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Disney has played a long OTT game. Through the last decade, the company monetised established distribution channels and pay windows – cinema, DVD / TVOD / EST, SVOD, free-to-air – whilst continuing to make mass audience TV shows and movies. It acquired the Marvel and Star Wars universes and developed (or re-developed) both franchises into new recurring global revenue streams. And instead of relying on multiple technology vendors, it bought a majority stake in Bamtech

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Earlier this month I suggested that the Streaming Wars should more accurately be described as the Streaming Skirmishes because although this wasn’t a winner-takes-all scenario, and that multiple SVOD services could happily coexist, even if (hypothetically) one champion emerged they’d still then need to tackle the wider threats for attention and eyeballs from editorial, gaming, social, real-life experiences and eventually, AR / VR. 

It’s still fun to play the game, however, and try to address

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“Glass to glass” is an elegant phrase which describes the process by which a piece of content goes from the first screen (the camera lens) to the last (the screen on which a viewer watches a piece a clip, TV show or movie). This description, however, masks a world of complexity in the number of steps it takes for content to move from creation to consumption.

By my calculation, there are around thirty links in

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1980

My uncle’s house in Peterborough. 4 adults, 7 children, 1 baby. A weekend of watching Indian movies on VCR late into the night. The video recorder was hired. The remote control was wired, connected by a two metre cord to the machine. Delicious midnight feasts: samosas, bhajis, chutneys, curry, real Coca Cola (not diet). Pretending to be asleep on the sofa afterwards just so I could stay downstairs for longer.

1995

My first real

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It’s tempting to think of The Streaming Wars as a zero sum game in which, based on market caps, we can imagine a scenario where, for example, Disney buys Netflix, Comcast merges with NBCU and Amazon and Apple then vanquish or acquire those houses, claim allegiances, and duke it out for the Iron Throne (trademarked by WarnerMedia). Huzzah!

The true picture is, of course, much more nuanced. On a micro level, rights issues, pay models

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Did we ever establish any good collective monikers for the two decades that have just passed? The Noughties never really caught on and the last ten years have largely gone without name. No matter what they were called, however, these were seminal times for our industry. In 2001, for example, the BBC first live-streamed the Wimbledon men’s final in the sports section of its website. Sure, it was an awful user experience with the video

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The world’s biggest broadcasters usually have four main revenue streams:

  • Content production – which is either commissioned independently, in partnership, or self-funded;
  • Content distribution – the content is sold to other broadcasters, perhaps in other territories, or aggregators like Amazon and Netflix;
  • Digital revenue – which comes from digital advertising (AVOD) or subscriptions (SVOD);
  • And linear advertising income which has traditionally been the biggest pot.

Together, these revenue streams form something of a virtuous circle

Reporting from the Future of Television

VOD Professional contains news, reviews, interviews and analyses from the future of TV. Online video is at a pivotal moment in its evolution and our focus is on writing about monetisation, product development and the people – from service-providers and vendors alike – who help bring brilliant content and services to our screens.

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