Tag Archives: streaming

Netflix hires EA veteran in its boldest play for the video gaming space to date

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In possibly its boldest play for the space to date, Netflix has tapped the games industry heavyweight and EA veteran, Mike Verdu as its vice president of game development.

Verdu has made the move to the streaming giant from Facebook where he held the role of VP of VR and AR content and a remit of bringing games to Oculus devices. Prior to this, he held various positions at EA, both in mobile and console gaming.

A veteran of the gaming industry, Verdu has also spent time at the mobile games specialist Zynga as chief creative officer.

The hiring of Verdu arrives amid a renewed and re-energerised suite of activity from Netflix in the video gaming space, who, according to a report from Bloomberg this week, could be delivering games as part of its streaming service ‘within the next year.’

Unnamed sources told Bloomberg that a games offering could be integrated as part of a Netflix streaming package, with no additional costs. The idea is that games will appear alongside current content as a new programming genre, similar to its documentaries of stand-up specials.

Gaming presents an additional avenue via which Netflix can continue to grow and follows recent developments such as a bolstered kids’ offering and its launch of an online shop to sell merchandise inspired by its original content. Netflix even managed to turn the head of Steven Spielberg recently in order to bring more prestigious films to its line-up.

In Verdu, the streaming giant will be able to tap into an experienced games pro who has worked on popular mobile games at Electronic Arts, including the Sims, Plants vs. Zombies, and Star Wars. 

An in-road to games development – of which, Netflix Originals can presumably be on the cards – will offer the platform yet another differentiator from its closest competitors on Disney’s Disney+ and HBO Max.

The Netflix insider has stated that the platform will be building out its gaming team in the coming months, adding that the company has yet to settle on a game development strategy. 

It’s thought that Netflix could start with just a few games on the roster and build its library from there. Netflix has previously licensed the rights to games based on its hit shows, including Stranger Things. The new move, however, will likely put Netflix fully in control of all gaming developments for its IP library.

Amazon reaches agreement to acquire MGM Studios in $8.45bn deal

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Amazon has reached a deal to acquire MGM Studios for $8.45 billion, the second largest acquisition ever for the online goliath and one that sees Amazon take up MGM’s vast catalogue of some 4,000 films and blockbuster franchises, including James Bond.

The deal represents a major milestone in the tech giant’s push into the entertainment space, significantly strengthening the company’s portfolio of films and content, adding to the library that Amazon has already built through its own movie studio.

It is the latest acquisition to take place amid the ongoing battle for eyeballs among streaming giants like Netflix,  Disney, and the resultant streaming platform to launch following WarnerMedia’s acquisition of Discovery’s earlier this month. Other tech giants such as Apple and Netflix had reportedly eyes an MGM takeover, but passed on the chance.

The $8.45 billion deal marks the second largest acquisition made by Amazon to date, behind its $13.7 billion Whole Foods deal. It now gives Amazon access to MGM’s vast catalog of classic Hollywood films like Gone With the Wind, The Wizard of Oz, Singin’ in the Rain, Rocky, Silence of the Lambs, and Pink Panther.

MGM also shares the film rights of the James Bond franchise with Eon Productions – a holding company owned by the Wilson/Broccoli family – which will retain creative control over the spy film series.

The announcement notes that the deal will be completed after “regulatory approvals.”

“MGM has a vast catalog with more than 4,000 films. . . that have collectively won more than 180 Academy Awards and 100 Emmys,” said Mike Hopkins, Amazon’s senior vice president of Prime Video and Amazon Studios. “The real financial value behind this deal is the treasure trove of IP in the deep catalog that we plan to reimagine and develop together with MGM’s talented team. It’s very exciting and provides so many opportunities for high-quality storytelling.”

“It has been an honor to have been a part of the incredible transformation of Metro Goldwyn Mayer. To get here took immensely talented people with a true belief in one vision. On behalf of the Board, I would like to thank the MGM team who have helped us arrive at this historic day,” said Kevin Ulrich, chairman of the board of directors of MGM.

“I am very proud that MGM’s Lion, which has long evoked the Golden Age of Hollywood, will continue its storied history, and the idea born from the creation of United Artists lives on in a way the founders originally intended, driven by the talent and their vision. The opportunity to align MGM’s storied history with Amazon is an inspiring combination.”

Amazon’s decision to acquire MGM comes hot on the heels of another major Hollywood tie-up in which AT&T agreed to spin off its media division WarnerMedia and merge it with Discovery in a $43 billion deal. That deal aims to create a global streaming giant to rival the likes of Amazon, Disney and Netflix.

New high score | Roblox is outpacing broadcast TV for audience reach – Kids Insights latest

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Video gaming is setting a new high score for audience reach in the battle for eyeballs among streaming platforms, YouTube, and traditional broadcast TV, suggests the latest data from Kids Insights Media Mix Compass, and now is the time for toy brands to start paying closer attention.

Here, Nick Richardson, Founder and CEO, The Insights People, and Licensing.biz’s Robert Hutchins explore the latest trends and data to be shaping the shifting media landscape.

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The videogame Roblox has outscored all broadcast TV channels in both the UK and US as the most powerful platform through which to reach young audiences, according to the latest insight from The Kids Insights Media Mix Compass

And the implications if this can’t be underestimated. In fact, compounding the popularity of the video games market, which has continued to grow significantly over the last few years, the potential for it to change the way in which businesses execute the marketing strategies for brands and retailers, is enormous.

Advertising budgets should no longer be solely – or even predominantly – focused on television. The world has changed, and video games are all too often the undervalued platforms to core audiences by marketers.

According to our latest data – sourced through a recently launched Media Mix Compass – teens now spend an average of 1 hour 25 minutes per day playing video games. That’s more time than they spend watching TV.

Generally, kids spend 62 per cent of their available time on digital activities. In the US, for example, for kids aged six to nine, Roblox has a Media Mix Score (MMS) of 128 which is higher than Nickelodeon (91), Disney Channel (80) and Cartoon Network (76). The Kids Insights Media Mix Score considers the reach, time spent and preference of 11 different media types and approximately 1,500 different channels in each region.

This past year has found parents discovering new ways to get their kids to play. With that, one of America’s top toy properties LOL Surprise is joining forces with top digital gaming platform ROBLOX – creating a relationship with the 1st Doll World of Roblox on a Global level. Through these two leaders in toy/play coming together, billions of fans can now discover a more immersive and shared gaming experience.

Toy brands are beginning to become savvy to the step change in the importance of such gaming and entertainment platforms. Just this week, international toy manufacturer, MGA Entertainment detailed plans to launch its LOL Surprise brand onto the Roblox platform.

The launch will kick-off with a ‘testing phase’ through which fans can play with and against their favourite gaming influencers as they explore the LOL/Roblox world.

Elsewhere, last week Hasbro detailed the five year extension of its current partnership with Epic Games’ Fortnite to expand on its licensing programme that includes the addition of its GI Joe character Snake Eyes into the Fortnite video game.

Meanwhile, it is equally important to note the growing importance of other new media options, including esports, which now ranks as the third most powerful media type for boys aged 10 to 12 in the UK, behind only YouTube and video games.

Esports is therefore one of the biggest opportunities for advertisers in 2021. Already one-in-ten teens in the US, UK, Germany, Brazil, Mexico and Canada use Twitch, the premiere platform in the industry for live video content. While physical sporting events were halted amidst the pandemic, the League of Legends European Championship – streamed live on Twitch – boasted the league’s highest ever viewing figures, raking in an average of 819,400 viewers for the final in April 2020.

Meanwhile, even more traditional areas, such as online chess, has witnessed huge viewer numbers over Twitch, hitting as many as 140,000 viewers at a time and helping to fuel a global resurgence in the traditional game, confirmed by the International Chess Federation, that has seen manufacturers hit new record highs for sales of chess boards.

However, marketing to kids is not a one-size-fits-all activity. In the UK, teenage girls are still tuning into Broadcast TV with ITV recording a score of 124 and Channel 4 hitting 99, making Broadcast TV the second most powerful media type with this demographic.

But streaming services and video games took a huge piece from the tasty audience pie. Each year with a growing variety of different online entertainment, the trend for kids to opt for digital platforms over the traditional ones will likely continue.

We also should keep in mind the growing influence and decision-making power of kids within the home being greater than with any other previous generation. Children have their own opinion over many other new categories, such as the purchase of a new car (which 54 per cent more kids say they influence in 2020 compared to 2019).

Although reaching this audience is more important than ever, it is increasingly difficult to do so. Growing up as digital natives, this generation have a far greater choice of what they consume and when they consume it than ever before. Therefore, kids’ attention is fragmented across a huge range of (increasingly niche) platforms, making it harder to reach a mass audience.

Brands spend just 37 per cent of their budget on non-digital spending, yet kids spend a huge 62 per cent of their time on digital, resulting in a mismatch that will cost advertisers $1.15bn in 2021.

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For more information on the Kids Insights Media Mix Compass, and to receive complimentary access to the tool and a copy of an example report please visit www.kidsinsights.com/mediamix

To learn more about the attitudes, behavior and consumption patterns of kids, parents and families, and to get freemium access to the Insights People real-time data portal, please visit: http://www.kidsinsights.com/toynews

Opinion | Toon-age day stream: How Disney+ is about to change toy licensing for good

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It almost seemed by design that Disney’s subscription based streaming platform, Disney+ launched just as the Coronavirus pandemic began to tighten its grip on the UK and force the world’s population inside and away from the entertainment venues of yesteryear. And in just a short space of time, its impact on the wider world around has begun to be recognised.

Kids Brands Insights’ Steve Reece takes a closer look at the Disney+ platform and the moves already being made that will overhaul the nature of toy licensing, indefinitely.

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Netflix has vastly changed the world of what was once simply called ‘television’. The content proliferation process which has been ongoing for the last decade or more is accelerating, as lockdowns around the world have vastly increased viewing. In response Netflix is producing more and more entertainment content. But aside from the occasional freak occurrence like The Queens Gambit which saw Chess set sales soar, we haven’t seen that great an impact on toy merchandising.

Disney+ of course changes all of that, because whereas Netflix is full of content for adults with adult themes and is not focused purely on a family entertainment audience, Disney+ is all about family entertainment.

“Even coming out of lockdown, viewing is likely to remain high versus historical levels because human behaviour is habitual.”

Those who questioned whether this type of video on demand could drive merchandise sales soon got their question answered by the success of The Mandalorian. Logically though, if tens of millions of people subscribe to a service, then each piece of content must be averaging millions of views. When you compare that with cable/satellite TV which back in the old days were just about enough to drive some degree of licensed product sales, then it becomes clear that Disney+ heralds a bright new era for licensed toys.

The other effect that has been underestimated is the degree of immersion/obsession which an entertainment franchise creates. There are brands which lots of people like, and there are brands which some people become deeply obsessed with. The depth of content on offer via VOD platforms, the drip feed of the next instalment/series and the binge-watching habits of locked down people lead to a deeper immersion and bond with content brands, which in turn should drive toy sales.

Even coming out of lockdown, viewing is likely to remain high versus historical levels because human behaviour is habitual and the habits of binge-watching huge amounts of content has become deeply ingrained.

The other effect of VOD platforms is to smooth out the long tail after the content first releases. For sure, major headline content releases will drive big initial viewing, but many people don’t buy in, either because they are still too busy watching other series or because they don’t believe the hype yet. This long tail offers a longer-term payback than the traditional blockbuster movie with two sales spikes around cinematic release, and secondary release to DVD or previously to less content abundant VOD platforms.

The other key factor here is scale. At the time of writing, Disney+ reportedly has more than 95m subscribers around the world. Disney forecast more than 200m within the next year or two, but the potential could be much higher, so the effect of this platform is only going to increase.

Every so often something comes along with marks a fundamental shift in the toy business, Disney+ heralds a new age of toy licensing, it’s that big a thing.

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Steve Reece is the founder of the toy expert consultancy, Kids Brand Insight, leaders in supplying services to the toys and kids entertainment industries.

Pinkfong and Baby Shark’s Space Adventure tops Netflix’s Top Ten Charts across 17 countries

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Pinkfong and Baby Shark’s Space Adventure has become the fifth most-watched movie in Netflix’s Today’s Top Ten in the US, only five days after its launch on to the streaming service.

The film also ranked in the Today’s Top Ten Movies across Netflix in 17 countries, including in the UK, Ireland, Canada, and Australia, over five consecutive days, according to the streaming analytics company, FlixPatrol.

Pinkfong and Baby Shark’s Space Adventure follows the characters, Pinkfong and Baby Shark, as they explore outer space and search for missing star pieces to return home. The feature includes children’s favourite songs.

Baby Shark has successfully expanded its underwater world to cinema with the Space Adventure movie and TV screen with the brand-new TV series Baby Shark’s Big Show!, co-produced with Nickelodeon Animation Studio. Baby Shark’s Big Fishmas Special, the holiday episode of Baby Shark’s Big Show!, premiered on Nickelodeon on Dec. 11, 2020, and ranked as the top telecast of the week with K2-5 (excluding sports), citing data by Nielsen Media Research.

Following the US launch in spring 2021, the new TV series will roll out on Nickelodeon and Nick Jr. channels internationally.

Pinkfong and Baby Shark’s Space Adventure is now available for streaming on Netflix and Amazon Prime Video.

Hit action anime series Baki taps Reemsborko for Europe and Australasia licensing

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The popular action anime, Baki is on the path to grow its licensing activity across Europa and Australasia, having appointed the pop culture licensing specialist, Reemsborko to represent the property across all categories.

Baki has been the subject of multiple manga, anime, and video games over the last 30 years and the show is currently confirmed as a top ten Netflix show across 50 countries. The series currently consists of 39 episodes across two seasons, with a third season scheduled to land this year.

Max Arguile of Reemsborko, said: “In the absence of theatrical releases, everyone now gets their entertainment at home, and the only genres showing real growth for merchandise are gaming and animé. Baki has both heritage and current popularity and is on a great platform with more content on the way.

“It has just started venturing into merchandising outside Japan so this is a great opportunity for licensees.”

Cinzia Mariani, Vice President at TMS Paris, added: “Baki brings you all the sweat, tears and blood you could hope for. We’re very excited to team up with Reemsborko to expand in the field of merchandising both in Europe and down under.”

Image: ©Keisuke Itagaki(AKITASHOTEN)/Baki II Film Partners All Rights Reserved.

Disney invests heavily into streaming as it details new Star Wars, Marvel, and Pixar content slate

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UK Disney fans could be forgiven for thinking it was Christmas morning as they woke up to the news that the entertainment studio had detailed a raft of some 35 new television series, including ten from Marvel, ten based in the Star Wars universe, new Pixar animations, as well as 15 new movies to be released on Disney Plus in the next few years.

It was possibly the spoonful of sugar needed to help the digestion of the concurrent update that over in the US, the Disney streaming service was to up its prices, while forecasting that the platform will attract between 230m and 260m subscribers by 2024. The surge will, no doubt, be fuelled by the latest scheduling of releases.

Amid the announcement, Lucasfilm confirmed that multiple new Star Wars shows are coming to Disney Plus, including two spin-offs of its The Mandalorian series with Star Wars: Rangers of the New Republic and Star Wars: Ahsoka, with Rosario Dawson – who having just appeared in The Mandalorian in the role of Ahsoka Tano – taking on the lead role.

The biggest news to emerge from the Star Wars universe, however, is that Darth Vader is returning. Hayden Christensen will be reprising his role, alongside Ewan McGregor for the long-awaited Obi-Wan Kenobi standalone series. Production on the series is set to start in March 2021, and will be set after the events of Revenge of The Sith, meaning that Christensen will be playing the role of Darth Vader, rather than that of Anakin Skywalker.

Disney also confirmed a standalone show based on Lando Calrissian, as well as Star wars Visions, a series of short films from Japanese anime creators. Meanwhile, The Acolyte will be a ‘mystery-thriller that will take viewers into a galaxy of shadowy secrets and emerging dark-side powers in the final days of the High Republic era’, while A Droid Story ‘will introduce us to a new hero guided by R2D2 and C3PO’

On top of that, two new Star Wars films will be on the way, with Taika Waititi and Patti Jenkins attached to each.

Yet, despite the barrage of announcements to come from the studio, not forgetting the further 10 series from the Marvel franchise, the slate of Pixar films, and 15 movies to be released on Disney Plus, the firm still warns that the unit would lose money until 2024, underscoring, some have commented on the punishing economics of online entertainment.

The Financial Times reports that Disney plans to double its annual content investment to about $15bn by 2024, at which point its streaming business will turn a profit, the company predicted.

A new anime Godzilla series is landing on Netflix in 2021

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Godzilla is stomping its way back onto Netflix next year with the launch of a new original anime series titles Godzilla Singular Point. The series is currently in development by the studio bones, the name behind My Hero Academia, and Orange, the popular Japanese animation studio.

Developed under a licensing agreement with Toho, known worldwide for its Godzilla films and manager of the licensing rights to the Godzilla brand, the new anime series will premiere in 2021 with a new cast and original story. It lands following the success of Godzilla anime films, Godzilla: Planet of the Monsters, Godzilla: City on the Edge of Battle and Godzilla: The Planet Eater and taps into the growing global appeal of the anime entertainment scene.

Anime studio bones, in partnership with studio Orange, (Beastars, Land of the Lustrous) will produce the series combining hand-drawn and CG animation styles.

In addition to director Atsushi Takahashi, the creative team includes Kan Sawada, composer for countless Doraemon films and series such as Yowamushi Pedal, Japanese science-fiction novelistToh Enjoe making his TV debut as editor and writer for the series, Kazue Kato creator of Blue Exorcist and the hit comic currently serialized in Jump Square will serve as the character designer, and animator Eiji Yamamori from Studio Ghibli films including Princess Mononoke, Spirited Away and The Wind Rises will do the Kaiju design.

A new anime Godzilla series is landing on Netflix in 2021

Posted on by

Godzilla is stomping its way back onto Netflix next year with the launch of a new original anime series titles Godzilla Singular Point. The series is currently in development by the studio bones, the name behind My Hero Academia, and Orange, the popular Japanese animation studio.

Developed under a licensing agreement with Toho, known worldwide for its Godzilla films and manager of the licensing rights to the Godzilla brand, the new anime series will premiere in 2021 with a new cast and original story. It lands following the success of Godzilla anime films, Godzilla: Planet of the Monsters, Godzilla: City on the Edge of Battle and Godzilla: The Planet Eater and taps into the growing global appeal of the anime entertainment scene.

Anime studio bones, in partnership with studio Orange, (Beastars, Land of the Lustrous) will produce the series combining hand-drawn and CG animation styles.

In addition to director Atsushi Takahashi, the creative team includes Kan Sawada, composer for countless Doraemon films and series such as Yowamushi Pedal, Japanese science-fiction novelistToh Enjoe making his TV debut as editor and writer for the series, Kazue Kato creator of Blue Exorcist and the hit comic currently serialized in Jump Square will serve as the character designer, and animator Eiji Yamamori from Studio Ghibli films including Princess Mononoke, Spirited Away and The Wind Rises will do the Kaiju design.

Acamar Films launches its Bing: Watch, Play, Learn app to Italy and Poland

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Acamar Films has now successfully launched its all-in-one freemium app, Bing: Watch, Play, Learn to the Italian and Polish markets. It follows the initial launch of the app to the UK last year and highlights the growing might of the IP across the European region.

The app offers child-friendly on-demand viewing of Bing episodes alongside a suite of learning games and activities all designed to help Bingsters develop their creativity, imagination and motor skills. Bing: Watch, Play, Learn has – to date – been downloaded over 400,000 times in the UK.

At its launch in September 2019, the UK app exclusively premiered the latest Bing series, ahead of its BBC broadcast – helping to drive over 100,000 downloads in the first eight weeks alone. Every single episode of Bing (104 in total) is now available to paid subscribers of the app – with a handful of episodes and games offered to free users.

In Italy, Bing: Guarda, Gioca, Impara launched on June 24, while Bing: Oglądaj, baw się i ucz’s official reveal is today. Ad-free, safe and secure for little ones, these localised apps each feature a free version including the top episodes chosen by fans in their country via Bing Facebook, plus complimentary learning games.

Over 80 videos including full episodes and 20 games are available for an annual fee (€4.99 pa / PL21.99 pa), with more content set to be added post-launch. Both free-to-download apps are available from Apple and Google Play app stores, plus the Amazon app store for Italy.

Claire Brossard, Acamar’s director of digital product, said: “We have been thrilled with the exceptional response to Bing: Watch, Play, Learn since it launched in the UK, and are delighted to kick-start our international roll-out with launches in Italy and Poland.

“These territories are incredibly successful for us, with strong broadcast ratings, high levels of affinity for Bing, rapidly growing social and digital communities, and hugely popular YouTube channels. Now, with the app – which sits at the centre of our multi-platform approach to building audiences – Bingsters and their families can take Bing with them wherever they go.”