![]() ![]() Go90 was an experiment out of a giant telecom company, and I think Quibi has a very different proposition of being able to figure out what it takes to be successful. Quibi has a better shot for a couple of reasons. Do you think Quibi will have a similar fate? Other than that, it feels very similar to dealing with the Netflixes, Hulus and HBOs of the world in terms of their taste and programming sensibility.īecause Quibi is mobile-centric and is getting a lot of early investment, it has drawn comparisons to the failed mobile streaming service Go90. We plan to work with them, but they have a different idea about content length. ![]() That platform is mobile-centric and will solely rely on short-form content, which sounds a lot different than streaming services like Hulu and Netflix. Disney+ and Quibi are also coming up, and we haven't even started getting into the stuff coming from NBCUniversal (NBCU) and WarnerMedia. YouTube and Hulu are investing in originals significantly. Apple and Facebook Watch are spending TV money. Now, there are almost a dozen that are all in the TV-budget levels, which has created a ton of demand. It used to be just Netflix, and Amazon for a little bit. In the past, only one or two services could really afford to spend the kind of money to go big and compete with cable networks. How does that affect content licensing when you’re trying to sell a show? There are more video streaming services than ever and that number will continue to increase. For, we're able to go to a place like Netflix and deliver a show that has the point of view of a network, the same way that you might get if you licensed a show from Bravo or NBC. But a service like Netflix is so distributed, and such an aggregation of different kinds of tastes, that it’s hard to distinguish what a Netflix show feels like. ![]() The job of the executive team was to take a show from a producer and shape it into a MTV show. For example, when MTV was in its heyday, every single show felt like a MTV show. Oftentimes, streaming services don’t have a programming mandate that’s as tight as a cable network’s. Right now, we can sell to everybody and be in business across the board. How do you balance the difference between their approaches to licensing?Ī giant war is going on between all these major companies, and we’re an independent arms dealer. You’ve sold shows to digital streaming services like Netflix as well as to traditional TV networks like CNN. Even from a talent perspective, they're just different universes in terms of economic models for productions. Frankly, the kind of thing that you could sell to Netflix is just not going to be something you could really afford to do on YouTube. We've never had to make a distinction between putting our creative on our YouTube channel vs. We now have a whole unit that's focused solely on developing shows that we think make sense in today's Hollywood marketplace.ĭo you ever contemplate licensing out a series that you had success with on YouTube? The difference in the two businesses was enough that we created separate divisions. On the internet, however, you can just make content, where you’re competing in a giant funnel. There are more buyers than ever before, but the resources are controlled by a small number of networks, studios and executives who have the programming budgets. We know what success looks like, and it's very different than what it takes to be competitive in the Hollywood landscape. We could achieve something that makes sense for a digital series and deliver it to our own audiences. And a lot of folks who had tried that were unsuccessful. ![]() We didn't think there was a direct one-to-one relationship from shows that made sense for YouTube or digital distribution to TV. Why did Vox Media start a separate division for licensing TV shows? With more people streaming video, the demand for licensed shows should only increase.Ĭhad Mumm, senior vice president and head of entertainment at Vox Media Studios, spoke with eMarketer about how the business of video content licensing is evolving as part of our recent report collection on digital video. In 2020, that figure will increase to 191.5 million viewers. We forecast that 182.5 million US residents, or 55.3% of the population, will be subscription over-the-top video viewers this year. Licensed content is clearly resonating with digital video viewers. ![]()
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