscal fourth quarter reported this week, it also lost nearly $1.5 billion in the segment. That raised its annual DTC loss for fiscal 2022 to over $4 billion, more than twice the $1.7 billion it lost in fiscal 2021. Disney reiterated that it expects DTC losses will decrease going forward and that Disney+ specifically will achieve profitability in fiscal 2024, absent a “meaningful shift in the economic climate.”

On this week’s edition of Inside the Stream, nScreenMedia’s Colin Dixon and I examine the various cross-currents impacting Disney’s DTC business going forward. These include declining ARPU at Disney+ domestically and Disney+ Hotstar, upcoming price increases, SVOD and FAST competition, content costs and more. The stakes are high for Disney to turn the corner on DTC profitability but it isn’t clear when or how that will happen.

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In Q3 ’22 Netflix added 2.4 million subscribers globally, beating its forecast of a million additions, and more importantly, reversing the two prior quarters’ declines. As nScreenMedia’s Colin Dixon and I discuss on this week’s Inside the Stream, there’s a lot of action just ahead for Netflix as it rolls out its ad-supported tier and modifies its longstanding account sharing approach.

The latter will likely impact tens of millions of subscribers, who will have multiple variables to consider in order for family members to retain access to Netflix. We do a little back of the envelope math that illustrates  the significant revenue opportunities all of this will create for Netflix.

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This week on Inside the Stream Colin and I interview Hub Entertainment Research’s Founder and Principal Jon Giegengack about top conclusions from the firm’s latest “Decoding the Default” survey (excerpt here). Among them are that streaming services continue to gain as the default source for viewers (with Netflix by far the leader), being the default is the best protection from churn, SVOD stacking appears to have plateaued and some streaming services seem to be pretty well insulated from inflation. We discuss all of these and more.

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Amazon took the unusual step of releasing viewership data for its new Lord of the Rings series “The Rings of Power,” saying that over 25 million Prime members watched it on its first day. On this week’s podcast Colin and I discuss how to put this number into context, and also whether the series is worth the reported $58 million per episode it cost. Then we transition to reviewing new data about viewer satisfaction with ad-supported FAST services vs. ad-free SVOD services.

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This week, nScreenMedia’s Colin Dixon and I welcome Grace Lam, Roku’s Director of Partner Growth as our guest. Grace takes us inside the campaign that Roku and HBO Max launched for the new TV series “House of the Dragon.” It is the biggest SVOD campaign Roku has undertaken to date, involving multiple elements. Grace walks us through the campaign’s goals, viewer benefits, success metrics and how Roku aims to have the campaign be a template for future SVOD partnerships.

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On this week’s episode of Inside the Stream nScreenMedia’s Colin Dixon and I discuss Disney’s direct-to-consumer (D2C) performance in its fiscal third quarter, ending July 2, 2022 and the impact of upcoming price increases across all of its streaming services. Disney now has over 221 million streaming subscribers of which 152.1 million are Disney+ subscribers (up 14.4 million in the quarter).

But these Disney+ subscribers will see their monthly fee increase by 38% in December, from $7.99 to $10.99, no doubt causing higher churn. Disney hopes to offset this with its new ad-supported “Disney+ Basic” tier which will run $7.99 per month. Hulu will increase by $1 per month to $7.99 and ESPN+ will increase by $3 per month to $9.99 as previously announced. Colin and I explore all these changes and what impact they’re likely to have (and Colin has a nice recap of the changes).

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This week on Inside the Stream nScreenMedia’s Colin Dixon and I discuss Netflix’s plans to launch ad-supported service tiers and introduce paid account sharing options. Netflix provided updates on both during its Q2 ’22 earnings call earlier this week. Colin and I agree that both are important steps for the company but that there are myriad execution challenges as the moves will introduce new complexity and decision-making for subscribers.

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This week on Inside the Stream nScreenMedia’s Colin Dixon and I discuss conflicting data about Netflix’s customer satisfaction from ASCI and Whip Media. Netflix remains an essential streaming service for many people, especially for watching drama, according to Parrot Analytics. However, new data from Antenna indicates that in April almost a quarter of Americans who signed up for Netflix dropped it within a month. We try to make sense of it all.

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In this week’s Inside the Stream podcast nScreenMedia’s Colin Dixon and I discuss how SVOD services are diversifying their monetization models beyond purely subscriptions. Examples of services doing so include Disney+, Netflix, HBO Max and Curiosity Stream. We examine what’s behind these moves and the multiple benefits they deliver.

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In this week’s Inside the Stream podcast nScreenMedia’s Colin Dixon and I discuss Netflix’s Q1 results which included a loss of 200K subscribers vs. a forecast gain of 2.5 million.

Netflix provided a number of reasons for the loss, which we explore. We’re both excited about the prospects for a lower priced ad-supported option, which is long overdue. We’re less sanguine about Netflix reeling in widespread password sharing, which it has traditionally sanctioned and now reaches an estimated 100 million households.

Listen on to hear all of our observations about Netflix’s challenges and what it can do to restart growth. (29 minutes, 46 seconds)

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