Interesting Netflix Ad Model – by Sonny Bunch

“So we can’t show them the same ad 17 breaks in a row? What’s the point, Don?

A couple of weeks ago, noted my genuine surprise in the number of people who have the ad-supported level of Hulu, as well as the growing popularity of ad-supported services like Tubi, which may or may not be a gray market hacking site. (It’s not, I’m kidding, but still: QA is an issue in service.)

A relatively nice part of the future as we have experienced it has been the reduction in the number of announcements we receive. From the rise of HBO to the introduction of DVRs to the dominance of Netflix, it seemed like the long arc of history veered away from forcing us to watch things we don’t want to. I don’t know if this makes up for the lack of flying cars, but still: things were looking up!

However, a combination of lower subscription costs and nostalgia for built-in potty breaks has led to a resurgence of people choosing to watch ads. Netflix announced its plan to get into the advertising game and has accelerated its plans to beat competitor Disney+ in the market. The interesting thing about Netflix news is what Variety He says they are not planning to do for your advertisers:

Initially, Netflix’s ad-supported service will not have any third-party attribution. It will also have limited targeting ability: Advertisers will be able to buy against Netflix’s top 10 most-watched TV series and against some content genres. But for the first phase of the ad-tier rollout, Netflix will not serve ads based on geography (except by country), age, gender, viewing behavior, or time of day.

On top of that, Netflix finds customers by trying to curtail the most irritating part of advertising: repetition. “Netflix is ​​setting frequency caps (how often an advertisement can be shown to individual viewers) of one per hour and three per day per viewer, which are relatively low by industry standards.” Variety reports.

As someone who avoids commercial-based television at all costs, I will say that repetition is one of the main reasons: there is nothing as annoying as receiving the same three thirty-second commercials six times in an hour-long program, which is the that I felt like it happened every time I watched the last season of Better call Saul in the AMC app with advertising. The break in the show was annoying, but getting hit by the same thing over and over again was deadly.

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Of course, repetition is everything. point The Mad Men preach repetition because repetition makes the heart grow larger: the average consumer needs to see an ad for something at least seven times before they even consider buying it. Whether or not that remains true in today’s market in general, it certainly remains true in the Google ads I get: some marketer somewhere is convinced that one of these days I’m finally going to break out and spend $5,500 on that oven I googled. one time.

And how much are advertisers expected to pay for the privilege of not overwhelming viewers, not being able to target geographically, not being able to sell to age groups, and not being able to choose between women and men? Oh, about three times the industry average: $65 per thousand viewers.

What theft!

One of the big unrecognized stories of the past few years is the rise of anime provider Crunchyroll and the company’s ability to not only bring movies to theaters, but to activate their base and get people to show up even at slower weekends. i had a great time talking Crunchyroll’s Mitchel Berger on how the distributor turned Dragon Ball into a profitable film franchise.

Speaking of interesting distribution models: Tim Heidecker and Gregg Turkington’s HEI Network is fascinating to me. Adult Swim’s move to a more independently operated distribution model gives them more freedom and allows people to directly support them, which can lead to all sorts of weird results. like, say, the movie deck of cards. Which seems to be as strange and entertaining as everything else from the at the cinema Expanded Universe.

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this week me reviewed thirteen lives Y Samaritan, two movies that have nothing in common, really, other than being refugees from MGM dumped on Prime Video. One of these movies really deserved a proper theatrical release. But which?

Well, if you listened to Across the Movie Aisle this week, you probably have an idea. We talk about Samaritanas well as all the drama that swirls do not worry honey. and in our members only special episode we ask if critics and audiences are really distancing themselves further from blockbusters. The answer is: “Perhaps?”

Shay Khatiri wrote about the CBS sitcom ghostsa fun little show with surprising depth.

On the one hand: This summer had almost no box office failures! (Although there are some, like Nope, which clearly underperformed.) On the other hand: That’s because there’s been a real shortage of releases. About him other mano: It may not be the worst thing in the world that there are fewer blockbuster movies and more mid-budget, star-star movies.

In the wake of thirteen livesI was going to assign my favorite Ron Howard movie, Paternity, but it is only available for rent. So you’ll have to do with apollo 13, which recommends itself. But it got me thinking about the impressive variety of Howard’s career: Paternity is a wonderful family comedy-drama, made just a few years after the fantasy epic Willowand only a few years before the racing pulse apollo 13. An amazing mind is a fantastic biopic with a surprising twist midway through the movie, while Cinderella Man is a perpetually underrated sports drama. It doesn’t always make it—peasant elegy It’s kind of a mess, and the Da Vinci Code and its sequel… well, they don’t work, but when they do, the result is excellent.

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