Posts for 'Hulu'

There's no better illustration of the massive disruptive impact of OTT options like Netflix, Hulu and Amazon Prime than the decimation of kids-oriented cable TV networks currently playing out. According to Todd Juenger, senior analyst at Bernstein, whose weekly TV Audience Tracker (which is based on Nielsen data), I closely follow, viewership of kids cable TV networks is down 23% quarter-to-date in 2015 vs. the same period of 2014.

The trends are even worse. For the most recent week (ending Feb. 1st), viewership was down 28%, following the prior week when it was down 29%. These declines compare to the relatively more modest-looking Q4 '14 decline of 16.8% vs. Q4 '13. For the Feb. 1st week, all kids cable networks were down, with Nickelodeon losing the most - a whopping 44% of its prior year viewership, and Cartoon Network losing the least - 3% vs. the prior year. Every kids cable network Bernstein follows is down so far this year, except Cartoon, which is up 6%.

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Super Bowl XLIX will go into the books as one of the most exciting ever, full of unexpected twists and turns, right up until the last few seconds of the game. Importantly, the Super Bowl experience continues to change, with streaming, extended online ad viewing and social sharing. Below I've rounded up the most relevant data I could find about these trends. If I've missed anything, please let me know.

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Discovery has unveiled its first distribution deal with Hulu this morning. The most prominent program included in the SVOD deal is "Deadliest Catch." Other programs included are "Mythbusters," "The Little Couple," "Say Yes to the Dress," "Treehouse Masters," "How It's Made" and "Homicide Hunter." The programs will become available on January 1st.

The deal is noteworthy because Discovery has been among the most cautious cable TV networks in licensing its programming to SVOD providers. A deal that Discovery had with Netflix appears to have expired recently with all Discovery, Animal Planet and Learning Channel programs pulled from the SVOD service.

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Sandvine has released its latest Global Internet Phenomena Report based on data collected in March, 2014 across leading wired and mobile broadband networks. Focusing just on North America, Netflix once again dominates primetime usage, accounting for 34.9% of downstream bandwidth, more than the next 6 services combined. YouTube was second with 14.04% of bandwidth.

It's a different story on mobile however, where YouTube remains the top downstream provider, eating up 19.75% of bandwidth, up from 17.7% a year ago, with Netflix in 5th place with just 4.51%.  The usage pattern largely reflects the difference between Netflix's long-form content focus vs. YouTube's short-form focus. YouTube's CEO Susan Wojcicki recently disclosed that 50% of YouTube's usage is now on mobile.

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One of our early sessions at the recent Video Ad Summit was "TV is Video, But is Video TV?" which included Doug Knopper (Co-CEO, FreeWheel), Peter Naylor (SVP, Ad Sales, Hulu), Fred Santarpia (EVP, Chief Digital Officer, Conde Nast Entertainment) and Dan Suratt (EVP, Digital Media and Business Development, A+E Networks), with me moderating.

The question is highly relevant as it influences how ad spending will evolve and how pay-TV's value proposition will be perceived given the proliferation of online originals. Our panelists offer a range of perspectives, with some consensus that if it's long-form, high-quality, rights-managed and brand-safe online video, there's no practical difference vs. TV. One data point that Peter shares - that 62% of Hulu's content is now viewed on connected TV devices - underscores how mainstream online video viewing has become.

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Binge-viewing is surely one of the most notable cultural phenomena of the past few years. Barely registering as a concept less than 3 years ago, many recent research reports now cite binge-viewing as having been adopted - if not regularly practiced - by a majority of TV viewers (examples here, here, here, here, here, here).

The shift toward binge-viewing has immense implications for the TV and video industries, touching everything from the creative process to programming/distribution decisions to monetization approaches. Some companies are fully embracing binge-viewing and riding its wave, while others are taking a more cautious approach.

Stepping back though, how exactly did binge-viewing become such a cultural phenomenon? I believe there are at least 5 key contributing factors, with the relationships among them creating a perfect storm of growth.

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The traditional narrative around online/over-the-top video is that it will incent cord-cutting and cord-nevering. But now, in a twist, instead of a looming battle between OTT and pay-TV, it could well be that we're on the brink of a new era of cooperation between the two, which could have profound implications for everyone in the video ecosystem.

Stepping back for a moment, pay-TV operators have always been in the business of improving the delivery of available video and packaging it into bundles. Initially operators distributed broadcast channels and then in the 70's and 80's, with the advent of satellite delivery, operators began bundling "cable" channels as well (e.g. ESPN, MTV, CNN, USA, etc.).

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I'm pleased to present the 225th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia. This week the NewFronts got underway in NYC while the Cable Show was happening in LA. We discuss some of the highlights from both.

Starting with the NewFronts, per new IAB research, we were both impressed with the rising esteem of online video advertising in the eyes of ad buyers. These are the people being courted at the NewFronts, and they now see TV and video as being essentially at parity importance for major product/service campaigns.

Moreover, 2/3 of respondents see their online video spending increasing in the next 12 months, with 67% citing TV budgets as the top source of funding for online video. All of this is certainly good news for the content providers unveiling new programs at the NewFronts this week.

Colin then discusses his observations from the Cable Show where executives cited concerns about creators being drawn to the YouTube ecosystem instead of traditional TV. Meanwhile these classic distinctions are getting blurrier, as evidenced by last week's integration of Netflix with 3 cable operators. It's not just Netflix though - clearly Hulu has aspirations to be integrated as well, and surely YouTube and others are right behind.



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I'm pleased to present the 204th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

We start off this week discussing the latest Hulu rumor, that it is seeking a closer alignment with pay-TV operators for Hulu Plus. Colin and I both like the possibilities here, though we recognize numerous obstacles. From a user experience standpoint, the idea of finding all of a TV show's episodes in one place - from pilot to last night's -resonates with me and would be a huge step forward from today's silo'd worlds of SVOD/OTT and VOD/TV Everywhere.

Colin points out too that Hulu's owners are already key programming suppliers to pay-TV operators, giving Hulu a better shot at partnering than, say Netflix, has. Last but hardly least, Hulu's new CEO Mike Hopkins most recently ran distribution for Fox Networks, so his expertise is perfect for figuring out how to get Hulu Plus carriage with pay-TV operators.

We then shift to discussing the launch today, of Amazon Studios' first original, "Alpha House" starring John Goodman. While we're uncertain about its critical reception, we do believe that, given originals' strategic role supporting Prime, it's the first step of an aggressive agenda. Amazon is cleverly combining data, wisdom of the crowds and traditional TV skills to select which originals to pursue.

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Netflix's original series "House of Cards" received 9 Emmy nominations this morning including in 3 of the marquee categories best drama, best actor (Kevin Spacey) and best actress (Robin Wright). The nominations were a first for online original programming and therefore are a bona fide milestone for the rapidly growing online video medium. In addition, Netflix picked up 3 Emmy nominations for "Arrested Development."

While Netflix bet big to put HoC in a league with cable stalwarts - and other best drama nominees "Game of Thrones," "Breaking Bad," "Homeland" and "Mad Men" plus the lone broadcast series "Downton Abbey" - an intriguing question to ask is whether the HoC nominations signal the beginning of an Emmy trend for online original programs or whether HoC is more of an outlier? In other words, can online get on the same type of award-winning growth curve for its originals as cable networks have over the last 20 years, helping drive pay-TV subscriber acquisition and retention?

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Last Friday afternoon, Hulu's owners Disney, Fox and NBCU/Comcast (note NBCU/Comcast is a passive owner) announced that they wouldn't be selling Hulu, despite an active bidding process. Instead, the companies will retain their interests and plan to invest $750 million in Hulu to grow it. Although the principal reason for the sale was a disagreement over Hulu's business strategy, the announcement said Fox and Disney are "fully aligned in our collective vision and goals for the business (although what they actually are were not disclosed).

This was the second time a Hulu sale failed to materialize and I believe that once again, the reason was that Hulu's owners realized "you can't have your cake and eat it too." Translation: Disney and Fox wanted to retain all kinds of content rights and flexibility, yet still wanted a very high valuation for the business. Since Hulu's next-day broadcast rights are at the core of its valuation, Disney and Fox's attempt to chip away at them led bidders to reduce what they were willing to pay, obviously beyond the level at which Fox and Disney felt it was still worthwhile selling the business.

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Final bidding was scheduled to close last Friday in the Hulu sale process, with the list of potential buyers apparently narrowed to DirecTV, Chernin Group/AT&T and Guggenheim Digital Media. According to various reports (here and here), Hulu's active owners Disney and Fox (Comcast is a passive owner) have been insisting on a number of content licensing related deal points.

Hulu's next-day access to its 3 broadcast owners' hit shows has always been the heart of the company's value proposition. But a lot has changed in the online video landscape since Hulu was initially formed in March, 2007. As a result, in my view, there are at least 3 key reasons Hulu's owners are justified in bargaining hard over content licensing rights: the importance of TV Everywhere, the growth of well-funded over-the-top licensees and the potential of online video advertising. Following, I delve into each.

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At starting prices of $8/month or so, affordable subscription video on demand (SVOD) services like Netflix, Hulu Plus, Amazon, Blockbuster and others would seem to appeal to middle and lower income Americans. But a new report from Nielsen finds the exact opposite is true: wealthier homes, with household income over $100K/year, adopt SVOD services at 185% of their index, while lower income homes, with household income under $50K/year, subscribe at just 47% of their index.

Adding to the picture, "Professional" homes subscribing to an SVOD service are at 150% of their index, while "Blue Collar" homes are just 63% of their index.

The data seems to support a contention that Netflix has repeatedly made, which is that SVOD services are typically adopted in addition to - not in substitution for - pay-TV services. To the extent that pay-TV rates have continue to increase, it makes sense that only upper income homes can afford to then layer on an SVOD service on top of pay-TV.

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Audience fragmentation isn't a new concept, but the proliferation of high-quality online-only originals suggests the trend is only going to intensify. These days, a week doesn't go by without another key player announcing a new or renewed online-only series, in turn creating ever-more choices for viewers and advertisers. Combine the surge in originals with the broad adoption of video-enabled connected devices, and the pieces are falling into place for even more changes in viewing behaviors.

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If you were trying to tune out last week, whether lying on a beach or on a family getaway, you didn't miss all that much exciting online video-related news. However there were some items worth noting and below I've highlighted five that caught my eye.

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Variety is reporting on an internal Hulu memo indicating that the imminent buyout of Hulu's private equity partner may spark a series of changes, including the possible departure of CEO Jason Kilar and modifications to its content licensing arrangements with its broadcast network TV owners. Kilar has done an excellent job with Hulu, creating a top-notch user experience that is monetized through both ads, and more recently through subscriptions at Hulu Plus. Kilar has more than defied the skeptics who dismissively labeled Hulu "Clown Co." prior to its launch.

Nonetheless, there can be no disputing the fact that Hulu's essential asset from the outset has been exclusive next-day access to programs from Fox and NBC (now Comcast) and more recently, Disney/ABC. Broadcast TV is still by far the most popular programming around, and even though Hulu has added dozens of content partners, including a high-profile deal with Viacom, the reality is that for many Hulu users, it's a destination to catch up on their favorite broadcast programs. 

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Tremor Video announced earlier today that in June it served 98.3% of its in-stream video ads in players that were 400 pixels or bigger. Tremor has found that the bigger-sized players drive double the engagement rate and also boost completion rates for ads. Based on its own analytics, Tremor found that for ads appearing in 400-500 pixel players, 62% of viewers watched to completion and for ads appearing in a 500-700 pixel player, completion jumped to 75%.

Tremor believes that as player sizes get bigger the viewing experience becomes more TV-like, therefore inducing users to relax and be more prone to sit through ads. Looking ahead, this bodes well for ads on connected TVs, where the content and ads are seen in full screen. Tremor said that it is advising publishing partners to increase the size of their players in order to deliver improved ad performance.

Related, Hulu must also be finding similar results; back in March it increased the size of its video player by 55% to a beefy 900x500.

I'm pleased to be joined once again by Colin Dixon, senior partner at The Diffusion Group, for the 131st edition of the VideoNuze Report podcast, for May 4, 2012. This week Colin and I discuss how fundamental battle lines have been drawn between the traditional TV ecosystem vs. the numerous digital outlets that are launching online-only original programs. To be more specific, the former group seems intent on erecting ever-higher paywalls to access its programs, which is in turn opening up a gigantic opportunity for free, ad-supported programs to be provided by the latter group. How this battle unfolds will have far-reaching and profound implications for everyone involved.

For the traditional TV ecosystem, there appear to be two core drivers at work; first, the desire by broadcast TV networks to morph themselves into cable TV networks, and second, the role that TV Everywhere is taking on as a foundation of paywall economics.

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Five of the top 10 online video destinations - AOL, Hulu, Microsoft, Yahoo and YouTube - are joining with ad agency Digitas to launch the first-ever "Digital Content NewFronts" (DCNF). The DCNF's goal is to "shape a new and practical marketplace for connecting the wealth of native digital content with brand marketers and their media and marketing agencies." From April 19th to May 2nd, each of the 6 companies will host a day-long event in NYC showcasing their programming and ad opportunities. The DCNF actually builds on the 1-day NewFront event Digitas has been holding for the last 3 years.

I think the combined approach of the DCNF is the right idea at the right time. Given the wealth of premium original online video that each of the 5 destinations is pursuing - all of which is ad-supported - the DCNF could become an important catalyst in educating advertisers and agencies about these new opportunities and therefore why they should shift some of their spending. As I've recently written, a bevy of Hollywood A-listers and others are getting involved in original online video productions, helping create a "virtuous cycle" of anticipated growth.

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