Podcasts about svod

Campaign's TV Advertising Summit took place in September, in partnership with Netflix, Sky Media and Dailymotion, questioning how the TV ad landscape has been remodelled, and what advertisers need to do to get ahead.Brands, media owners and agencies spoke at and attended the event, which ended with a session hosted by Lindsey Clay, chief executive of the TV marketing body Thinkbox, with three panellists: Elisabetta Farroni, brand director and executive creative director at Visa; Regan Warner, executive creative director at M&C Saatchi UK; and Aidan McClure, co-founder and chief creative officer at Wonderhood Studios.This episode features a recording of the session, where the panellists take us through their top TV campaigns that have defined the medium, both from their own work and the ads they wished they made.Before the session, Campaign's deputy media editor Shauna Lewis joins tech and multimedia editor to discuss the top takeaways from the day, including competition with Big Tech and how Sky's acquisition of ITV impacts media buying.The ads mentioned:Waitrose & Partners "The perfect gift" by Wonderhood StudiosVisa "Level up your game" by VaynerMedia EMEAThe Department for Education “Get out of the everyday. Get into teaching” by M&C Saatchi Group UKMagnum ad shows how buying copycat ice-cream can destroy a relationshipConfused.com brings familiar sayings to life through puppetryMonzo “Get busy living” by BBH LondonNike “Stairs” by Wieden & Kennedy PortlandAnthropic Super Bowl ad highlights its AI assistant ClaudeTwix "Camping" by Adam & Eve/DDBFurther reading:Netflix UK's Ed Couchman: You can build a whole media plan on SVODChannel 4 calls for 'robust scrutiny' of ITV-Sky mergerUK competition watchdog launches inquiry into Sky/ITV dealWill ITV generate enough ad revenue to earn £200m payout from Sky?'One of the biggest shake-ups in UK TV': the potential impact of Sky-ITV'I don't think advertisers care enough yet': ITV's Kelly Williams on Meta Hosted on Acast. See acast.com/privacy for more information.

Cet été, des applications venues de Chine ont envahi le sommet des téléchargements en France avec un format inédit : le micro-drama, rapportent Les Echos. Et ne vous y trompez pas, ce n'est pas une mode éphémère. C'est une véritable leçon de monétisation et de captation d'attention.La recette du jeu mobileD'abord, observons la mécanique économique derrière ce phénomène. Ces séries verticales d'une minute ne vendent pas du cinéma. Elles appliquent à la fiction les recettes éprouvées du jeu mobile.Après trois épisodes gratuits offerts, l'utilisateur est happé par un suspense soigneusement calibré. Pour voir la suite, il faut regarder une publicité ou acheter des crédits. Concrètement, le spectateur paye à la pièce, à l'impulsion.Et les chiffres sont vertigineux. En France, les revenus de ces applications ont bondi de 30 % en un mois pour dépasser les cinq millions de dollars. Et à l'échelle mondiale, le marché frôlera les 16 milliards de dollars en 2026. C'est la preuve qu'un contenu très court, monétisé au coup par coup, génère un revenu moyen par utilisateur bien supérieur aux abonnements de streaming traditionnels.Ensuite, ce succès repose sur un ciblage comportemental redoutable. Loin des clichés sur la génération Z, le public français de ces séries est composé à 70 % de femmes, principalement dans la tranche des 35 à 44 ans.Les acteurs du secteur ont clairement identifié un créneau négligé par les grandes plateformes : des contenus très scénarisés, directement consommables dans les temps morts de la journée, entre deux tâches ou dans les transports.Une boucle de production ultra-agilePlus fort encore, la boucle de production est ultra-agile. Les productions testent des scénarios en quelques jours, analysent les données d'audience en temps réel, et coupent immédiatement les histoires qui ne performent pas. Bref, c'est un cas d'école de développement piloté par la donnée, et appliqué au secteur des médias.Enfin, la déferlante force les géants de la tech et du divertissement à revoir toute leur stratégie mobile.TikTok a déjà pris une longueur d'avance en lançant ses propres offres payantes de mini-séries et en finançant directement des créateurs.Les acteurs historiques réagissent en urgenceEt face à ce risque de désintermédiation, les acteurs historiques réagissent en urgence.Paramount intègre le format dans son application, tandis que Disney teste des flux vidéo verticaux.Mais attention, le défi n'est pas seulement créatif, il est aussi technique. Il s'agit de repenser la diffusion, le stockage et les algorithmes de recommandation pour retenir les utilisateurs sur l'écran vertical.La bataille pour le temps d'écran mobile ne se joue donc plus sur des films de deux heures, mais sur des séquences de 80 secondes.Le ZD Tech est sur toutes les plateformes de podcast ! Abonnez-vous !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

S11E02 Cette semaine @pommepadour_ nous présente cinq de ses potes qui vivent en coloc. En Australie ma pauvre Lucette (réf de vieux, je sais). Cinq colocs, une maison, cinq chambres : c'est "Five Bedrooms" sur Arte.

Amazon is making all the right moves in streaming by launching a new SVOD bundle, investing in sports to drive Prime, pushing into video podcasts, short-form, commerce video, and more.

Ampere Analysis's Rahul Patel joins us exclusively to discuss his new research detailing why launching a free ad-supported tier is a huge untapped opportunity for SVOD providers.

S11E01 Bienvenue dans la France de 1983. Sous la présidence de François Mitterrand, alors que la télévision est encore dominée par l'hégémonie d'Antenne 2, un projet audiovisuel d'une audace inédite voit le jour. Le réalisateur Michel Fresnel pose une question fondamentale, à la fois simple et vertigineuse : "Est-ce que tout le monde naît avec les mêmes chances de réussite ?"Pour y répondre, Fresnel ne se contente pas d'un simple reportage. Il lance une expérience de suivi longitudinal révolutionnaire : filmer, chaque année, les élèves d'une classe de sixième pendant une décennie entière. Et @jedetestelespodcasts nous invite à replonger dans cette époque.

Au programme de ce 1134me épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:06:30 : Actus du secteur SVOD français et mondial. Netflix s'éparpille dans tous les sens cet été et on classe ce qui fait le plus sens et ce qui fait vraiment très désespéré. 00:40:50 : Nos recommandations : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Le dernier refuge, mais aussi et les recos du Discord. 01:48:00 : Ce qui arrive sur Netflix les mois prochains : Un petit aperçu des ajouts Netflix de septembre/octobre 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Damien est le film "Animals" dispo le 9 octobre. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"Koh Lanta sur Netflix", déjà dispo / "Le dernier refuge" déjà dispo / "A l'Est d'Eden" dispo le 1er octobre. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien que vous pouvez retrouver sur Serieously: https://www.serieously.com Présenté par Frédéric (https://bsky.app/profile/filmsdelover.eurosky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mercredi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

La saison 10 de Watchlist, c'est fini ! Oh Noooooonnnn !Mais c'est l'heure du Rewind de l'été !Et rendez-vous la semaine prochaine pour la Saison 11.Rewind S10E05 - Dernier Rewind et nous finissons sur un plébiscite, à la fois de Choixpitre et de Watchlist. Pomme nous recommande l'adaptation made in UK de "Un Gentleman à Moscou".

Ampere Analysis research reveals the widening price gap between SVOD services' ad-free and ad-supported tiers. But is there a limit? Meanwhile, more evidence of YouTube's dominance.

Podcast ONE: 21 de agosto de 2026 ¿Tu PC gamer se apaga sola? Vincent Quezada y Pablo Berruecos revisan fuentes de poder, entrevistan a Xiaomi sobre IA y destapan granjas de bots en #one_digital #onedigital #PodcastONE. ¡Escúchalo! Escucha aquí el Podcast ONE: 21 de agosto de 2026 One Digital: mantenimiento gamer, Xiaomi y riesgos de la IA en 2026 Vincent Quezada y Pablo Berruecos repasan cómo detectar y resolver la falla de una fuente de poder gamer, entrevistan a Erick Aguilera de Xiaomi sobre IA y ecosistema Human Car Home, y analizan la adopción desigual de IA en la web y su vínculo con granjas de bots y desinformación. ¿Cómo saber si la fuente de poder de tu PC está fallando? Vincent Quezada compartió en vivo una experiencia técnica directa: su equipo gamer comenzó a apagarse de forma intermitente mientras transmitía y jugaba. Tras descartar sobrecalentamiento y memoria RAM, identificó el problema real revisando los voltajes en el propio BIOS. El canal de 12V hacia el CPU marcaba 11.58V en lugar del valor nominal. El canal de memoria, normalmente en 3.3V, mostraba 3.12V. Las caídas de energía durante la configuración del BIOS confirmaron que la fuente de poder había fallado. “Es importante estar checando los valores de su máquina” — Vincent Quezada La solución fue sustituir la fuente por un modelo modular de entre 850 y 1000 watts, una decisión que Vincent recomienda para cualquier PC gamer moderna. Las fuentes modulares actuales, señaló, ofrecen entre 7 y 10 años de garantía, lo que permite proyectar futuros upgrades de tarjeta gráfica sin cambiar todo el sistema de alimentación. ¿Qué aprender de este mantenimiento preventivo? Más allá del recambio, Vincent detalló un proceso metódico: probar la memoria RAM módulo por módulo, ajustar voltajes en el BIOS con incrementos mínimos (0.05V resolvió inestabilidades de su RAM) y aprovechar el desmontaje para limpiar polvo acumulado en ventiladores y tarjeta de video. Para laptops, recomendó usar paños de microfibra entre teclado y pantalla al transportarlas, ya que la pantalla es uno de los componentes más costosos de reponer. Repterra: dinosaurios y nostalgia de estrategia en tiempo real Entre los lanzamientos de la semana, Vincent destacó Repterra, desarrollado por Chute Apps y publicado por MicroProse. El juego combina la construcción de colonias clásica de títulos como Age of Empires con un sistema de domesticación y cría genética de dinosaurios, ambientado en una línea temporal alternativa desde 1963. Su motor gráfico soporta más de 100,000 unidades en pantalla sin perder fluidez. Ofrece tres facciones jugables con enfoques distintos: domesticación, producción masiva y tecnología eléctrica. Como punto débil, carece de mecánicas tácticas básicas como la guarnición de unidades en edificios. El veredicto es positivo para quienes buscan un giro distinto dentro de la estrategia de supervivencia, aunque la microgestión de cría puede volverse tediosa bajo presión. ¿Es legal eliminar marcas de agua de contenido generado por IA? Vincent presentó Watermark Remover, una herramienta open source que elimina metadatos de IA como C2PA, Content Credentials y marcas Unicode invisibles de imágenes, documentos, texto y código. Funciona en tres capas: limpieza de Unicode, reescritura estadística de texto y limpieza de contenedores multimedia. El uso ético es la condición central: solo debe aplicarse a archivos propios y nunca para eludir restricciones de copyright o de plataformas que prohíben contenido generado por IA. Como alternativas puntuales se mencionaron magicerase.org para imágenes, CleanPaste para texto y JOPDF para documentos. ¿Cómo está adaptando Xiaomi la IA para el usuario latinoamericano? La entrevista central del episodio fue con Erick Aguilera, PR Manager de Xiaomi para Latinoamérica, quien explicó la evolución de la marca desde los smartphones hacia un ecosistema completo bajo el concepto Human Car Home: dispositivos personales, movilidad (autos y scooters) y línea blanca para el hogar, todos interconectados. “Que la tecnología se te adelante a tus necesidades… creo que es un nivel que vamos a lograr” — Erick Aguilera Aguilera detalló que Xiaomi Hyper AI —integrada con Google Gemini y Hyper OS— ofrece transcripción, traducción simultánea y resúmenes automáticos, funciones especialmente útiles en el contexto de regreso a clases. La compañía también desarrolla su propio modelo, Mimo, como alternativa a ChatGPT y Claude, aunque Aguilera reconoció que se trata de un tema para profundizar en un episodio dedicado. ¿Dónde traza Xiaomi el límite entre fotografía e inteligencia artificial? Sobre la alianza con Leica, Aguilera explicó que el usuario siempre controla el nivel de intervención de la IA mediante modos como “Leica auténtico” (resultado natural) y “Leica vibrante” (procesamiento estético). La IA actúa como apoyo en condiciones de poca luz, no como generador de imágenes desde cero, preservando la diferencia entre fotografía asistida y creación artificial. ¿Por qué crece más rápido la IA en sitios comerciales que en gobiernos? Vincent Quezada presentó datos de un estudio de Pew Research publicado en agosto de 2026: el 9.4% de las páginas con dominio .com muestran señales de edición o autoría con IA, frente a apenas 1% en dominios .edu y 0.8% en .gov. Además, el 35% de las páginas publicadas después del lanzamiento de ChatGPT (noviembre 2022) muestran señales de coautoría con IA. El gasto en APIs empresariales creció 82% para OpenAI frente a 76% para Anthropic en el Q3 de 2026. GPT-5.6 Sol representa el 25% de los tokens y el gasto de OpenAI; Claude 5 solo el 6% de los tokens de Anthropic. Modelos chinos compiten con precios significativamente más bajos y calidades similares. “El problema no es la IA, es la calidad de ese contenido y cómo se está presentando” — Vincent Quezada Los conductores conectaron este panorama con un caso real de la semana: un atentado contra una abogada en América Latina destapó una red de granjas de bots y desinformación vinculada a asesores políticos, evidenciando cómo la generación rápida de contenido con IA amplifica las fake news en contextos electorales. Notas rápidas de la semana El mercado mexicano de streaming SVOD alcanzó 15.4 millones de suscriptores, con un gasto promedio mensual de 316 pesos por hogar. IBM presentó nuevos refrigeradores criogénicos cuánticos que operan a menos de 15 milikelvin, un paso clave hacia la computación cuántica tolerante a fallos. Paramount+ estrenará en septiembre de 2026 la serie animada Golden Axe, basada en el clásico arcade de Sega de 1989. Fórmula E anunció una alianza con Sennheiser para llevar audio inmersivo Ambeo a sus transmisiones globales. Lanzamiento de Jumex Néctar con Tetra Pak, reciclaje, sin sellos. LG Electronics y la Cineteca Nacional de México presentan festival de cortometrajes creados con inteligencia artificial Olé busca cerrar una brecha de protección de 2.6 billones de dólares en México Conclusión: mantenimiento, ecosistemas e IA responsable Este episodio de One Digital conecta tres capas del mundo tecnológico actual: el cuidado técnico del hardware personal, la expansión de ecosistemas inteligentes como el de Xiaomi, y los riesgos crecientes de una IA que produce contenido más rápido de lo que se puede verificar. Escucha el episodio completo y únete a la conversación con #PodcastONE. El cargo Podcast ONE: 21 de agosto de 2026 apareció primero en OneDigital.

Antenna's VP, Strategy, shares insights from new research on specialty SVOD services, showing robust growth, strong Amazon Channels dependence, and a couple of breakout successes.

La saison 10 de Watchlist, c'est fini ! Oh Noooooonnnn !Mais c'est l'heure du Rewind de l'été !Rewind S10E04 - Retour en Ecosse avec Pomme. "Les Dossiers Oubliés" sont toujours aussi bien !

This week, Paul and Sean begin with the recent development that several prominent SVOD platforms are exploring adding a free tier to expand their subscription funnel and sell increased advertising revenue. Next, they discuss a study released by Ampere that stated US and UK individuals spend more time consuming media than doing anything else (including work or sleep), and break down the categories and findings. Finally, they dissect a recent report from the WGA West about writers' earnings over the past 10 years and wonder whether peak TV will return. Learn more about your ad choices. Visit megaphone.fm/adchoices

La saison 10 de Watchlist, c'est fini ! Oh Noooooonnnn !Mais c'est l'heure du Rewind de l'été !Rewind S10E03 - C'était le 1er épisode de la saison 10 et on ne s'en lasse pas. Tout comme la série, on ne s'en lasse pas. Et on prolonge le mois des fiertés avec Mielou qui nous recommande "Sense8" !

Most filmmakers wait until after production to identify their audience and develop a distribution strategy. In this partner episode, GG Hawkins speaks with Greenlight Coverage founder Jack Zhang and Level 33 Entertainment Vice President Andreas Olavarria about evaluating a screenplay's commercial potential before production begins. They explain how AI-assisted script coverage can support—not replace—human decision-making, what distributors look for when assessing independent films, and how the Greenlight List gives screenwriters a path toward $100,000 in equity financing and guaranteed distribution. In this episode, No Film School's GG Hawkins and guests Jack Zhang and Andreas Olavarria discuss... Why filmmakers should consider their target audience, key art, trailer, genre, and distribution strategy while developing the screenplay How Greenlight Coverage uses data science and AI-assisted analysis to evaluate screenplays How Jack developed the platform using data from thousands of films and hundreds of millions of audience data points Why AI script coverage should function as an initial evaluation tool rather than a replacement for human readers How the Greenlight List combines an algorithmic first pass with evaluation by experienced industry professionals What separates a well-written screenplay from a commercially viable independent film Why contained concepts can be more practical for independent filmmakers and investors How originality, plot construction, character development, theme, and audience positioning affect a project's score Why low-budget horror still requires a specific audience and marketing strategy The built-in audiences for horror, thrillers, romance, and Hallmark- or Lifetime-style films How theatrical, TVOD, SVOD, and AVOD distribution windows affect independent film development Why filmmakers may need to hook viewers within the first five minutes on ad-supported streaming platforms How cast members, executive producers, and creators with established audiences can strengthen a film's marketability How the Greenlight List offers its grand prize winner $100,000 in equity financing and guaranteed distribution through Level 33 Entertainment Why writers should use submission deadlines as concrete milestones for completing their screenplays Memorable Quotes: “I think it's so important that filmmakers look at what the end product will be and how they're going to connect that film, that story, with a target audience.” “It has to have a specific audience itch that you're trying to scratch, or it's just going to be one of the thousands of films produced out there sitting on the shelf, unfortunately.” “The film itself should hook the audience in whatever genre in the first five minutes.” “Don't miss a deadline. Hit the submit button. Don't miss the deadline.” Guests: Jack Zhang — Founder of Greenlight Coverage Andreas Olavarria — Vice President at Level 33 Entertainment Resources: The Greenlight List Greenlight Coverage Level 33 Entertainment Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

La saison 10 de Watchlist, c'est fini ! Oh Noooooonnnn !Mais c'est l'heure du Rewind de l'été !Rewind S10E02 - On revient sur le travail d'investigation recommandesque de notre chère Pomme à PodRennes.Merci encore aux différents contributeur·ices

La saison 10 de Watchlist, c'est fini ! Oh Noooooonnnn !Mais c'est l'heure du Rewind de l'été !Rewind S10E01 - Retour dans l'hallucination science-fictionnelle de Bong Joon-ho ! Lisa nous recommande "Mickey 17" avec un Robert aux multiples facettes.

Au programme de ce 113ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:06:30 : Actus du secteur SVOD français et mondial. TF1+ arrive sur Netflix et Netflix s'engage à sortir Narnia dans les salles de ciné US. 00:40:50 : Nos recommandations : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : My Dearest Assassin, Office Romance, Ladies First, The Crash, Maternal instinct, Mickael Jackson the Verdict, The murder of Rachel Nickell, Le Bus, LoL qui rit sort s6, The Testaments(s1), Among Us, From (Binge), Dutton Ranch, Marshalls, Reacher, The Boys (Finale), Euphoria (Finale), Voicemails for Isabelle et les recos du Discord. 01:48:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de l'été 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Nivrae est le film "The Last House" dispo le 7 août. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"GIGN", bientôt dispo / "My Dearest Assassin" déjà dispo / "Le palais de l'Est" dispo mi-juillet. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien que vous pouvez retrouver sur Serieously: https://www.serieously.com Présenté par Frédéric (https://bsky.app/profile/filmsdelover.eurosky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mercredi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

S10E22 - Koré et Lexine claquent des doigts et hop... un épisode apparait ! Mercredi débarque au lycée (qui ressemble furieusement à une certaine école pour sorciers) et nous suivons ses aventures très scooby-desque.

C'est (déjà) le dernier épisode de la saison 2 de Superstream. Et c'est bien sûr l'heure du bilan mais aussi de la projection sur les prochains mois. Voici le sommaire :Le grand débrief : Le bilan de la saison, nos déceptions et nos coups de coeur, c'est l'heure de prendre des notes pour bien choisir vos programmes pendant les vacances estivales !L'appel à un ami XXL, spécial en route vers la saison 3 : La dernière de notre célèbre jeu, 20 programmes à deviner qui vont sortir dans les prochaines semaines et prochains mois sur les plateformes !Merci à tous pour votre fidélité et à bientôt pour de nouvelles aventures...Superstream saison 2, épisode 10, un podcast animé par Laurence Gallois avec ses chroniqueurs Marc Arlin, Stéphanie Fuzeau, Juliette Heuzebroc et Aubéry Mallet Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

S10E21 Pomme, notre reporter de terrain a mouillé la chemise et a recueilli moults recommandations lors du festival Podrennes. Merci beaucoup aux différents contributeur·ices

New research from Omdia, Hub, and Antenna underscores the growing importance of advertising in streaming, across FASTs and premium SVOD.

Eric Frankel, CEO of AdGreetz, discusses how AI-powered personalisation is reshaping the future of advertising. Eric explains why so much digital marketing still relies on generic, one-size-fits-all messaging, despite the wealth of customer data available to brands today. He shares how AdGreetz helps companies create highly personalized ads at scale, using AI and automation to deliver more relevant content that improves engagement and campaign performance. The conversation explores the opportunities and challenges of mass personalisation, including how brands can balance relevance with privacy, maintain brand consistency across thousands of ad variations, and apply consumer marketing tactics to B2B campaigns. Eric also discusses the growing role of AI in creative production, why innovation is critical for marketers, and the importance of standing out in an increasingly crowded digital landscape. About AdGreetz AdGreetz is reimagining marketing for an AI-powered and personalised world. We empower brands, agencies, streamers and publishers to produce and deploy unlimited, data-driven, personalized video and display ads and CRM messages on 22 ad-tech & martech channels. BizGreetz AI®, empowers anyone to produce compelling video, display ads or freeform content in minutes simply by entering a brand name, URL or by prompting. The world's only platform integrated with 51 AI models (70+ versions and 10+ years of award-winning creative expertise distilled into our proprietary creative agents), BizGreetz AI® is a supercharged version of any video generator you may have seen. No other platform offers our robust and versatile capabilities (including Adobe, Google, OpenAI, ByteDance, Meta, Microsoft, Apple, Amazon, Higgsfield). About Eric Frankel Prior to founding AdGreetz, Eric Frankel was President of Warner Bros. Domestic Cable Distribution, where he oversaw the distribution (and often production) of the world's largest TV and movie studio to broadcast, cable, pay-TV and new technologies. While running a multi-billion-dollar a year division, he led the industry to the development and adoption of new technologies, including on-demand video (SVOD & AVOD). He also created and successfully launched the first-ever broadband internet network, In2TV.. After 28 years at WB, in 2010, Eric left WB to launch AdGreetz and spearhead a new frontier of personalised advertising and now, AI creative with BizGreetz AI®.  Time Stamps 00:40 - Eric Frankel's Career Background 02:22 - Why Ads Feel Generic 03:27 - AdGreetz and BizGreetz Explained 04:44 - AI and Personalisation Today 08:41 - How Mass Personalisation Works 12:15 - Misconceptions and Relevance 14:59 - Performance Uplift and Proof 18:17 - Creepy Versus Effective 20:53 - Brand Consistency Guardrails 24:33 - B2B Adoption Challenges 34:50 - Where to Learn More 35:44 - Closing Thanks Quotes “I barely ever saw an ad or marketing message that was relevant to me, because it was a world of generic, traditional, one-size-fits-all.” Eric Frankel, CEO of AdGreetz. “When you get sick of the message, people may have just started to see it for the first time.” Eric Frankel, CEO of AdGreetz. “We do smart, data-driven, relevant, personalised marketing that people pay attention to.” Eric Frankel, CEO of AdGreetz. Follow Eric: Eric Frankel on LinkedIn: linkedin.com/in/eric-frankel-bb79666 AdGreetz website: https://www.adgreetz.com/ AdGreetz on LinkedIn: https://www.linkedin.com/company/adgreetz Follow Mike: Mike Maynard on LinkedIn: https://www.linkedin.com/in/mikemaynard/ Napier website: https://www.napierb2b.com/ Napier LinkedIn: https://www.linkedin.com/company/napier-partnership-limited/ If you enjoyed this episode, be sure to subscribe to our podcast for more discussions about the latest in Marketing B2B Tech and connect with us on social media to stay updated on upcoming episodes. We'd also appreciate it if you could leave us a review on your favourite podcast platform. Want more? Check out Napier's other podcast - The Marketing Automation Moment: https://podcasts.apple.com/ua/podcast/the-marketing-automation-moment-podcast/id1659211547        

Au programme de ce 112ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:04:00 : Actus du secteur SVOD français et mondial. La SVOD, c'était vraiment mieux avant ? 00:34:00 : Nos recommandations : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Roommates, Thrash, Apex, Trust Me The False Prophet, The truth and tragedy of Moriah Wilson, un ours dans le jura, LOL IRL, LOL S6, The Testaments, Lucky Luke, Shrinking S3, Malcolm et Love Story et les recos du Discord. 01:33:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de mai 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Frédéric est le film "My dearest assassin" dispo le 7 mai. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"La petite maison dans la prairie", bientôt dispo / "Roommates" déjà dispo / "Le bus" dispo mi-mai. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien que vous pouvez retrouver sur Serieously: https://www.serieously.com Présenté par Frédéric (https://bsky.app/profile/filmsdelover.bsky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mercredi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

Alan D'Escragnolle breaks down how his company Filmhub is rethinking distribution, shifting away from gatekeeping toward flexible, film-specific strategies. Instead of a single path, films are matched with what they actually need, whether that's AVOD, SVOD, or a more hands-on sales and marketing push.The bigger shift is economic. With hundreds of thousands of titles entering the market each year, access is easier than ever, but monetization is harder. Success now comes down to positioning, artwork, and understanding where a film fits in an oversaturated landscape.At its core, the model has flipped. Distributors can get your film out, but they won't build your audience. The takeaway is simple: know who your film is for, think long-term, and treat distribution as part of the process, not the finish line.What Movies Are You Watching?This episode is brought to you by BeastGrip. When you're filming on your phone and need something solid, modular, and built for real productions - including 28 Years Later and Left Handed Girl - BeastGrip's rigs, lenses, and accessories are designed to hold up without slowing you down. If you're ready to level up your mobile workflow, visit BeastGrip.com and use coupon code PASTPRESENTFEATURE for 10 % off.  Revival Hub is your guide to specialty screenings in Los Angeles - classics on 35mm, director Q&As, rare restorations, and indie gems you won't find on streaming. We connect moviegoers with over 200 venues across LA, from the major revival houses to the 20-seat microcinemas and more.Visit revivalhub.com to see what's playing this week.  Introducing the Past Present Feature Film Festival, a new showcase celebrating cinematic storytelling across time. From bold proof of concept shorts to stand out new films lighting up the circuit, to overlooked features that deserve another look. Sponsored by the Past Present Feature podcast and Leica Camera. Submit now at filmfreeway.com/PastPresentFeatureSupport the showListen to all episodes on Spotify, Apple Podcasts, and more, as well as at www.pastpresentfeature.com. Like, subscribe, and follow us on our socials @pastpresentfeatureThe Past Present Feature Film Festival - Nov. 20-22, 2026 in Hollywood, CA - Submit at filmfreeway.com/PastPresentFeature

Live from CinemaCon in Las Vegas, Matt is joined by producers Jerry Bruckheimer and Emma Thomas and Cinema United CEO Michael O'Leary to discuss the petition to block Paramount's acquisition of Warner Bros., the impact of PVOD and SVOD on the theatrical industry, the benefits of working with a major studio, the Ryan Coogler ‘Sinners' deal, and what scares them the most about the state of the industry right now. Host: Matt Belloni Guest: Jerry Bruckheimer, Emma Thomas, Michael O'Leary Producers: Craig Horlbeck and Jon Jones Theme Song: Devon Renaldo This episode is brought to you by AMC+. Start your free trial today at join.amcplus.com. Half Man premieres April 23rd on HBO Max. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Roku now reaches 100 million households, but is far from owning the US market. New Hub data shows Roku and Amazon's growing role in SVOD aggregation and the messy world of over-the-air TV.

What does it take to build a world-class engineering culture when you start with five engineers on minimum wage? Tommy Sullivan did exactly that at Vidio — and the team's average tenure of seven years tells you everything about whether it worked.In this episode, Tommy Sullivan, CTO of Vidio (Indonesia's largest streaming platform) shares how he built an engineering culture from almost nothing, growing a team of five to over two hundred using Extreme Programming principles and a relentless focus on hiring for attitude over aptitude. Tommy traces his journey from Pivotal Labs in San Francisco to the early days of Indonesia's tech boom, explaining why Vidio survived when well-funded competitors like Hooq and iFlix all shut down.Along the way, he gets into where AI has worked and where it has failed at Vidio, how the team is rethinking pair programming in the age of AI agents, what it takes to stream four terabytes per second during live events, and why protecting code quality is ultimately a culture problem, not a tooling one. Tommy also shares a hard-earned view on the agentic AI trend and why understanding the underlying mechanics matters more than chasing the hype.Key topics discussed:How Extreme Programming built Vidio's 7-year average tenureHiring for attitude: why aptitude alone isn't enoughPair programming reimagined for the AI-agent eraWhy code quality is a culture problem, not a tool problemAI failures and wins at VidioHow Vidio streams 4TB/s to 2.2M concurrent usersAVOD vs. SVOD: the model that saved VidioVendor independence for CDN and AI — why it mattersWhat engineers need to understand about agentic AITimestamps:(00:00:00) Trailer & Intro(00:03:07) How Did Tommy Go From Silicon Valley to Jakarta?(00:07:22) How Has Indonesia's Tech Scene Evolved Over the Past Decade?(00:13:12) What Happened to Indonesia's Engineering Talent After the VC Bubble Burst?(00:15:03) Why Is Indonesia One of the World's Most Exciting Tech Markets?(00:17:26) How Do You Build a World-Class Engineering Team When Starting From Scratch?(00:22:01) What Are the Hidden Benefits of Pair Programming Beyond Code Quality?(00:25:28) How Is AI Blurring the Lines Between Engineers and Product Managers?(00:28:48) How Do You Justify XP Practices to a Results-Driven Business?(00:36:11) What Has Worked and What Has Failed When Integrating AI at Vidio?(00:44:19) Is AI an Amplifier or a Threat to Software Engineers?(00:46:59) How Does Vidio Use Team Rotation and Shared Ownership to Retain Engineers?(00:51:16) How Do You Protect Code Quality Culture in the Age of AI?(00:54:16) What Metrics Actually Matter for Engineering Quality?(00:58:07) How Will AI-Generated Content Reshape the Streaming Industry?(01:06:51) What Does It Take to Stream at 4 Terabytes per Second?(01:09:26) How Do You Keep a Streaming Platform Stable During Massive Live Events?(01:14:12) How Did Vidio Survive When Other OTT Platforms Failed?(01:18:15) Why Does Vendor Independence Matter for Both CDNs and AI?(01:21:44) What Should Engineers Understand About the Agentic AI Trend?(01:26:17) Tech Lead Wisdom_____Tommy Sullivan's BioTommy Sullivan leads the software engineering behind Vidio — Indonesia's leading video-streaming platform. Before joining the Vidio / Emtek group, he helped startups and global enterprises implement agile engineering and lean product development practices in Silicon Valley and Southeast Asia. As a founding member of Vidio, Tommy shaped its early development and steered its evolution from a user-generated content platform to a premium streaming service supporting millions of subscribers. He leads with a focus on data-driven decisions and a humble, collaborative developer culture.Follow Tommy:LinkedIn – linkedin.com/in/tommybsullivanLike this episode?Show notes & transcript: techleadjournal.dev/episodes/253.Follow @techleadjournal on LinkedIn, Twitter, and Instagram.Buy me a coffee or become a patron.

Au programme de ce 108ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:03:23 : Actus du secteur SVOD français et mondial. Netflix et Disney ont des actus liées à l'IA ce mois-ci et on décortique tout ça. 00:32:00 : Nos recommandations : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : War Machine, Louis Theroux : Plongée dans la manosphère, Le Tueur de TikTok, Le prédateur de Seville, The Plastic Detox, Age of Attraction (S1), Love is Blind S10 (fin), Lucky Luke (4ep), The Beauty (Fin), Hannah Montana 20th Special, Game of Thrones, Bridgerton S4 et les recos du Discord. 01:45:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix d'avril 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Damien est le film "Roomates" dispo le 17 avril. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"Stranger Things '84", bientôt dispo / "War Machine" déjà dispo / "Man on Fire" dispo le 30 avril. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien que vous pouvez retrouver sur Serieously: https://www.serieously.com Présenté par Frédéric (https://bsky.app/profile/filmsdelover.bsky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mercredi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

Au programme de ce 108ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:02:30 : Actus du secteur SVOD français et mondial. Netflix a finalement décidé de ne pas surenchérir pour acheter Warner Bros, laissant Paramount Skydance seul en lice pour le rachat du studio hollywoodien. 00:22:40 : Nos recommandations de décembre : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Even if this love disappears tonight mais aussi 100 Mètres, Lucy Letby au cœur de l'enquête, Danse sur glace : L'éclat de l'or, Top Model USA : Le revers du rêve, Ne t'enfuis plus (mini-série), La Chronique des Bridgerton S4p2, Les Lionnes, Love is Blind US S10 (3ep), On aurait du aller en Grèce, Wonder Man (fini), Sinners, Amélie et la Métaphysique des tubes, L'attachement, La Quête d'Ewilan, Stranger Things, Fallout, Knight of the Seven Kingdom, Heated Rivalry, People We Meet on Vacation, Urgences et les recos du Discord. 01:26:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de mars 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Nivrae est le film "War Machine" dispo le 6 mars. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"Unchosen", bientôt dispo / "Even if this love disappears tonight" déjà dispo / "Something very bad is going to happen" dispo le 26 mars. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien que vous pouvez retrouver sur Serieously: https://www.serieously.com Présenté par Frédéric (https://bsky.app/profile/filmsdelover.bsky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mercredi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

This week, Paul updates Jess on concepts hat SEC Commissioner Greg Sankey pondered to limit transfers and establish eligibility standards which could provide structure in the NIL area. Next, they discuss the incredible success of the 2026 Winter Olympics for NBC and Peacock as well as some of the brightest stars who competed. Finally, the UK government just announced that major SVOD services will be regulated in a manner similar to broadcasters - in a step towards technology-agnostic regulation that some have called for in the U.S. as well. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Antenna data highlights how SVOD is maturing and how bundling is critical. Nielsen's data reveal potential TV audience shifts due to the just-announced WBD-Paramount Skydance deal.

How many UK households have a Netflix subscription? What percentage of Meta's total revenue comes from scam ads? What was the smartphone usage rate in the UAE in 2025?In this quiz edition of The MadTech Podcast, ExchangeWire's head of marketing Grainne Reid is joined by COO Lindsay Rowntree and John Still, head of content. They look into the changing TV and streaming landscape, tolerances for fraudulent ads (and insects in chocolate), and open web versus mobile advertising.0:00 Introduction1:14 SVOD subscription numbers13:28 Meta scam ads revenue21:15 Smartphone usage rates26:01 MENA focus

Au programme de ce 108ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:02:10 : Actus du secteur SVOD français et mondial. On fait notre draft des titres qui sortiront en 2026 sur Netflix avec un but : récolter le plus de vues ! 00:40:00 : Nos recommandations de décembre : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : The Rip mais aussi People We Met on Vacation, Evil Influencer Jodi Hildebrandt Story, Camp Courage, Kidnapped Elizabeth Smart, Finding Her Edge S1, His & Hers, Bridgerton s4 p1, The Beauty (4ep), The Kite, Wonder Man (2ep), Shrinking S2 + S3 (en cours), The 4:30 Movie, Stranger Things, Kings of Collectibles S3, Exterritorial. et les recos du Discord. 01:44:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de février 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Frédéric est le film "Even if this love disappears tonight" déjà dispo !. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"One Piece", saison 2 bientôt dispo / "The Rip" déjà dispo / "The Night Agent" saison 3, dispo fin février. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Présenté par Frédéric (https://bsky.app/profile/filmsdelover.bsky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mercredi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

This week, Paul and Jess begin with a summary of the major 2026 Oscar nominations with a handful of their predictions thrown in. Next, they discuss a BBC YouTube-first deal and YouTube's broader plans for pay TV. Finally, Paul breaks down a recent government inflation report which indicated that SVOD services had, by far, the highest rate of inflation in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aujourd'hui, nous parlons d'un phénomène qui pourrait redéfinir les usages vidéo pour les années à venir :l'hybridation entre la télévision et les plateformes SVOD. Entre les jeunes audiences qui plébiscitent l'intégration des chaînes TV dans les plateformes, la faible visibilité des offres hybrides, et l'évolution des attentes en matière de contenus, nous assistons peut-être à un véritable basculement. Pour en discuter : Corinne Abitbol-Terrier d'Havas Media Network Yves Del Frate de CSA Research Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week, Paul and Jessica start with a recap of the big winners at the 2026 Golden Globes. Next, Paul discusses the recently-announced exclusive Pay 1 SVOD license deal between Sony Pictures and Netflix, and Jessica ponders the pros and cons of Netflix's content-acquisition blitz. Finally, Paul breaks down the Supreme Court's decision to review the FCC's authority to levy large fines without the need for a jury trial. Learn more about your ad choices. Visit megaphone.fm/adchoices

Film rights can make or break your movie's financial future — and most filmmakers don't fully understand them. In this episode, we break down domestic vs. international rights, worldwide deals, split rights, and platform-specific licenses like TVOD, SVOD, AVOD, FAST, and theatrical. If you're working with distributors, sales agents, or heading to a film market, this episode will help you avoid costly mistakes and protect your film.

Au programme de ce 108ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:02:37 : Actus du secteur SVOD français et mondial. On parle des gagnants et des perdants de l'année 2025 dans le domaine du streaming. 00:42:00 : Nos recommandations de décembre : L'équipe et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : My Secret Santa mais aussi Mango, Love and Wine, Vive le Vol d'Hiver, Emily in Paris (Saison 5), With Love, Meghan : Un Noël tout en grâce, Talamasca, Loups-garou S2, Pluribus, Interview with a Vampire S1&2, Downton Abbey, Someone Great, The Great Flood et A Man on the Inside et les recos du Discord. 01:40:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de janvier 2026.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Damien est le film "The Rip" qui sort le 16 janvier 2026. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-de-2026-sur-netflix-france Nous avons un Discord avec toutes les dernières infos sur Netflix, des conversations, des débats sur Netflix mais aussi sur les autres services SVOD dispos en France : https://discord.gg/N4Vmd5n (Merci Kris_Mery de l'administrer et de l'avoir créé et merci à tous ceux qui le font vivre chaque jour avec des infos, des recos etc.) Intermèdes audio :"Peaky Blinders: L'immortel" qui sort en mars / "My secret santa" déjà dispo / "Bridgerton saison 4" dispo fin janvier. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien que vous pouvez retrouver sur Serieously : https://www.serieously.com/ Présenté par Frédéric (https://bsky.app/profile/filmsdelover.bsky.social) que vous pouvez retrouver sur Netflix & Chiffres : https://www.netflixandchiffres.com/ et par mail frednetflixers[at]gmail[point]com Merci à celleux qui ont choisi de passer leur mardi soir en notre compagnie pour l'enregistrement de l'émission en direct sur Discord.

In this episode of Best in Fest, host Leslie LaPage sits down with Alan Green, Head of Sales & Acquisitions at 123 Media, to break down how film distribution actually works — and why most indie filmmakers misunderstand it.With decades of experience spanning 20th Century Fox, Pathé, international sales, and producing, Alan offers a brutally honest look at what sells, what doesn't, and how filmmakers can avoid costly mistakes when trying to monetize their films.In this episode, we cover:

Some surprising trends in US TV viewing emerged in 2025. Here's what happened to traditional pay TV, vMVPDs, SVOD, FAST, and over-the-air, and the outlook for them in 2026.

All top 6 SVOD services have raised prices this year, continuing a trend that began in 2023. However, here are four reasons to be happy about the price increases.

Connected TV is no longer just a buzzword in the ad world — it's where the industry is being reinvented. Audiences aren't just watching differently; they're shopping, engaging, and co-viewing in ways that open new creative doors for brands. And sitting at the intersection of entertainment and advertising is Roku, a company that's helping marketers meet these shifts head-on.In this episode of The Big Impression, Roku's VP of advertising, marketing & measurement, Sarah Harms, explains why the company is uniquely positioned as a publisher and an operating system. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're talking about how streaming and connected TV are transforming not just how we watch, but how brands connect with audiences.Damian Fowler (00:17):Our guest is Sarah Harms vice president of advertising, marketing and measurement at Roku. She leads the strategy behind Roku's advertising business, helping brands tap into streaming's growing audience while building smarter measurement tools along the way.Ilyse Liffreing (00:32):Before Roku, Sarah built her expertise across both the buy and sell sides of the industry with leadership roles at Microsoft XR and wpp giving her a unique perspective on how ad tech data and storytelling all come together on Connected tv.Damian Fowler (00:49):We'll talk about how Roku's helping brands of all scientists meet new viewer behaviors, build more effective campaigns, and push the creative boundaries of what's possible on CTV.Ilyse Liffreing (01:00):So let's get into it.Damian Fowler (01:03):So Sarah Roku is in a pretty unique spot right now, right? Between entertainment and ads with this latest brand or measurement move, what got it started? Was there an insight or audience need that really stood out to you?Sarah Harms (01:17):Yeah, so in my role I run ad marketing and measurement. So much of my job is us as a marketer, so marketing roku's, advertising proposition, but also in support of our marketers. And so that makes my job very fun. And so a lot of this conversation today, I'm going to go back and forth between my job as a marketer, but also my job in B2B advertising of driving marketers results on our platform. Something that's really fun about Roku is that we're a publisher, but we're also the largest operating system in the us. We see consumers come through our front door to get to the content they know and love and care about. And so that gives us a really rich canvas for supporting some of our marketers initiatives. And so for example, the Super Bowl was very fun for us, whether it was using our platform to drive traffic to Tuby or to build really fun brand experiences on our canvases.(02:13):So we had, when Sally met Hellman's and we had Hellman's and Roku City and we had the Super Bowl ad and a really lovely zone destination to drive shopping and drive purchases of Hellman's mayonnaise, which you really wouldn't expect from a television advertising experience. And so I think that was a fun one from us in supportive marketers. And then a whole part of my job is making sure our advertisers really know about the Roku experience. And so while it's B2B, it would be silly not to address them in a B2C capacity because our marketers could also be customers, the need to understand the value of the Roku experience even if they don't have a televisionDamian Fowler (02:53):From ro. Once you realize your customers could be businesses, consumers, or both, how did that shift your strategy? Did it change the way you approach things?Sarah Harms (03:01):I think it's just strategic use of our resources and a strategic use of our messaging. We certainly think the Roku experience as an operating system is delightful and easy and intuitive. We talk about how your mother-in-law can set it up herself as the example we always use. And so we certainly want our advertising customers to know that too because it really is a beautiful, elegant experience for advertising as well, for watching content.Ilyse Liffreing (03:28):So you've got such a big range of advertisers from big Fortune five hundreds to D two C brands to B2B. How do you build campaigns or measurements that flex for either of them but still stay true to your own approach?Sarah Harms (03:44):Great. So I'll address that as a speaking to the advertising community part of my job, we certainly are on a journey to evolve our strategy to be more flexible and meet our customers where they want us to be, whether it being in their buying platforms of choice or providing optionality to a D two C customer by giving them a very lightweight, intuitive self-service platform like Roku Ads Manager. And so I think a lot of it from a measurement standpoint is doing some education. I think some of the questions were ground around CTV is still somewhat new, but I don't know if it's new, but it's certainly new in the eyes of performance. And so it's a lot of education about how we can enable customers to drive true outcomes using connected television. And so whether it's ad manager or unique measurement integrations, shoppable formats, we really try to address all of thatIlyse Liffreing (04:36):Now. Streaming's completely changed how people watch from binging to co-viewing and basically everything in between. How do cultural or data trends help shape what you're doing on the platform?Sarah Harms (04:48):Yeah, I mean it's been so interesting to see it change even since the pandemic. I think for a long time CTV was synonymous with SVOD or subscription video on demand. We're very much seen that is not the case anymore. A majority of our households are using some form of A VOD, we're advertising video on demand. And so that trend coupled with live sports coming into CTV and streaming, it's really just driven a whole new slew of opportunities for advertising. And so off the back of that, that's more addressable, more accountable television because it is connected television. And so that's been fun from a education standpoint, it's been fun from a how do we enable our platform to address that and also how do we educate our customers from a measurement standpoint.Damian Fowler (05:37):So what's the ad experience like on Roku? You mentioned CTV and it sounds like there's a pretty wide mix of formats. Can you break that down a little more?Sarah Harms (05:46):I'd love to because I think that's again, where my role as a B2B marketer, it's of course helpful to inform our clients about our experiences then they might not have a Roku device or television. And so we think about our business in really two core buckets. We have the Roku experiences, which is our beautiful ui, so native home screen units, they're customized, they're elegant, and we have some of our more kind of viral experiences like Roku City, which is fun and delightful. We're now doing brand integrations there. But then on the other side, we're also a very scaled publisher. So the Roku channel continues to climb Nielsen's Gauge in terms of total TV content time. And so that is allowing us to be a very kind of open interoperable, performant publisher as well with standard video that's available programmatically. It's available with unique measurement integrations, and that's really our ecosystem being an interoperable partner in the space.Ilyse Liffreing (06:43):Roku City is that fun, animated screensaver, very purple that a lot of people see on their TVs. Can you tell us a little bit about it and the kinds of brands you're partnering with there?Sarah Harms (06:54):Yeah, so this has just been something really fun that's taken off. So Roku City is our interactive screensaver and people love it. I don't know if you see it every day, but it's cute, it's fun, it grabs your attention. We see that it's tweeted about every 12 minutes, so it is a viral experience and so much so that really our advertisers challenged us to think about it differently. And so now we have really a variety of advertisers coming into Roku City. So I gave the Hellman's example. We had Taylor Swift in Roku City. And so it's really just a fun, unique, totally differentiated advertising experience, but we tie it all to the rest of our assets.Damian Fowler (07:36):I heard somebody say this morning, performance media is kind of the baseline. Now with that in mind, how do you think about measuring engagement across all these different touch points that we've been talking about?Sarah Harms (07:46):Yeah, I mean, so much of my job on the measurement side of the house is education. And I think the challenge is that performance is in the eye of the beholder and CTV is still bought via a very different group of personas from a legacy television buyer all the way to someone that had been in social API partners and dipping their toe into CTV. And so performance is required, but it's really a matter of educating them on what that means to them and supporting them in their efforts. But what's great about CTV is its big beautiful television, but with all the addressability and accountability of digital.Damian Fowler (08:23):And on that point though, what is it that linear TV buyers still don't quite get about CTV?Sarah Harms (08:29):I think it's the ecosystem aspect of it all. I think television in the past was measured by a couple companies with a couple KPIs or just reach. And so I think this is where CTV has really unlocked really turnkey, always on easy to optimize measurement. That's very exciting.Ilyse Liffreing (08:48):So one thing we like to do on the show is pull our takeaways from the big campaigns. Are there any KPIs or success stories from the campaigns running on Roku that stand out to you?Sarah Harms (09:00):Yeah, so I think what's been fun is we see that we have opportunities for really kind of all verticals. Obviously Roku is born out of the media and entertainment industry, but we've expanded there. And so we really do have kind of a playbook for each vertical, but auto specifically comes to mind, which is a really exciting one. You don't really think of performance and auto on tv, but we've built kind of beautiful experiences like showrooms where you can configure cars, sign up for test drives. And so I think we've really changed the narrative there in terms of driving actions for that vertical all in a very big, beautiful, elegant canvas.Damian Fowler (09:37):Are there any other kind of surprises from your takeaways in terms of like, oh, that's popping. I never expected that.Sarah Harms (09:44):So for me, I don't carry a wallet. My phone is my wallet. And I think if you told me that five years ago, I would've never believed you. Similarly, I don't think anyone thought they'd be shopping with their television. That happens every day on our platform, and I think it's because of clients testing with us, but also it comes back to us as an operating system. And really our remote, it's a few buttons. It's really easy. We have a direct relationship with our customers from a billing perspective. And so the same way Apple Pay is just so easy now you can shop from your tv, which again seems insane, but maybe we'll be here in a couple years and we'll see so much direct shopping from televisions.Ilyse Liffreing (10:23):What about the interest from B2B brands? It just feels like that sector is really exploding across all categories, but CTV particularly.Sarah Harms (10:33):Yeah, I mean so much of my job as a B2B marketer is a lot of education and a lot of really, so much of our reframing away from being a walled garden to more of an open collaborative partner. And so much of it is doing, we talked in the press about our change away from doing a big new front event. We did more kind of small customized dinners instead just to make sure there is a very direct touch point, but also specifically cater to each client's needs. And so I think that's been more of our approach of making sure we do pointed conversations to address the nuances and needs of each customer.Ilyse Liffreing (11:12):And how was that new approach for you this year? I know a lot of brands are doing things a bit differently at the fronts. How did it go on your side?Sarah Harms (11:21):I think for us it's knowing the value of us as the operating system and having great content, but not being these content giants that have millions and millions and millions of dollars to spend on content. And so they should do a big show for us. We drive traffic to the big show. And so I think it was more about, yes, of course, talking about our amazing content and brand integrations there, but also acknowledging the integrations that each customer wanted, the platforms each customer wanted, and what we're doing for each of them in a really kind of catered way versus such a one to many message.Damian Fowler (11:57):You mentioned content earlier. Are you seeing any particular trends now? Anything that's really driving interest from certain categories or marketers?Sarah Harms (12:06):So we have our Roku originals, and we do very well in kind of holiday and home as you can expect, but I think this year in Cannes, you won't be in a meeting like this without talking about sports. And so we have sports rights, yes, but again, the value of the operating system, we've built sports zones to help make sport discoverable and findable. I always use the example of my husband's great Uncle Joe, diehard Yankees fan, can't find a Yankees game because it might be on four different places in five days. And so how can Roku as an operating system help in that regard? And so I think Roku is invested a ton in our infrastructure of driving curation of sports, but also we're very invested in what we call challenger sports, so National women's soccer league volleyball, stuff like that where they have really these die hard fan bases and they just want to find it. We're the destination to help them.Damian Fowler (13:01):We keep hearing it's not just about mass reach anymore, it's really about how well the audience, and the better you understand them, the better this whole thing works for both the platform and the advertiser. How do you see that playing out right now?Sarah Harms (13:13):Yeah, and they're loyal. They're diehard. They're big spenders sometimes. And so you want to kind of associate with yourself with such a kind of amazing, loyal fan base that's just so passionate about the sport.Ilyse Liffreing (13:26):So we have some quick questions for you now. So first of all, you've led both creative and analytical teams. What is one timeless truth about great advertising that cuts across both sides?Sarah Harms (13:41):First of all, it's a very fun aspect of my job having both kind of the marketing team and the measurement and analytics team. Two very different personas, but brilliant in their own ways. And so much of my focus since being here is making sure they're working together versus kind of two ships in the night with their own functions because we certainly have such amazing data, so we should use that to speak to the marketplace in a smart way. And so I think that's been really fun. I think they're getting to know the other side of the house and the creative thinkers versus the analytical thinkers like me pushing them to work together has been very fun. And I think with that in mind, a data informed approach is key. And so that's what really drew me to Roku was that opportunity of just this amazing data set that we have that we can use to optimize, but also to tell our story in a more elegant way.Damian Fowler (14:33):Now since you joined Roku, is there a favorite data point or piece of feedback that's really stuck with you?Sarah Harms (14:38):Yeah, well, I think what's interesting about my job is I should have been informing people like myself about the value of Roku. Before the process started of being recruited, I had a pretty antiquated view, the Roku advertising offering. So that's something that in getting here and in going through that process I learned so much more. I think my favorite might be that any given month, we see a user come through our front door about 25 days a month. And so that is an advertising opportunity to message our amazing footprint. But we see that on average an individual app is seven, maybe eight times a month. And so if you think about that, the reach potential, but also just the consumer habit of using our devices and seeing the messaging from our brands, I think is so compelling and something that really we're massive as it relates to our OS and footprint. And so we've designed these beautiful experiences to really account for that.Ilyse Liffreing (15:36):Now, Roku really helped pioneer the modern CTV ad experience. Is there a moment that's made you step back and think, wow, look how far the medium and your team really has come?Sarah Harms (15:49):I think the fact that the Super Bowl was really such a success story for streaming, I think we never thought the Super Bowl would be at that level, but it was streamed and it really streamable and really without a hitch, I think we've seen some live streaming events and there were some issues. I thought it was very well done. We were happy to support it. We drove some amazing traffic to Tubi. And so I just think 10 years ago, we never thought that would be the case. And so that's just been a fun thing to think about that and the Olympics and the Olympic zone that we built, just really elegant experiences and just changing television has been fun.Damian Fowler (16:32):And that's it for this edition of The Big Impression.Ilyse Liffreing (16:35):This show is produced by Molten Hart. Our theme is by Love and Caliber, and our associate producer is Sydney Cairns.Damian Fowler (16:41):And remember,Sarah Harms (16:43):A data informed approach is key. And so that's what really drew me to Roku.Damian Fowler (16:47):I'm Damian, and I'm we'll see you next time.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

TVOD, SVOD, and AVOD explained. In this episode, I break down the three main types of video on demand, what each one means, and why the order of release windows is crucial to maximizing your revenue. Whether you're an indie filmmaker or just curious about how movies make money today, this is your crash course on the new world of VOD.

Actor/Filmmaker Peter Cilella (RESOLUTION, THE ENDLESS) joins Adam and Joe in the ArieScope studio to discuss his career journey and the making of his feature directorial debut DESCENDENT (in theaters now as well as SVOD). From his struggles doing various jobs while getting his acting career off the ground… to writing and directing his own short films… to how working with Rustic Films (Benson/Moorhead & Lawson's production company) “set him up for success” with making his first feature DESCENDENT… to the writing of his deeply personal script during the pandemic… to how the project briefly got derailed for a full year and almost never happened… to how he created instant chemistry between his leads (Ross Marquand and Sarah Bolger)… to working with the Russells on the film's alien FX and much more! Dr. Arwen provides “Hollywood Therapy” for a patient looking to understand how to best support the films and the filmmakers who's work he enjoys and the boys reveal the final total raised in YORKIETHON IX!

In this episode, we dive into Disney's completion of its full acquisition of Hulu, announced on June 9, 2025, with the final $438.7 million payment to Comcast's NBCUniversal. We break down how this deal ends a multi-year valuation dispute and paves the way for deeper integration with Disney+ and ESPN's upcoming streaming bundle.You'll hear the latest Q1 2025 financials—$3.2 billion in revenue, 53.6 million U.S. subscribers, and a combined $293 million profit for Disney+ and Hulu—alongside ARPU figures for both SVOD and Live TV tiers. We also explore Hulu's leading 11 % SVOD market share, its dominance in streaming ad time (13 %), and the strength of its ad-supported business. Plus, discover Hulu's content strategy with hits like “The Bear” Season 4 and “Call Her Alex,” and the platform's plans for international expansion and the challenges it faces in the competitive streaming landscape. Tune in for a concise yet comprehensive update on Hulu's evolving role within Disney's streaming empire. Tags: Disney, Hulu, Acquisition, Streaming Industry, Disney-Hulu Merger, Subscriber Growth, Revenue Metrics, Profitability, ARPU, SVOD, AVOD, FAST, Disney+, ESPN Bundle, Content Integration, Media Consolidation, Q1 2025, Market Share, Advertising Business, Streaming Wars, Original Programming, The Bear S4, Call Her Alex, Ad-Supported Streaming, International Expansion, Disney Corporate, Hulu Business Update, Strategic Integration, Streaming Strategy, Industry ChallengesHashtags: #DisneyHulu #HuluAcquisition #StreamingNews #HuluUpdate #DisneyNews #DisneyPlus #ESPNBundle #SubscriberGrowth #RevenueMetrics #Profitability #HuluARPU #SVOD #AVOD #FAST #MediaConsolidation #StreamingWars #OriginalProgramming #TheBear #CallHerAlex #AdSupported #HuluAds #ContentIntegration #InternationalExpansion #MarketShare #StreamingStrategy #Q12025 #DisneyStreaming #EntertainmentBiz #MediaNews #PodcastEpisode