Podcasts about svod

S10E03 - Cette semaine Pomme a plongé dans les eaux froides de l'Écosse pour "Les Dossiers Oubliés".

Bienvenue dans l'épisode 1 de la saison 2 de Superstream... Voici L'appel à un ami, première partie : Un jeu et des débats autour des grosses sorties de ces dernières semaines sur les plateformes de streaming. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

L'équipe de Superstream débat autour de la très attendue saison 2 de Mercredi sur Netflix et se projette déjà sur la saison 3 avec de nombreuses théories. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Dans la deuxième partie de notre traditionnel jeu "L'appel à un ami", on revient sur les dernières actualités autour des plateformes de streaming. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

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.

S10E02 - Un peu d'humour so british cette semaine avec "Cunk On Life". A découvrir très vite !

In today's MadTech Daily, we cover Netflix and Amazon teaming up to boost CTV ads, UK ad-funded SVOD reach tripling, and Meta adding more features to Community Notes.

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.

In today's MadTech Daily, we cover Netflix and Amazon teaming up to boost CTV ads, UK ad-funded SVOD reach tripling, and Meta adding alerts to Community Notes fact checks.

On this episode of Inside Content, Peyton Lombardo, Senior Manager at 3Vision, is joined by Patrick Courtney, Chief Business Officer at Fuse Media—a global entertainment company known for its multicultural programming. They explore how Fuse Media has evolved from its roots in pay TV into a modern media operation with seven FAST channels and a growing SVOD footprint. Their discussion includes the risks and rewards of ad-supported models, how Fuse Media is building scale through the Culture Collective, and why creators might be key to the next wave of original content. Stay in the content world loop

Au programme de ce 104ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:02:21 : Actus du secteur SVOD français et mondial. On parle de la folie KPop Demon Hunters qui a frappé la planète cet été. 00:28:19 : Nos recommandations de l'été : Nivrae, Frédéric et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Brick mais aussi Kpop Demon Hunter Karaoke, My Oxford Year, Anuja, Chaos d'anthologie, Une nature sauvage, Too Much, Squid Game S3 finale, Building The Band, À l'épreuve du diable S2, Andor S2, Eyes of Wakanda, Ironheart, The Buccaneers s1 et S2, Nowhere, Light & Magic, Alien: Earth, The Thursday Murder Club, Kate, 1923, 1883... 02:03:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de septembre 2025.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Nivrae est le film allemand "The Wrong Paris" qui sort mi-septembre. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-01d 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 :"Golden" issu de la BO de KPop Demon Hunters / "Brick" déjà dispo / "El refugio atomico" dispo mi-septembre. 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.

S10E01 - Mielou a vu, revu, rerevu "Sense8" et vous recommande chaudement la série !

This episode was produced in partnership with Sky MediaAfter another big summer of sport and the kick-off of the 2025/26 Premier League season, Jack Benjamin is joined by Sky Media's new director of digital advertising, Pippa Scaife, and director of transformation, Dan Cohen, to discuss how brands can make the most of live sport.In the UK, if you're a football fan — or, indeed, a fan of practically any major sport — it's likely you have a Sky subscription.And amid a fragmented AV media landscape, sport has emerged as both a highly important opportunity for brands wanting to reach large audiences all at once and a key way to tap into dedicated communities and fandoms.Scaife and Cohen speak about the role Sky's new Sports Marketplace plays in democratising live sport for smaller advertisers, how brands can tap into sport beyond just on the telly and rapidly emerging opportunities in women's sport.Highlights:1:20: How fragmented viewing has made sport a multichannel experience7:04: Opportunities in women's sport and reaching female sports fans14:15: Sky Media's Sports Marketplace: democratising sports advertising24:53: 2026 in sport: Olympics, Paralympics, World Cup — how should brands be preparing?29:03: Making the most out of sponsorship opportunities: shoulder content, commentary, communityRelated articles:Expanded programmatic capabilities at Sky Media ‘will democratise live sport'Sky Media: Brands shouldn't miss their chance to connect with women's sport fandomGet in the game: why Havas Play thinks brands should be doubling down on women's sport Sports programming on the rise across global SVOD services---Thanks to our production partners Trisonic for editing this episode.--> Discover how Trisonic can elevate your brand and expand your business by connecting with your ideal audienceVisit The Media Leader for the most authoritative news analysis and comment on what's happening in commercial media.LinkedIn: The Media LeaderYouTube: The Media Leader

YouTube's success on TV has led Netflix and Tubi to try to cherry-pick the best creators. But Bigger Bolder Baking's CEO reveals that a show deal with them may not be a slam dunk with him.

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!

S09R04 - L'été touche doucement à sa fin, mais peut être faites vous parti des personnes qui partent enfin en vacances ?En tout cas, dans ce dernier épisode du Rewind, nous sommes à Pâques, et Pomme laisse son micro trainer dans les couloirs de PodRennes

S09R03 - Salut tout le monde nous voilà en aout ! L'été avance et le Rewind aussi. Aujourd'hui, Lisa vous propose une balade en bus à travers l'Australie

ENFIN ! L'épisode sur le grand RE-ANIMATOR !!! Le chef-d'oeuvre de STUART GORDON et BRIAN YUZNA qui fête ses 40 ans cette année ! Ça méritait bien un long podcast pour revenir sur cette pierre angulaire du genre, avec au programme : retour sur les petits génies derrière le film, des petits jeunes qui sont tous devenus des légendes du genre depuis focus sur la production du film la novélisation du film sortie récemment chez FAUTE DE FRAPPE les suites et même le remake français ! Sur ce, on vous laisse. On part en vacances pour se reposer, avant de revenir en forme en septembre pour le fameux CENTIÈME ÉPISODE DE JUMPSCARE ! Et croyez-nous, ça va être totalement fou ! Écoutez bien la fin de cet épisode pour un gros indice ;) Sources : ce bon vieux Steven, Fangoria, Otto Rivers pour la bande-annonce VF du film, et l'INA pour le passage sur Norbert Moutier. La novélisation RE-ANIMATOR sponsorisé par Jumpscare : https://www.editionsfautedefrappe.fr/page-d-articles/hp-lovecraft-s-re-animator-jeff-rovin CODE PROMO SHADOWZ, La première plateforme de SVOD horrifique française : JUMPSCARE2025 pour ne payer l'abonnement qu'1 euro par mois pendant 3 mois ! Suivez-nous sur Bluesky et Instagram : @jumpscarecastContact : jumpscarecast@gmail.com LA MUSIQUE DE JUMPSCARE : https://cedriccremet.bandcamp.com/album/jumpscare-original-podcast-soundtrackTout l'argent revient au compositeur, n'hésitez pas :) Discord de Jumpscare : https://discord.gg/ew9CfgYCz8 https://jumpscare.lepodcast.fr/

Ça ne surprendra personne : SCREAM fut un tel succès lors de sa sortie qu'il donna naissance à beaucoup d'enfants qui tentèrent de manger une part du gâteau pendant qu'il était encore bon, pour le meilleur et pour le pire. Et justement, puisqu'on parle du pire... voilà CUT ! Tentative australienne de surfer sur la vague du néo-slasher. Et quelle tentative les amis. J'en ai encore envie de crever en écrivant ses lignes. Est-ce que vous les lisez, ses lignes, même ? Je me suis toujours demandé si certains ou certaines s'aventurent dans les bios des épisodes, qui sont bien plus travaillés que le film qu'on évoque aujourd'hui croyez-moi. Tout ça pour dire : c'est la faute de Mylène. CODE PROMO SHADOWZ, La première plateforme de SVOD horrifique française : JUMPSCARE2025 pour ne payer l'abonnement qu'1 euro par mois pendant 3 mois ! La novélisation RE-ANIMATOR sponsorisé par Jumpscare : https://www.editionsfautedefrappe.fr/page-d-articles/hp-lovecraft-s-re-animator-jeff-rovin Suivez-nous sur Bluesky et Instagram : @jumpscarecastContact : jumpscarecast@gmail.com LA MUSIQUE DE JUMPSCARE : https://cedriccremet.bandcamp.com/album/jumpscare-original-podcast-soundtrackTout l'argent revient au compositeur, n'hésitez pas :) Discord de Jumpscare : https://discord.gg/ew9CfgYCz8 https://jumpscare.lepodcast.fr/

This week, we highlight the key numbers and comments from Netflix's Q2 earnings, covering finances, ad growth, live event strategy, competition, AI, and content strategy. We detail the financial metrics tied to revenue, free cash flow, debt, and estimated full-year 2025 revenue guidance. We discuss all the comments from Netflix's management team regarding measuring household engagement, its upcoming interactive ad launch, the impact of the recent price hike, its deal with TF1, and the acquisition of content assets. We also detail NBCU's decision to raise Peacock's monthly subscription by $3, as well as the new US-based SVOD service from the BBC. Finally, we discuss Deltatre's plans to acquire Endeavor Streaming, which raises questions about the state of Deltatre's business, as no metrics have been provided since its acquisition in 2022.Podcast produced by Security Halt Media

S09R02 - Bonjour tout le monde. Que vous nous écoutiez à la plage, au sommet d'une montagne ou dans le métro, on espère que votre mois de juillet se passe au mieuxAujourd'hui on réécoute la reco de Roland du Freaky Cast

On s'excuse tout d'abord pour le son en seconde partie d'émission. La qualité sonore des interviews en distanciel dépendent du matériel utilisé et Hélène et Bruno n'avaient qu'une vieille tablette sous la main, c'était l'enfer. Il a fallu bricoler au montage pour que ce soit écoutable, et on espère que ça vous plaira quand même car leurs propos sont passionnants ! On les remercie encore de nous avoir accordé leur temps ! Cinéma aussi hypnotique que sensoriel, les films du duo Cattet/Forzani ne laissent personne indifférent, et leur dernière production ne déroge pas à la règle. En tout cas, du côté de chez Jumpscare, c'est un énorme coup de coeur et ça nous permet au passage de parler un peu de l'eurospy, un genre trop peu abordé de nos jours !Et comme on est gourmand, on a invité le duo Cattet/Forzanni pour nous parler de la production du film ! On évoque la musique d'EROINA à la fin, allez écouter, c'est le feu : https://www.eroinamusic.com/ CODE PROMO SHADOWZ, La première plateforme de SVOD horrifique française : JUMPSCARE2025 pour ne payer l'abonnement qu'1 euro par mois pendant 3 mois ! La novélisation RE-ANIMATOR sponsorisé par Jumpscare : https://www.editionsfautedefrappe.fr/page-d-articles/hp-lovecraft-s-re-animator-jeff-rovin Suivez-nous sur Bluesky et Instagram : @jumpscarecastContact : jumpscarecast@gmail.com LA MUSIQUE DE JUMPSCARE : https://cedriccremet.bandcamp.com/album/jumpscare-original-podcast-soundtrackTout l'argent revient au compositeur, n'hésitez pas :) Discord de Jumpscare : https://discord.gg/ew9CfgYCz8 https://jumpscare.lepodcast.fr/

Aujourd'hui, on parle d'un des films les plus attendus de l'année : 28 ans plus tard. Réalisé par Danny Boyle et écrit par Alex Garland, c'est le troisième volet de la saga débutée en 2002 avec 28 jours plus tard. Dix-huit ans après 28 semaines plus tard, cette suite marque le début d'une nouvelle trilogie,, et vous vous doutez bien qu'on allait pas passer à côté de l'occasion d'en parler ! LE STABATHON : https://www.stabathon.fr/ BODY TRASH : https://www.fnac.com/a21333718/Body-Trash-Edition-Collector-Limitee-Combo-Blu-ray-DVD-Gerard-Kennedy-Blu-ray THE MONSTER SQUAD chez EXTRALUCID FILMS : https://fr.ulule.com/the-monster-squad/ CODE PROMO SHADOWZ, La première plateforme de SVOD horrifique française : JUMPSCARE2025 pour ne payer l'abonnement qu'1 euro par mois pendant 3 mois ! La novélisation RE-ANIMATOR sponsorisé par Jumpscare : https://www.editionsfautedefrappe.fr/page-d-articles/hp-lovecraft-s-re-animator-jeff-rovin Suivez-nous sur Bluesky et Instagram : @jumpscarecastContact : jumpscarecast@gmail.com LA MUSIQUE DE JUMPSCARE : https://cedriccremet.bandcamp.com/album/jumpscare-original-podcast-soundtrackTout l'argent revient au compositeur, n'hésitez pas :) Discord de Jumpscare : https://discord.gg/ew9CfgYCz8 https://jumpscare.lepodcast.fr/

Au programme de ce 103ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:03:57 : Actus du secteur SVOD français et mondial. On parle des annonces de Netflix d'ajouter TF1+ et NASA+ sur leur service dans les mois qui viennent et on donne notre Top 3 des programmes Netflix Originals qu'on emmènerait sur une île déserte. 00:35:19 : Nos recommandations de juin : Nivrae, Frédéric et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Les temps changent mais aussi Kpop Demon Hunters, Bienvenue chez les Khumalos, The Electric State, K.O., Balle perdue 3, Chaos d'antologie - la croisière ne s'amuse plus + Un maire en roue libre + Le festival Astroworld, Les mille Morts de Nora Dalmasso, Titan - le naufrage d'Ocean Gate, Y-a-t-il un dealer dans l'avion, Squid Game S3, Olympo S1, Black Mirror S6 (S7 en cours), Tout pour la lumière (5ep), You (s5 fin), Les tribulations culinaires de Phil S8, Sneaky Links, Love death and robots S4, À bout, The Electric State, Un mariage sans fin, The walking dead Dead city (OCS), The handmaid's tale (OCS), The last of us, Titanic The digital resurrection, Invisible Man, The Diplomat, La méthode Kominsky, Fear Street: Prom Queen, Alien Romulus, The Four Seasons, Dept. Q. 02:06:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de juillet 2025.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Frédéric est le film allemand "Brick" qui sort mi-juillet. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://www.netflixandchiffres.com/p/tous-les-ajouts-netflix-originals-01d 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 :"Dans tes rêves" qui sort en novembre / "Les temps changent" déjà dispo / "Too much" 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.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, 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

On this episode of Inside Content, Peyton Lombardo, Senior Manager at 3Vision, is joined by Amanda Stevens, SVP of Global Digital Partnerships at All3Media International. They explore All3Media's evolving digital strategy across FAST, AVOD, and SVOD platforms. Amanda shares insights into building successful FAST channels, the balance between single IP and mixed genre brands, and the challenges of discoverability in a crowded marketplace. Stay in the content world loop 

SVOD library composition and effectiveness are revealed in new Nielsen and Gracenote data. YouTube's dominance on TV grows, and Google's startling genAI tools.

New UK media legislation is focused on helping local broadcasters battle global SVOD.  However, a small part of the law could be beneficial in the US. Guaranteeing prominence is key.

Antenna's Co-Founder & CEO, Jonathan Carson, shares new data detailing the pivotal role SVOD ad plans play in the market. He also debunks myths about ad plan viewers.

Three years ago, subscriber growth in the US SVOD market appeared to have peaked. Today, it is growing again. Here are four reasons for the resurgence in growth.

Au programme de ce 102ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:04:10 : Actus du secteur SVOD français et mondial. On établit notre classement perso des trucs qui nous gonflent le plus chez Netflix et l'on revient aussi sur le changement de nom annoncé de Max et le retour à HBO Max. 00:53:41 : Nos recommandations de mai : Nivrae, Frédéric et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Nonnas mais aussi Mala influencia, Black Mirror: Bandersnatch, Beaucoup trop fan, Une traque américaine : Oussama Ben Laden, Fred et Rose West : Un cauchemar britannique, L'Envers du sport : La vérité crue sur le Liver King, Du mariage au crime : drame familial en Amérique (A Deadly American Marriage), Secrets We Keep, Cheat : Une dernière chance ?, Battle Camp S1, Black Mirror (S7), Andor (S2), 1923 (S2), Yellowstone (S5), Paradise, Balle perdue 3. 02:04:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de mai 2025.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Damien est le film mexicain "Les temps changent" qui sort début juin. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://netflixandchiffres.substack.com/p/tous-les-ajouts-netflix-originals-01d 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 :"KO" qui sort début juin / "Nonnas" déjà dispo / "Squid Game" saison 3 dispo fin juin. 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://netflixandchiffres.substack.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 le Discord de l'émission !

Au programme de ce 101ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:04:23 : Actus du secteur SVOD français et mondial. On établit notre classement perso des services de streaming qui pourraient venir concurrencer l'hégémonie mondiale de Netflix dans les années qui viennent. 00:54:40 : Nos recommandations d'avril : Nivrae, Frédéric et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Notre monde à refaire mais aussi Havoc, iHostage, Demain est au autre jour, Banger, Ma mère l'arnaqueuse, Mauvaise influence : les dérives du kidfluencing, De rockstar à tueur : Le cas Cantat, Umbrella Academy S4, De parfaites demoiselles, Dr Who, Andor, The Handmaid's Tale, We crashed, "The Glass Dome", "Ghosts", "Nobody wants this", "Back in action", "Indiana Jones 5". 01:59:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix de mai 2025.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par les membres du Discord est le film américain "Nonnas" qui sort le 9 mai. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://netflixandchiffres.substack.com/p/tous-les-ajouts-netflix-originals-01d 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 :"Wednesday" saison 2 qui sort en aout 2025 / "Notre monde à refaire" déjà dispo / "Fear Street Prom Queen" dispo fin mai. 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://netflixandchiffres.substack.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 le Discord de l'émission !

Dix ans après avoir créé le magazine généraliste Society, le groupe français So Press a lancé Society+, une plateforme de vidéo à la demande qui propose des films documentaires à ses abonnés payants. Franck Annese, patron de So Press, est l'invité de L'atelier des médias pour expliquer ses ambitions. « On sait qu'il y a Netflix, on sait qu'il y a Amazon, on sait qu'il y a Disney+, on sait qu'il y a ces plateformes toutes plus qualitatives les unes que les autres, mais on s'est dit qu'il y avait de la place pour nous quand même », lance Franck Annese au micro de L'atelier des médias de RFI.Pendant une vingtaine de minutes, le patron du groupe français So Press a présenté Societyplus.fr, lancé le 6 mars 2025, un site de vidéo à la demande (SVOD) entièrement consacré au genre documentaire. « Depuis le début qu'on fait Society, nos histoires donnent régulièrement des documentaires [...] mais il y a aussi sans doute plein de documentaires qui existent, qui pourraient être le reflet d'histoires qu'on a écrites ou pas. Et on se met à chercher des documentaires existants et qu'on ne voit pas ailleurs, et à regarder ce qui se fait dans le monde du documentaire, et on s'aperçoit qu'il y a énormément de matières documentaires qui existent, qui sont pas ou peu diffusées en France, et qui sont des pépites en fait », Society+ accueille déjà plus de 200 documentaires. Quelques productions de So Press mais principalement des acquisitions. Toutes les fiches accueillent un « avis de la rédac ». Le prix de l'abonnement s'élève à 4,90 euros et Franck Annese a pour objectif 30 000 abonnés en fin d'année 2025, 50 000 en 2027. « On sait qu'il va falloir aller chercher un peu les abonnés avec les dents », dit-il. « Si on n'arrive pas à l'équilibre, on arrêtera. [...] Pour l'instant, vu le démarrage, je suis assez optimiste », assure celui qui, il y a dix ans, avait déjà fait le pari de lancer un magazine papier, Society.

Antenna's CEO shares insights on the firm's latest SVOD research, including churn stabilization, re-subscribers, growth in ad-supported plans, the role of live, and more.

The role of social media in TV discovery, SVOD pricing optimization, and churn reduction are three key takeaways from Deloitte's new digital media report. You can download this week's sponsor's report, "The Sports Streaming Craze: Sustainable Growth or Overhyped Trend?" here. 

People have reached their limit on paying SVOD price increases despite spending less overall on entertainment than in 2014. Why don't people feel the savings? Listen on to find out why.  

Au programme de ce 100ème épisode de Netflixers, le podcast francophone dédié à Netflix et à la SVOD en général : 00:05:00 : Actus du secteur SVOD français et mondial. On parle d'un certain retour aux sources de Netflix qui ajoute désormais bien plus de titres tiers qu'il y a quelques années, comme à son lancement il y a dix ans. La fin de la guerre du streaming y est sans doute pour quelque chose. Puis on embraye sur le quiz des 100 numéros du podcast ! 00:56:16 : Nos recommandations de mars : Nivrae, Damien, Frédéric et des membres du Discord vous donnent leurs recommandations sur Netflix et ailleurs. Au programme : Le Ciné-Club Netflixers : Exquis (Delicious) mais aussi Ses trois filles, Chaos les meutres de la famille Manson, Adolescence, toxic town, Inside S2, Sauve qui pecho S4, Love is blind S8 finale, With love meghan, F*cking Fred, Secret City, Zero Day, Treason, The Holdovers... 01:55:00 : Ce qui arrive sur Netflix le mois prochain : Un petit aperçu des ajouts Netflix d'avril 2025.Pour vous les Netflixos : Le film du Ciné-Club Netflixers choisi par Nivrae est le film mexicain "Notre monde à refaire" qui sort le 9 avril. Vous pouvez retrouver la liste complète mise à jour dans cet article : https://netflixandchiffres.substack.com/p/tous-les-ajouts-netflix-originals-01d 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 :"You" saison 5 qui sort en avril 2025 / "Exquis" déjà dispo / "Black Mirror" saison 7 dispo mi-avril. Intervenants : Hélène (https://bsky.app/profile/nivrae.fr) que vous pouvez retrouver sur WeAreGirlz : https://www.we-are-girlz.com/ Damien (https://www.twitter.com/Damien_SRSLY) 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://netflixandchiffres.substack.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 le Discord de l'émission !

How many people subscribe to generative AI services and use Amazon to consolidate their SVOD services? Bando's Giles Tongue has new data that reveals the answers and more. Bando's free report, which is discussed in this podcast, is available here. 

Today on the show we have filmmaker and Filmtrepreneur J. Horton. Jason has been in the film industry for as long as I have and has been making movies ever since. What sets him apart from other filmmakers is that he actually makes a living making his films.Jason figured out the formula that would allow him to make a living doing what he loves to do. He produces low-budget feature films and uploads them to Amazon Prime.He collects TVOD and SVOD revenue. His key is volume. This year alone he produced 14 feature films.We discuss how he chooses his niche audience, how he shifted from only narrative films to directing niche-focused documentaries, and how he's able to produce so much content.Enjoy my conversation with J. Horton.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Film distribution is changing faster than ever! In this episode, we break down the evolution from traditional theatrical and DVD sales to the rise of VOD (Video on Demand)—including TVOD, SVOD, and AVOD. Discover how platforms like Netflix, Tubi, and YouTube are shaping the industry, why AVOD is booming, and what indie filmmakers must do to stay ahead. Don't get left behind—learn how to maximize your film's revenue in the modern digital landscape!

On this week's episode of Here Comes Pod I was joined by Jon Farrar, SVP Group Editorial and Content at SVOD service Britbox. Jon's career trajectory has taken him from the mail room at ITV franchise Carlton Television to UKTV, MTV Networks, Universal Networks, BBC Studios and Sky Showtime before returning to the BBC fold at Britbox. Jon talks about the importance of putting the viewer first in every role he has had, why British programming continues to enjoy global success, and the exciting line-up of programming at Britbox as it seeks to conquer the US and other key markets. Enjoy this week's episode from our Englishman in New York and beyond!You can find Here Comes Pod on Apple Podcasts, Spotify, Amazon or most other podcast outlets. If you enjoyed this episode of Here Comes Pod please do leave a review on Apple Podcasts, Spotify or wherever you listen to your podcasts

This week, Paul and Mesh recap some of the winners of the 2025 Sundance Film Festival and ponder whether it can remain in Park City, UT. Next, they break down the ranking of the various SVOD and FAST platforms based on Nielsen viewership data. Finally, they discuss the efforts of Skydance and Paramount to clear regulatory hurdles around the long-awaited purchase. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this company focused interview, we talk with The Science of Hitting's Alex Morris on the Dollar Tree, Netflix, Disney, Match Group, Airbnb, and Spotify, in addition to touching on thoughts around when to exit a postion and how to stay open to new information. The Science of Hitting Research (or TSOH for short) is an investment research service that provides subscribers in-depth analysis on public equities. Learn more about it here.  You can purchase Alex's new book, Buffett and Munger Unscripted, which curates decades of Berkshire Hathaway Annual Meeting wisdom here. *~*~*~*~*  Get access to all of Speedwell Research's in-depth Research Reports here. If you need help getting Speedwell added as an approved research vendor for your investment firm, please reach out to info@speedwellresearch.com  -*-*-*-*-*-*-*-*-*-*- Show Notes (0:44) — The Science of Hitting Research ( 5:01) — Confidence in a Circle of Competence vs Consumer Fickleness (8:21) — Dollar Tree: Does macro impacts mean the consumer value prop is weak? (32:17) — SVOD, 21st Century Fox, and a Netflix Case Study (40:57) — Why couldn't Disney beat Netflix? (47:16) — When stock valuations drive business operations (53:43) — How to think about valuation and when to sell (1:06:44) — Match Group and the Dating Industry (1:20:11) — Airbnb thoughts and Brian Chesky's Moonshot (1:32:46) — Mistakes, Spotify (1:39:40) — Good News, Page 379 is Free, and I Don't Know (1:41:43) — Conclusion -*-*-*-*-*-*-*-*-*-*- Become a Speedwell Member here to gain access to *all* of our in-depth research reports and more!   Sign up for Speedwell's free newsletter and weekly memos here *~*~*~*~*  Follow Us: Twitter: @Speedwell_LLC Threads: @speedwell_research Email us at info@speedwellresearch.com for any questions, comments, or feedback. -*-*-*-*-*-*-*-*-*-*- Disclaimer Nothing in this podcast is investment advice nor should be construed as such. Contributors to the podcast may own securities discussed. Furthermore, accounts contributors advise on may also have positions in companies discussed. Please see our full disclaimers here:  https://speedwellresearch.com/disclaimer/

On this week's show we discuss the Tivo Video Trends Report and we read your emails and and take a look at the week's news. News: Streamers bet on food partners to help reduce churn Samsung Reveals Its Reach: Free Streaming TV Service Is As Big as the Major Players A Growing Number of Cord Cutters Don't Plan to Buy a New Streaming Device in 2024, Spelling Trouble for the Tech Giants Other: 10 of the world's most expensive turntables | What Hi-Fi? TiVo Video Trends Report As we look at the content ecosystem in Q2 2024, consumers are noticeably scaling back their spend on content and as a result, the number of sources they utilize for video. In this iteration of the Video Trends Report, we continue to see respondents supplement their video bundle and save money by turning to ad-supported services. In fact, the ratio of SVOD consumers utilizing lower-cost, ad-supported tiers has increased across the board, while the share of consumers utilizing ad-free SVOD services has dropped almost 18% year-over-year. Some key findings: 84.5% of respondents are prone to browsing before landing on a show or movie. 77.8% of all respondents noted that they are at least tolerant of ads. 63% of respondents noted reducing their entertainment spending. 61.7% of respondents noted using at least one AVOD/FAST service in Q2. 22% of Pay TV subscribers cut the cord then later resubscribed to traditional TV service. Average number of video sources reverting back to 2022 levels Q2 22/Q2 23/Q2 24 Average Total Services 9.9 10.9 9.1 Avg Paid Services 6.7 6.9 5.7 Avg Non-paid Services 3.2 4.0 3.4 Household income does have an impact on the number of sources used, but it does not appear to be as substantial of a driver as demographics like age or geography. At the low end of less than $20K you have about 10 sources for 2023 and 2024. Households with incomes of $200K or more saw an increase from 10 sources in 2023 to about 14 in 2024.  Percentage of Respondents Who Watch on Each Device Q2 22/Q2 23/Q2 24 TV 81.0% 78.9% 81.3% Smartphone 50.6% 60.2% 51.8% Tablet 29.2% 30.9% 25.3% Computer 36.6% 37.3% 33.7% When it comes to discovery methods, the percentage of those who find out about new TV shows or movies from commercials has declined 3% year-over-year. In comparison, word of mouth and recommendations from friends continue to remain the most commonly used method of discovery. Top Methods of Discovery  % of all respondents/YoY Change Word of mouth / friends 50.1% +4.8% Commercials or ads that run during other shows 40.6% -2.9% Social media 39.7% +2.3% Streaming apps / home screen / carousel ads 39.3% +5.9% Suggestions in my pay-TV channel guide or menus 27.9% +1.0% Print, outdoor and/or online banner advertisements 14.3% +6.9% News articles or stories outside social media 9.7% -6.7% Emails or newsletters from streaming services 9.6% -0.1% Radio 7.8% +0.7% Daily viewership is largely consistent; Importance of local news drops 5% YoY. Fifty Four percent think local content is somewhat or very important compared to 59% in Q2 2023. Twenty One percent of all time spent watching video is spent watching local content, compared to 22.6% in Q2 2023. 27% of car owners report watching video in the car. This is down 13% from last year. Top Reasons for Watching Video In-Car To pass the time while waiting in the car 49.6% To keep children entertained 45.1% To pass the time on long road trips 34.7% To pass the time while commuting 31.6% To pass the time while filling up at the gas station 26.8% To watch something immediately/couldn't wait to watch it later 20.0% To pass the time while charging an electric vehicle 18.4% SVOD churn declines as more respondents turn to ad-supported tiers. Eighty Four Percent utilize SVOD services. This is a slight decline from 88.0% this time last year. SVOD Viewing Habits TV 67.9% Smartphone 12.5% Computer 11.5% Tablet 8.% Transactional video on demand (TVOD) usage takes a hit in Q2 2024; Amazon remains firmly at the top. Forty Four percent use a TVOD service. This is down about 6% from 50.8% in Q2 2023, seemingly driven primarily by a decrease among pay-TV subscribers. Number of TVOD purchases per year Q2 2022 9.1%,  Q2 2023 11.3%, Q2 2024 7.3% Forty Six percent have not gone to the movie theater in over a year.  In fact, only 32.2% report that they'll most likely see a new movie in the theater (down roughly 2% year-over-year), compared to 55.5% who would most likely wait to stream it. Reasons respondents prefer to stream new releases at home It costs us more than $30 to actually go to the movies 46.7% It's too much of a hassle to go to the movie theater 33.2% You can't pause the movie at the theater 30.7% I have a great TV/sound system at home 29.6% I have better snacks at home 26.1% The movie theaters near me aren't very good 15.6% Movie theater seats are uncomfortable 15.1% Other theatergoers are loud, rude, etc. 14.9% You don't have to sit through ads and previews at home 14.8% I don't want to get sick 10.9% Sixty Seven percent of all free AVOD/FAST viewers noted watching some form of free live streaming TV or FAST channels, which in Q2 2024 accounts for roughly 51% the viewing time of all free AVOD/ FAST services. This has remained relatively flat year-over-year. Top Free AVOD/FAST Services (Most popular to least popular) Tubi Pluto TV Roku Channel Freevee Samsung TV Plus Crackle Vudu Global TV Plex CBC Gem Ad Tolerance by Service Type  Averse to ads (avoid watching ads during video) Tolerant of ads (don't mind watching ads sometimes) In favor of ads (I prefer to watch ads during video instead of paying) Averse/Tolerant/In Favor Pay TV 23.7% 63% 13.3% SVOD (Ad-Supported) 17.0% 69.5% 13.6% SVOD (Ad-free) 24.3% 64.2% 11.5% Free AVOD/FAST 20.7% 65.1% 14.2% VMVPD 26.8% 60.9% 12.3% Social Video/UGC 22.1% 65.3% 12.6% Free AVOD/FAST users report the excessive and repetitive nature of ads as top reasons for their ad-aversion.