Jeff Griffith

The OpEd piece by Bill Miller (President, American Gaming Association) asking for federal action against illegal online gambling operators in the Pittsburgh-Tribune is spot on (see link). It's time for "the Feds" (Department of Justice and FBI) to take comprehensive action to block / disable illegal gambling sites that US players are accessing. The Feds were super effective at dismantling the illegal online prescription drug business in the 1990's. They can do the same for illegal online gambling sites and apps and help our industry protect players in the United States of America. https://lnkd.in/gb8mm7gp

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It's NOT. But what this really is about is a call-to-action and reaction to the industry earthquakes of the past year or so. One thing's clear: It's never going to be same again. And to be honest, things will probably be worse for a while longer before they get better - if they even do get better. But we have to change. We have to adapt. That's just the way it is, folks. #animation #cartoons #cartoonnetwork https://lnkd.in/gn3T-9fP

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“Warner Music Group has sent a letter to tech companies declaring that its content can only be used to train AI with the music company’s permission. According to Warner’s letter, which can be read in full here, “All parties must obtain an express license from WMG to use… any creative works owned or controlled by WMG or to link to or ingest such creative works in connection with the creation of datasets, as inputs for any machine learning or AI technologies, or to train or develop any machine learning or AI technologies (including by automated means).” Warner’s move indicates that a common strategy could be blossoming amongst the major music companies in their approach to AI, after Sony Music Group sent a letter to some 700 AI developers and digital service providers (DSPs) in May. Sony notified those companies that it is officially “opting out” of having its proprietary content used in the training of artificial intelligence models.” Read the full article for more: #AI #ArtificialIntelligence #WMG #WarnerMusicGroup #Sony #DSPs #NMPA #EU #EuropeanUnion #SonyMusicEntertainment #Legal #IP #IntelectualProperty #Copyright #CopyrightLaw #CopyrightInfrigement #DerechoDeAutor #DroitdAuteur #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Songs #Composers #Songwriters #Artists #Suno #Udio #SoundRecordings #Tech #Technology #GenerativeAi #GeAi

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Deepna Devkar, Ph.D. what a treat having you on the podcast! If you’ve ever wondered what goes into building your personalised experience on Max, this is the episode for you. Tune in to hear from one of the minds leading the build of the platform experience!

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With continued industry disruption in media platforms, including how new platforms and technologies combine, their convergence sets up pathways to the next revolutions and advancements. This report highlights that in the US, male gamers are more engaged and better represented by the games industry even though as many women play video games, highlighting the need for gender expansion. New media platforms are evolving at an unprecedented pace, bringing both opportunities and challenges for gender diversity. As these platforms merge and innovate, several critical points of consideration have emerged. #newmedia #digitaldisruption #gaming #genderdiversity #womeninmedia #equality #videogames

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I read this interesting article on whether Netflix or Prime Video & Amazon MGM Studios was the biggest streamer. From a subscriber standpoint Netflix reported that it had 269.6 million global subscribers at the end of March 2024, as reported in its April Q1 2024 earnings. Amazon Prime Video does not disclose subscriber numbers, but mentioned in a CEO’s letter to shareholders that it had had “over 200 million” subscribers as of April 2024. An argument can be made that Amazon Prime subscribers do so for the shipping benefit but at the end of the day being a Prime member gets you the entertainment for free. I opted for the $50 per year ad-free which I think is still a great value …I think I made it back just off of watching Fallout commercial free. The next area I wanted to look at is revenue. Amazon’s reportsthat its subscription services alone brought in $10.48 billion in Q1 of 2024. In Netflix’s latest earnings, revenue came in at $9.37 billion for Q1 2024. I think going forward people are may not see the stealth that Amazon has employed in mechandising. After I binged Fallout I went to Amazon to see what kind items I could buy from the show. The number of t-shirts and other Fallout products rivaled what I’d see of the movies came from The Walt Disney Company. It’s kind of sad watching the studios trying to keep their heads above the debt waters. Like most movie fans I want to see Paramount Pictures and Warner Bros. Discovery thrive but unless interest rates go down it’s going to be tough. https://lnkd.in/gr9Em55M

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“The impact of generative artificial intelligence may be more readily seen in music than in other industries. Record companies are working arm-in-arm in court to fight back.” “There’ve been over 25 copyright infringement lawsuits filed against artificial intelligence companies from most corners of the creative industries. Groups that’ve sued include artists, authors and news publishers, among various others alleging mass theft of their copyrighted works to teach AI systems. Of those entities, record companies have taken the most aggressive stance thus far in trying to get out in front of the technology. Only companies from the music industry have united to bring claims that urgently seek to block the AI firms from profiting off of the alleged infringement of their intellectual property. That trend continued on Monday when leading record labels sued two artificial intelligence startups over tools that allow users to make music based on existing songs. In lawsuits filed in federal courts in New York and Massachusetts, the labels — led by Universal Music Group, Sony Music Entertainment and Warner Music — accuse Suno AI and Uncharted Labs Inc., the developer of Udio AI, of illegally powering their AI systems on massive troves of copyrighted recordings. They seek injunctions that could force the companies to cease further infringement, which may include the destruction of models taught on their intellectual property, and damages of nearly $350 million. Suno chief executive Mikey Shulman said in a statement that the company’s technology is “transformative” and is “designed to generate completely new outputs, not to memorize and regurgitate pre-existing content.” He added, “That is why we don’t allow user prompts that reference specific artists. We would have been happy to explain this to the corporate record labels that filed this lawsuit (and in fact, we tried to do so), but instead of entertaining a good faith discussion, they’ve reverted to their old lawyer-led playbook.” The lawsuits expand multifront legal battles waged by creators that have the potential to prevent further encroachment of technology into creative industries. The Recording Industry Association of America, a trade group for the labels, views the unregulated creation of AI-generated content as an existential threat, primarily due to the possibility that they’ll directly compete against human-made tracks and disrupt the market for music samples." Read the full article for more: #AI #ArtificialIntelligence #Suno #Udio #RIAA #Sony #SonyMusicEntertainment #UniversalMusicGroup #UMG #WarnerRecords #Legal #IP #IntelectualProperty #Copyright #CopyrightLaw #CopyrightInfrigement #DerechoDeAutor #DroitdAuteur #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Songs #SoundRecordings #Tech #Technology #GenerativeAi #GeAi

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Great review yesterday about Phantom Peak's new season, "Starlit Summer" with the author identifying what makes Phantom Peak unique and successful: "Where other immersive experiences may fall short by feeling too prescriptive, promising freedom yet guiding you into a pre-decided path, Phantom Peak truly excels. Guests have the option to take on quests—interconnected storylines to be completed at their own pace—or attend scheduled events like the ‘Phantom Peak Olympics.’ The village also features a restaurant, allowing you to take as many breaks as you'd like. Your journey is yours to choose." Research shows that immersive entertainment customers seek themed environments, shared or communal experiences, and compelling narratives that allow them to jump into the story. Phantom Peak excels in these areas while maintaining financial discipline in its design, build, and operations through in-house capabilities and proprietary show-tech. Oh, it's also a heck of a lot of fun. After succeeding in the world's most competitive immersive entertainment market (London), and among the highest rated, we're getting close to announcing the locations of our first U.S. sites. Stay tuned!

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Paramount's Q1 earnings performance highlights both opportunities and challenges within the dynamic #streaming landscape. Most notably making recent headlines, the potential merger with Skydance suggests a strategic repositioning, aiming to strengthen Paramount's portfolio with high-quality content that could enhance its competitive stance in a crowded market and enhance Paramount's capabilities in producing and offering blockbuster films and acclaimed TV series on Paramount+. This move is a strategic effort to amplify Paramount's content offerings in both traditional and streaming formats, potentially improving its market share and appeal to a diverse viewer base. The recent introduction of international ad-tier subscriptions broadens Paramount's market reach outside of the U.S., attracting cost-conscious consumers with more accessible price points and tapping into new ad revenue streams. Introducing ad-tiers will capture global markets, reaching new demographics and analyzing consumer engagement habits. By integrating ads, Paramount will build valuable partnerships with advertisers looking to reach international audiences while increasing its global footprint. A key emphasis on providing original content and #livesports such as The Masters Tournament and National Women’s Soccer League are drivers of subscriber growth and consumer engagement on streaming platforms. The company's ability to enhance its original programming and secure compelling live sports rights will be decisive in its efforts to compete with industry giants and attract a global audience, ultimately improving its bottom line. Additionally, Bob Bakish, Paramount CEO, is stepping down today, signaling a pivot in Paramount’s overall corporate strategy and governance. New leadership may bring a different perspective on addressing the challenges of digital transformation in the #entertainment industry as we move away from traditional #cable and legacy media. This change could catalyze a more aggressive push into streaming and technology, and an increase in direct-to-consumer services, areas where Paramount must evolve to remain competitive with streaming giants like Netflix, Hulu and Prime Video & Amazon Studios. #LITrendingTopics #Q1Earnings #Streamers #Content #CordCutting https://lnkd.in/gt6_nFWN

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Stay tuned

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Great article from Rob Wile at NBC News on why FAST services like Pluto TV or Tubi are already incredibly successful and why we are still scratching the surface of something way bigger🚀 💵 .Ross Compton, CFA provides a spot-on analysis that resonates with our vision a decade ago when we spearheaded the FAST market with Pluto TV. "It’s a repackaged version of the old method of distribution, noting that the original broadcast networks were all supported by advertising and the only investment a viewer had to make was in a TV set and an antenna. Now, it’s the same thing, just over the internet. The demand for FAST channels is sustainable — for one simple reason. You really can’t beat free." (Ross Compton, CFA) Free and easy access combined with high-quality content shaped the golden age of TV. The same ingredients are needed for FAST, even if we needed to rethink channel programming and curation in the new era of internet, social networks and the overabundance of video content. Same is true for advertising, it has funded so much of the best TV content over the decades. FAST advertising is like TV advertising but with more data, targeting and measurement! So YES, there is such a brillant future in front of the FAST business! 📺 #FAST #PlutoTV #Tubi #NBCnews #fastchannel #Avod #streaming

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The star power that celebrity athletes like #CaitlinClark deliver for TV ad engagement is immense, but not immeasurable. For example, ads shown during NCAA women’s basketball games with Caitlin Clark were 7% more effective than those in games without her. That’s nearly as strong as NFL GOAT Tom Brady: games with Brady for the last six years of his career were 8% more effective than games without him. And not only does an appearance from Caitlin Clark lift ad engagement in TV programming she’s featured – such as the NCAA season and last week’s #WNBA Draft – but she also delivers increased engagement for brands such as State Farm or PepsiCo's Gatorade that have featured Clark in new campaigns. Just last week, ads featuring Clark from these two brands were the top 3 airings by ad impact during the Draft. That’s why Clark’s sponsorship with deal with Nike is bound to pay dividends for the brand, especially on TV. Thanks Jason Notte for speaking with me for this ADWEEK story! https://lnkd.in/eXWGGekw

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Is "THE FUTURE SO BRIGHT"...that "I GOTTA WEAR SHADES"? FYI - Per PwC’s annual “Global Entertainment & Media Outlook (link attached below), the Global box office and total cinema revenue are predicted to surpass pre-COVID-19 levels in 2026, but admissions won't recover within the next five years. Streaming services will see a 5.6% annual growth rate in subscriptions from 2023 to 2028, with revenue growth trailing at 4%. Advertising revenue will exceed $1 trillion in 2026, becoming the fastest-growing revenue segment in entertainment and media. PwC’s annual report also highlights a shift towards business model reinvention, driven by technological disruption, economic challenges, and the potential of generative AI.   https://lnkd.in/gsvFxinQ   https://lnkd.in/gqrft4UE

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“Spotify is increasing its prices for the second time in less than a year. Investors have welcomed the move, reckoning that it won’t negatively impact on total user numbers and will help Spotify in its ongoing bid to become a profitable business.” “Many in the music industry have long argued that streaming subscriptions are under-priced. So, Spotify instigating a second round of price increases in under a year would likely be widely welcomed, if it wasn't for the streaming service’s sneaky bundling tricks causing a new controversy….” Read on - #Spotify #DSPs #Streaming #Songwriters #StreamingRoyalties #Royalties #MusicTracks #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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"Bundling, even with would-be competitors, is not a new idea and is a tactic multiple streamers have explored as they look, in part, to grow subscriber value and reduce churn and marketing expenses." "Who is best served to deliver streaming bundles is still somewhat a point of debate in the ecosystem, where WBD sees benefits in cutting out the middleman in some cases." "Zaslav acknowledged positive results from the Verizon-offered Max-Netflix bundle, saying it’s “doing much better than expected” and provides another example of “more strength together,” with the strategy behind bundles driven by the need for change in consumer experience in a very crowded streaming space. With Disney and WBD working together, he noted the companies get all of the data, can work directly with consumers and enhance that experience, as it’s already doing for Max." "A key theme emphasized throughout the call, is WBD’s belief that amid a crowded and fragmented streaming and TV viewing ecosystem where viewers are burdened by numerous options and rising prices, consumers will follow great content." #svod #ott #video #streaming #tv #bundle #content

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O P T I M I S T I C ! ! ”Los Angeles Film and TV Production Sees Sluggish Rebound From Strikes, but There’s Optimism” according to a report from FilmLA which notes an anemic return to filming in the region but that jobs appeared to return in full force in March. Filming in Los Angeles has been slow to bounce back after production in the region was decimated by Hollywood’s historic season of strikes.  The main reason for the sluggish rebound: A double-digit drop in television shoots compared to the same period last year.  Also playing a factor in the decline were reductions in content spend across most major studios, series cancellations and runaway production.  While the difference was steep in January (30.6 percent fewer jobs, totaling 2,282), it was modest in February (5.1 percent fewer jobs, totaling 3,061) and nearly unnoticeable by the end of March (a 0.4 percent increase, totaling 3,274 jobs).  There’s optimism in production levels for feature films. The category rose slightly in the quarter, picking up 634 shoot days to finish an estimated 7 percent ahead of the same months last year. Movies in production included Beverly Hills Cop 4, Atlas, and Lurker, all of which are getting tax credits to film in California.  FilmLA also flagged the loss of commercial production — which slipped nearly 10 percent year-over-year and more than 33 percent below the five-year average — to other jurisdictions as a concern. Filming for smaller, lower-cost shoots, such as documentaries, music videos and still photography, similarly fell by roughly 5 percent. Entertainment Partners https://lnkd.in/g5veEE6R https://lnkd.in/gjhbnQdG

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