https://adage.com/article/digital/youtube-outlaws-insults-based-race-gender-expression-and-sexual-orientation-caveats/2221831

In recent news, Youtube has established new regulations on anti-discriminatory policies, removing videos that imply insulting speech towards sexual orientation and race, the company said on Wednesday.

The Google unit has made efforts to clean its site since executives in the past have been accused of making homophobic remarks in their own videos. Matt Halprin, YouTube’s head of trust and safety, commented on the new changes stating that, “We will no longer allow content that maliciously insults someone based on protected attributes such as their race, gender expression, or sexual orientation,” “This applies to everyone, from private individuals, to YouTube creators, to public officials.” Youtube has since responded by removing ads from videos exhibiting derogatory remarks.

However, there are exceptions to the actions YouTube will abide by going forward. The company stated that videos that include harassment language in specific contexts, such as a documentary or a scripted satire, will not be exempted from the new policies. Additionally, clips featuring or discussing powerful people such as “high-profile government officials or CEOs of major multinational corporations” will not be removed.

The new policies and regulations that YouTube will follow reaffirms the company’s workplace culture and strict enforcement towards such delicate cases. I think the decision furthermore enforces how other media companies should similarly follow YouTube’s new direction. Given the lawsuit they faced only a few months ago, YouTube certainly seems motivated in clearing its name and avoiding any further indictments at all cost.

Warner Bros Sets Release Dates For ‘The Matrix’ Sequel, ‘The Flash’ & More; ‘Akira’ Off Schedule

Recently, Warner Bros. has set a variety of new releases to come out within the next couple of years. Highlighting the announcement is led by popular DC Universe films such as The Flash (2022) and Aquaman , but the article most notably highlights a good ole fashion box office weekend duel between a pair of surefire Keanu Reeves blockbusters.

On May 21st, 2021, Warner Bros. will be releasing both The Matrix 4 and John Wick with pure Keanu vision. The decision is interesting considering the height of each film’s release. The last Matrix film to hit theaters dates back all the way to 2003 and that comes along with bad baggage and a poor reception from both audiences and critics. Over the years, not many moviegoers have been saying, “when’s the next Matrix film going to come out?” While some die hard fans may be excited, it isn’t necessarily the most popular IP to attract viewers to the theater today given the hype around the MCU and Disney as of late.

However, Keanu Reeves has surprisingly grown an odd fascination to him from fans as the John Wick films have seemed to gradually amused audiences. The third installment nearly made more in one weekend than the second film did in its entire run in theaters and also more than 50% in the world wide box office.

There is one thing that is for sure, Warner Bros. won’t have to worry about filling in people in the theaters on May 21st. However, the financial success of the film’s individually is certainly in jeopardy. The way I see it, John Wick will win the weekend as Matrix 4 will not make as much as they’d hope. The best thing for Warner Bros. to do is simply push back Matrix 4 to a late summer release. This makes audiences excited for another Keanu film later in the season, having another weekend for himself and riding high on the hype of John Wick 4. 

Sony Acquires AT&T’s 42% Game Show Network Stake In Deal Worth $500M

In recent news, Sony has acquired AT&T’s 42% stake in the Game Show Network. AT&T is reported to make $380 million from the stake sale as well as selling dividends of about $130 million, coming to a grand total of a $500 million evaluation. The entertainment company is said to completely own 100% of the company and will continue to be carried on AT&T’s DirecTV.

AT&T is still recovering from its $81 billion acquisition of Time Warner and by selling the GSN, this gives the company a chance to pay down debt and generate cash from non-strategic assets.

Sony’s Entertainment chairman stated how the the acquisition will allow the brand to advance the ever-growing gameshow business, aligning towards their strategy of developing targeted direct-to-consumer offerings. GSN’s programming portfolio includes notable shows such as Jeopardy! and Wheel of Fortune, but also airs syndicated titles such as America Says, The Chase, Common Knowledge and Catch 21, and Family Feud.

One important facet to the deal on both sides is how AT&T will continue to air GSN shows on DirectTV and that Sony has full creative control. Sony has certainly had a good year in terms of striking these massive deals. They held firm in not giving in to Disney’s oppressive negations and now they own a major stake in a very popular television network. Already in the video game, film, and now gameshow industry, it’s interesting to see the vast array of content Sony now has at their disposable. The variety infers just how Sony may be looking down the line when potentially growing the company.

Disney Stock Rises As Investors Overlook Tech Glitches Hitting Disney+ Debut – Update

Disney Plus has finally arrived, but it’s not entirely flawless. The expected high demand of the service was forecasted by analysts and Disney executives, but they did not expect this much of an incredible response. After its luanch date, more than 8,000 Disney Plus subscribers experienced technical issues , according to DownDetector.com.

Many users complained that they were having trouble logging in with their passwords or were frustrated that the Disney Plus app was not easily accessible on the App store. Other subscribers reported that their attempts to watch Disney Plus content were met with error messages.

The company highlighted the fact that the unexpected amount of high volume could be causing some of these errors, but Disney is no stranger to losing its digital footing. Although the company reported that it had successful trial runs over the last several months, internet issues have haunted Disney in the past, as redesigned and struggled to create a viable main website over the course of three times in five years from 2007-2012. These problems are dated, but still preface the issue that a company of Disney’s size and scale should be able to project these type of occurrences.

Although the first day has had some incurring obstacles, we shouldn’t be surprised by user overload. Disney has since resolved the matters, and even stock investors don’t seem to mind.

Disney reportedly led the Dow Jones Industrial Average higher, rising 1.5% to close at $138.74 on twice its normal trading volume.While the gains were slim and most media and tech issues moved only slightly, Disney Plus’ inevitable rise amongst the streaming wars will not deter a majority of investors–especially on the first day.

WarnerMedia Confirms Price And Launch Date For HBO Max

The streaming wars were already brewing, but now things are really heating up.

Earlier this evening, WarnerMedia and HBO presented their slate for the upcoming release of their new streaming service, HBO Max. The event featured a wide variety of developing content and projections as the long time television network hopes to make their mark in the streaming industry.

Some may be hesitant to subscribe after the announced $14.99 monthly rate, streaming users may feel more inclined to buy into HBO with its favorable bundles and packages. For instance, HBO subscribers already using AT&T and HBO Now subscribers will get HBO Max for free. Additionally, customers who subscribe to AT&T’s premium video, mobile and broadband packages will be offered with HBO Max at no additional cost. The bundles and already packaged subscribers linked to existing WarnerMedia properties project HBO Max to reach 50 million subscribers in the US by 2024

Although HBO Max will officially be the most expensive platform across the streaming landscape, its abundance of original content and existing properties hope to drive traffic towards the site. Along with popular shows such as Big Bang Theory, Friends, and Gossip Girl, AT&T CEO Randall Stephenson stated that there will be over 69 original series in production.

As someone who already has subscriptions to nearly every big streaming service on the market today, HBO’s presentation makes me much more willing to subscribe to another. HBO has always been about quality, and with 69 new shows coming to its service, I think we can expect a lot from the company over the next few years. I think HBO Max is flying under everyone’s radar in terms of excitement. While the Disney/Netflix fume will be interesting to follow and Apple TV+ offers a major wildcard, HBO Max already attains a sustainable user base who is accustomed to no fuss, no mess, no stress. And it’s only going to get better from here. They also just spent another $500 million on South Park. Watch out for HBO Max.

https://www.hollywoodreporter.com/news/netflix-raising-2-billion-debt-original-content-push-1249034

Amid the imminent streaming wars between familiar and new faces, Netflix is preparing to raise two million dollars in debt to finance more production, acquisitions, and capital expenditure through its service. The streaming conglomerate has already accumulated over 12 million dollars in debt, but views this financial decision as a valid approach in staying ahead of the competition.

Upcoming services such as Disney +, HBO Max, and Apple TV+ are each heavily marketing their original content to attract subscribers. Netflix hasn’t seen a significant subscriber drop over the years, but the push to make an investment in future original content is necessary in order to maintain a level of interest amongst its subscriber base. As Disney+ and Apple TV+ are drawing projected consumers based on its proposed content slate, both also hold an advantage over Netflix with its low starting price point.

Netflix won’t consider dropping its monthly rate, but the need to produce more original content and acquire more enticing IP’s is crucial in order to grow in the future and retain users. As a result, Netflix has confirmed that it will be spending $15 billion dollars on content in 2019, its largest annual budget to date.

Netflix CFO Spencer Neumann has stated that the company views its current negative free cash flow as an “investment in future content to be delivered on our service.” The world of streaming is only going to grow, and at this point, so does Netflix. Losing content such as Friends, The Office, and Parks and Rec leave a gapping hole for comfort television. The company has recently acquired the sitcom classic Seinfeld, but that may not fill the void for much of its young audiences. Continuing to make mega-deals such as Seinfeld will continue to keep Netflix afloat and progressively relevant. The 12 million dollar raise in the case makes sense, Netflix is in trouble and viewers want more. And the leading company in SVOD is willing to make the financial expenditures to stay ahead.

 

 

 

https://www.hollywoodreporter.com/heat-vision/kevin-feige-upped-chief-creative-officer-marvel-1247801

A reign of supreme control over one property is fairly rare in today’s media environment, unless your name is Kevin Feige. Feige’s upward movement through the ranks of Marvel Studio’s Entertainment division is unprecedented, yet undeniably deserving.

The President of Marvel Studios has now added Marvel Chief Creative Officer to his title, overseeing all creative decisions aligned to Marvel’s storytelling and content creation platforms. This includes the heavily imbalanced Marvel TV division as well as the animation generator Marvel Family Entertainment.

It’s been a busy year for Marvel and the Walt Disney Co. and nothing has come without a myriad of headlines. After a plethora of box office success with record-breaking hits such as Avengers: Endgame, Captain Marvel, and Spider-Man: Far From Home, Feige has been credited as a leader in innovation and strategy when producing his films. His recent success has even led him to lay the foundation of producing a new Star Wars picture. Though after the resurgence and recovery of the immediate fallout between Disney and Sony over the Spider-Man rights, it seems as if Feige’s influence and formula success was too difficult for either side to overlook. Feige controls the game, and I don’t think anyone is complaining.

Feige’s prowess and progressive stature is something that I have never witnessed within one media company. He produces results–most of which accumulate billions of dollars–and has consistently developed, well received, quality content for a staggering ten year stretch. All of which are unheard of and some would say could never be done under one property. Yet Fiege’s success as a producer has more than likely given Disney the growth and revenue needed to become such a progressive powerhouse themselves, attributing to their acquisition of Fox and launching their own streaming service. Most of the popular properties that Disney+ is advertising are under Feige’s creative control and connected to his established universe such as the announced Loki, Hawkeye, and Wanda Vision Marvel series.

Feige’s track record is impressive and Disney relies on him to continue to develop stellar content across its spectrum of entertainment properties. In order for Disney and Marvel to creatively innovate themselves, Feige needs to have full oversight. The decision was simple and gives Disney and Marvel a greater opportunity to explore new directions and creative capacities now that Feige is in full command.

https://www.nytimes.com/2019/10/04/business/media/disney-netflix-advertising.html

The streaming wars are heating up. With the arrival of Disney Plus launching in November, Bob Iger and Co. are not playing games, and that means banning companies like Netflix, who can longer distribute ads across their entertainment networks, such as ABC or Freeform.  

As more entrants are looking to advertise in traditional television, Netflix is unable to rely upon subordinate business units to advertise its own brand. In terms of targeting a varied audience, Netflix will now have to find other entertainment outlets to market content. Unfortunately for Netflix, a sizable portion of their marketing share was spent on Disney related advertising. In 2018, the company spent about $1.8 billion on advertising last year, about $100 million of which bought ads on television networks. Roughly 13 percent of that $100 million went to Disney-owned entertainment networks. 

Strangely enough, Disney decided not to restrict advertising from HBO Max or Peacock, which are owned AT&T and Comcast, the two biggest cable service providers in the United States. Although, Disney added that the ban reflects “the comprehensive business relationships we have with many of these companies.” 

Disney may not need Netflix, but it will be interesting to see how Netflix adapts to new marketing strategies from here on out. At this point, it seems as if Disney is pivoting to control every aspect of the media space. The decision to restrict advertising from HBO Max or Peacock isn’t as significant because the streaming services are no where close to mirroring Netflix’s stature and dominance in the current market. Disney is picking off the big players one by one, and overtime, will probably have seized full control of the streaming industry as well.

California Passes “Game Changer” Law Allowing College Athletes To Make Money From Name & Likeness

One of the most talked about topics in sports is whether or not NCAA student athletes should be paid from the athletic performance. The monetary statistics that student athletes draw towards nationwide universities and colleges is over 14 billion dollars per year and the NCAA makes an additional 1 Billion annually.

To be equally compensated for their efforts and finances that these universities receive, California legislation has introduced The Fair Pay to Play Act (SB 206). The law addresses the NCAA’s ban on student athletes earning compensation from college sports even though the school can make millions from their athletic performance.

At the very least, California is developing a complete game changer for college athletes. Overtime, it will be interesting to see how the new law will benefit the students, but also the universities as well. In California specifically, the entertainment & marketing is Los Angeles’ business. Music and movie moguls are everywhere and the major tech companies are built within the state. Do you think LeBron James signed with the Lakers to be coached by Luke Walton and play alongside Lonzo Ball? Probably not.

In this light, we can assume that a number of these athletes will be marketed through commercialized advertisements, major partnerships, and social media promotional content. If the Law outlines a positive effect towards both parties, will other states with major cash grabs soon follow? If so, perhaps the NCAA football video game makes a comeback. And the deal for the cover would be huge.

As student athletes begin to be paid, the whole marketing landscape for universities nationwide is going to change, and will bring in even more money. The power of the media and its viewership may increase production costs, but the ROI driven towards the schools will be substantial. And most importantly, the athletes as well.

Steve Michaels’ Asylum Entertainment Group Launches Audio Company Audity

As we become swept away by the overconsumption of streaming services, one medium that has received less attention over the years, but is also steadily increasing in popularity are podcasts. Recently, Steve Michaels of the Asylum Entertainment Group is launching an audio company that intends to seize the ever growing medium.

Prepared to launch is the company that will be known as Audity. The service will include but is not limited to only developing podcasts across genres including variety, music, sports, crime, lifestyle, and scripted. Audity also intends to target film and television adaptations, exploring experiential and cultural content to market to a variety of audiences.

Michaels added that the company is not going to follow the conventional podcast system listeners are accustomed today. Audity will empower creators and internally work with brands to create content that is broad and tonally diverse. 

The prospect of Audity’s services showcase the visual awareness the podcast industry is receiving. While I am not an avid podcast listener, Audity seems to inspire change, diversity, and culture implemented into its content. Thus, the many options Audity will release perhaps will welcome more intrigued podcast listeners.

In terms of changing the media landscape, Audity, to me, mirrors the Netflix vision. Containing a vast library of content themselves, Netflix redefined the SVOD industry with its massive library of original and repurposed content. Audity will similarly offer a broad spectrum, ultimately influencing our decisions in the way we consume podcasts. Netflix rarely releases its rating numbers and without the burden of logistics and business operations, there is more focus on the content. Audity will be a home for the storyteller, establishing an audio-forward model that ensues change and empowerment to the industry.