Attention attention movie streaming5/16/2023 ![]() They aim to become embedded into the social, emotional, and intellectual lives of audiences, often not without controversy. Today’s stories do more than fill time with entertainment. Specifically, he states, “advertisers want to pay for how often you like, post, and click, rather than for how long you passively watch.” In other words, stories are designed to create fandoms. ![]() Max of the New Yorker argues that this “engagement” will drive the industry. New streamers such as Quibi and Facebook Watch appear to be geared towards capitalizing on interactive tactics - take for example the Spielberg horror series that will only be available for watching at night or Skam on Facebook Watch, which inspired consumers to engage interactively on real-world social media accounts.ĭ. SVODs everywhere are desiring interactive users. Passive viewers are less invested and are happier to not re-subscribe for a service. Netflix is only a symptom of an attention economy in which the demand for content is not sustainable if audiences remain consumers or viewers. Through these interactive forms of storytelling, audiences are invited to play a role in elevating their experiences and to become fully immersed in content. In this 250 million strong gaming universe the streamer has a single-minded purpose: To grab attention, to convert this into an emotional investment or at least some form of curiosity and then to extract maximum commercial value. Netflix has also ventured into other interactive formats such as Fortnite with cross-over promotional strategies. Wild – two recent titles that allow audiences to navigate their own path through the story with the help of a TV remote. Take Black Mirror: Bandersnatch, for example, or Bear Grylls’ You vs. As a leader of the disrupters and streamers, Netflix has begun transforming their viewers to partners in storytelling. Netflix is one of many companies that are now serving up content across multiple platforms and audience universes. Users not consumers: The convergence towards interactivity What about the entertainment business itself? Many have argued that the future of media consumption is one of convergence driven by interactivity. It is not enough to simply be a producer or seller of goods – instead, in an age that is defined by interactive and immersive experiences, companies must reinvent themselves to stand out in the crowd of choices and options. In their Harvard Business Review article, Mark Purdy and Gene Reznik argue that going forward, every company, including even those not currently involved in entertainment, must think and act like an entertainer. We will highlight the opportunities for each of these players to keep the content ecosystem accessible, exciting, and entertaining for audiences – because we all love to experience the magic of content. In “The 30,000 Foot View: A Preview of the 2020 Streaming Wars”, Parrot Analytics provides a unique industry perspective. Still, audiences, content creators and distributors can agree upon at least these two truths: 1) consumer attention is finite and 2) good characters and good storytelling are invaluable. Meanwhile, audiences are fearful that the content ecosystem is not only getting more crowded, but also more fragmented, dispersed, and expensive. Revolutionary changes to the business of television are expected, the era of the “Streaming Wars” is truly upon us. As each player hopes to be a winner, increasing their share of consumers’ time and attention, a new era is dawning. ![]() Over the next 12 months a few new players, and in some ways not-so-new at all, will be entering and beginning to crowd the subscription-video-on-demand (SVOD) space. ![]() “Electronic Superhighway: Continental U.S., Alaska, Hawaii” by Nam June Paik (1995): 15 x 40 x 4 ft., at the Smithsonian American Art Museum.
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