Electric Shadow

HBO and the Sandstorm

Thinking a bit about Amazon today got me to thinking a bit about HBO.

Six months ago, Amazon Prime Instant picked up The Wire, Rome, and loads of HBO "back catalogue" original programming.

HBO Go is still not available for Amazon FireTV, but I think that's only the result of some sort of exclusivity deal expiring. Come 2015, HBO's standalone streaming service makes that moot.

Contrary to what Steve Burke says, I think it's ridiculous for HBO to not start gunning for Netflix in the standalone streaming arena. His spin almost reads like a Mafia Don making an idle threat, "when you been part of 'the family' for so long, why gotta go make trouble?" HBO chief Richard Plepler is right in noting that "hundreds of millions" have been left on the table due to a combination of cable bundle "Families" not actively driving up HBO subscriptions and HBO choosing not to go direct-to-consumer.

Sitting on the "first run" Iron Throne of original series has kept people bowing and paying into The Bundle for years. I've long opined that the sleeping giant is HBO's enormous back catalogue of made-for-HBO narrative and documentary movies, many of which haven't re-aired in years (some, decades). Many of them have rarely, if ever, been readily available on home video in any form, with the recent exception of blessed Warner Archive DVD releases. Couple all of that in-house content with HBO's multi-decade relationship with literally every studio in Hollywood.

The thing I keep seeing repeated is "Netflix should be scared of what is to come," but I think that's wrongheaded.

Even as an eventual little brother to HBO, Netflix has enough going for it that they can survive for a bit yet while they make some strategic acquisitions and beef up their offerings so as to not get pushed off the playing field. Netflix should be wary and think long-term, but they're radically more forward-thinking than "Cable" networks and "Cable Bundle" providers.

"Cable" complacent content businesses are the ostriches that'll get swept up in the sandstorm.

Fire Stick

Amazon got something right with their Fire TV streaming box, and I did not expect to say that when it was announced nearly seven months ago on 2 April. I was just pissed at my laggy Roku 2*.

It has completely replaced my Roku 2, and with the exception of AirPlay-ing apps (like Warner Archive Instant) from iPhones and iPad, it's also replaced my AppleTV**.

Amazon Fire TV has the baseline triumvirate needed for one of these boxes to work for me:

  1. responsive, fast internals (loads high-bitrate 1080p content in a snap)
  2. an RF remote
  3. an actually-growing, competitive "app channel" marketplace (still missing favorites like Acorn TV and Warner Archive Instant, but they'll arrive)

Most importantly, it doesn't stop working after an update (Apple), or suddenly decide it hates Hulu (Apple and Roku), or block content marketplaces that compete with them (like Apple does through "curation").

Plex, my media-serving behemoth of choice, works like a champ with no workarounds. The remote wakes my TV so that all I have to turn on with another remote is the surround system.

The announcement of and two days of $19-for-Prime members pricing of the Amazon Fire TV Stick is a big deal. I ordered one the moment I saw the news.

The regular price of $39 is only $4 that of Google's no-remote-included ChromeCast. The Amazon stick does the useful things a ChromeCast can do plus what a Roku Stick can do, but radically faster due to much better internals.

This is Amazon's comparison chart, showing Fire TV Stick doubling (or more) Roku Stick in:

  1. processor cores (very important for HD video decoding)
  2. memory/RAM
  3. flash storage (at 8GB, 32x as much as Roku's shockingly small/cheap 256MB)

Missing from the chart is that...if we're all honest with ourselves...ChromeCast is Only For Us Nerds.

*which Roku refused to swap for a 3, which came out a month after I got mine

**affectionately known as "AppleTV could not connect" in my house

Trailer for Soderbergh's Showtime Series THE KNICK

Looks sharp, brutal, and above all, interesting and worth my time...unlike most of what gets cranked into cinemas these days. A synopsis:

Set in downtown New York in 1900, THE KNICK centers on Knickerbocker Hospital and the groundbreaking surgeons, nurses and staff, who push the bounds of medicine in a time of astonishingly high mortality rates and zero antibiotics. Steven Soderbergh directs Clive Owen in the entire ten-episode season of the Cinemax original series which debuts August 8, 2014 at 10pm. André Holland, Eve Hewson, Juliet Rylance, Jeremy Bobb, Michael Angarano, Chris Sullivan, Cara Seymour, Eric Johnson, David Fierro, Maya Kazan, Leon Addison Brown and Matt Frewer round out the ensemble cast. The creators and writing team of Jack Amiel & Michael Begler also serve as executive producers, along with Gregory Jacobs, Steven Soderbergh, Michael Sugar and Clive Owen. Michael Polaire produces. Steven Katz serves as supervising producer.

An Open Response to Ultraviolet CTO Jim Taylor

I got a surprise the other day when I read the comments section of the MacWorld posting of an article I wrote about Veronica Mars, Kickstarter, and Ultraviolet. The Chief Technology Officer of UltraViolet parent company Rovi chose to respond publicly and call into question my basic journalistic integrity. After the cut, I've included his lengthy response, and my 1300-word shredding of said response, both of which can be found on the original MacWorld post.

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WWE Creates a "New" Network

I'm surprised that World Wrestling Entertainment didn't move sooner in creating a streaming network. For $10 per month, users have access to tons of back catalogue content in addition to each of their monthly "Pay Per View" mega-events:

In addition to new shows, the app will also grant you access to more than 100,000 hours of video-on-demand content, including every previous pay-per-view event from WWE, WCW, and ECW. It will become available on desktops and laptops and through the WWE app for iOS and Android, and the Kindle Fire. Xbox 360, PlayStation 3 and 4, and Roku will also be able to access the network. The network will be available in the United States to start, with additional countries coming later this year and early next year.

I find most notable in the above not the official omission of AppleTV (the most bizarrely impenetrable platform for major streaming brands, oddly), but that WWE Network is going global. Since WWE control their worldwide SVOD rights, they have no reason to use middlemen (like cable and satellite providers) to sub-distribute them.

They needed CES so little to make this a big deal to their very dedicated following. I'm surprised they didn't just make a standalone event of their own, or build it into their signature Monday Night RAW show. As a result, this is the biggest announcement to come out of CES in five years, maybe ten.

I think of the BBC and ITV in the UK, whose blockbuster series Doctor Who & Sherlock, as well as Downton Abbey respectively, have fanbases with money to spend who want to avoid time-displaced spoilers. They have respective business interests, like sub-licensing to PBS in the States and BBC's own America variant, but there are still cable providers in the year 2014 who don't offer BBCA in HD, for crying out loud.

UPDATE from Twitter reader Tim Cooke (note the "e"):

Roku TV by TCL & Hisense = Boxee TV by ViewSonic

Roku making a TV set in partnership with TCL is the new Boxee making a TV set in partnership with ViewSonic...or, not.

I fail to see the "home run" here. OEMs Hisense and TCL don't have any brand recognition or shelf space at US retail, and the profit margins will have to be huge for retailers to give precious floor space to them over Samsung and others. Billions of hours of streamed content through a $40-100 "puck" does not mean that those same consumers are interested in buying a new TV to have their Roku built into the TV. Also odd: they aren't touching live OTA TV with a ten-foot pole, which doesn't jive with the cord-cutting ethos.

However, there won’t be any actual integration with live TV: Roku TVs don’t come with their own programming guide, and Wood told me that there are “no immediate plans” to allow app developers to overlay their apps over live TV.

iFlicks 2.0

I love this app. I've been progressively cranking terabytes of content through it to convert for iTunes and mobile device compatibility on top of metadata scraping. It's only $10 until 25 November, but worth it even at full price.

GigaOm: Movie "Ownership" is "Over"

This piece from GigaOm is the most idiotic bit of writing from the tech sector about entertainment that I've seen in some time, and that's saying something.

The Digital Entertainment Group, a trade association that tracks revenue in this space, doesn’t differentiate between movie and TV shows when talking about digital sales, but an industry insider told me that between 80 and 90 percent of all digital movie revenue comes from rentals, not sales.

None of his cited data comparisons are compared equitably. He puts gross subscription service (Netflix) revenue, which did not exist a few years ago, against physical media sales. His analysis is anything but objective, and that he doesn't qualify the insight of his "industry insider" source makes them as authoritative as an intern in a mailroom discussing an entire studio's performance.

iTunes sales data has actually shown the opposite, as has physical media purchase data. This one guy's preferences, behavior, and experiences no more dictate the market than I do as an individual. The data contradicts him regarding media ownership, and that he plays so much into what many have said studios want us to do (prefer rental to "ownership") is further evidence of how weak and utterly facile his "analysis" is here.

What would interest me is a look at the conversion of rental revenue since the late 90's from retail into SVOD rentals and RedBox (which GigaOm never mentions…too bourgeois for them?).

Skewing Into Massive Popularity

Thanks to my friend Ryan Gallagher for alerting me to this via Twitter. The Ultraviolet consortium, junta, cosa nostra, or whatever have conducted a survey of existing Ultraviolet users.

This has resulted in finding that those surveyed overwhelmingly love the service. This is, of course, as polled from within the very small sample within the portion of the 15% of consumers who even know it exists.

As soon as I'm able to find the time, I'll post a piece about how and why I rip my own Digital Copies from Blu-rays.

AppleTV Adds Channels, Taketh Away "TV" Button?

AppleTV added Disney Channel, Disney XD, The Weather Channel, VEVO, and Smithsonian Channel the other day. I fired up my AppleTV just now to put something on, and the TV Shows button in the top row is gone all of a sudden.

Maybe it's a momentary glitch, or maybe Apple decided people didn't want to "own" their TV shows after all.

UPDATE (4:10pm CT): It looks like this is a global thing. It isn't just US or UK, and it isn't the result of a software update. Does it bother anyone else that Apple can remote-pull or have core features fail one by one?

UPDATE (4:35pm CT) : After trying to open TV Shows in iTunes itself, it crashes you out to the main iTunes Store screen. Clicking on individual shows found on that main page still take you to the individual show pages. This all makes it seem like this is a temporary thing. For people in Europe doing their evening TV watching, the failure of the TV Shows "frontend" on the AppleTV itself is something that looks like they intentionally, maliciously removed the ability to access content they've paid for in advance.

iseeFOURlights.jpg

Regarding Disney's "Digital Copy Plus"

I lost track of a news link I saw that reported this as something akin to Disney starting their own Mouse House digital locker service like UltraViolet.  It's not, and thank god, since we've got enough locker up there in the magical, mysterious "cloud".

Having redeemed the Oz the Great and Powerful  code, I can say that Digital Copy Plus is just a responsive design site that funnels you to your digital vault of choice, whether iTunes, Amazon, or Vudu.

Who actively uses Vudu, by the way? Other than Walmart employees?

Now, you can redeem those codes directly to your iTunes account from any web-accessible device via the responsive site. 

The biggest plus to Disney moving away from disc-tethered Digital Copy (aside from general convenience and stronger engagement) is that their Digital Copy files are now HD and carry iTunes Extras. Paramount, Universal, and Lionsgate/Summit releases have had this since last year. 

iTunes Extras still, inexplicably, only work in iTunes itself and not on iPhones, iPads, or the AppleTV. Maybe that's another no-brainer, long-neglected UI problem Apple will fix in this, the year of Apple adding missing features that they should have years ago.

Fox is now the only studio delivering Digital Copy in SD on physical discs. 

Culture On Demand: Deep Focus UI

I'm not a "tech blogger", but as with any time Apple does much of anything now, their keynote yesterday has some direct implications on the world of content consumption and discovery.

 "Flat" design expectations are now out the window. The look of the new iOS UI is all about not just depth, but layers of focus. With this fundamentally shifted visual paradigm, we're seeing the next big step in how Apple handles UI on product categories, both current and those they've yet to introduce: some theoretical (a watch, a larger iPhone), and evolving hobbies (TV).

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The most famous cinematic example of deep focus is Citizen Kane , a movie that was not shot in 3D, but which achieves a perception of multi-layered depth. Cinematographer Greg Toland achieved simultaneous focus across the fore-, mid-, and background through very precise placement of objects in the frame, staging, and lighting.

The same principles apply to iOS 7 and, to a lesser extent, what I've seen of OS X Mavericks. Like the most basic tenets of stage magic, the new "look" is just as much about the window dressing as it is the structure of where the audience's eyes are being directed.

My kneejerk feeling about the Human Interface overhaul is that it's an exciting and interesting change that opens up a lot of possibilities. There are features and design cues in Apple's HI that are found in both Android and Windows Phone, but they're among the best parts of both. Things like awful icons and visual details that need smoothing out will eventually get fixed. 

Most importantly, a shift this big makes me confident that when Apple overhauls the AppleTV interface, it will change things as fundamentally as their mobile and desktop UI experiences have. 

Let's not forget that the current AppleTV runs on a custom version of iOS.

Gone from iOS are faux-3D design choices that look as fake as styrofoam boulders on Star Trek sets. The new iOS and OS X feel and look as different from their predecessors as the newer JJ Abrams Trek looks as compared to the most refined version of the original canon. In general terms, the new stuff is the epitome of modern design: big (but simple), bold (but subtle), and sleek.

Replacing the old are thin layers stacked in precise levels of depth. On Apple TV, I'm only starting to think about how this might specifically be employed, but overlaid layers of live content are interesting, including configurable, cross-platform notifications. Think of weather, stocks, and other apps as widgets that are as configurable in layers as you choose. The same actionable push notifications in Mavericks could be linked to your TV.

iCloud Keychain exists not just to solve having to enter the same fleet of passwords on your computer and phone, but certainly to also cover AppleTV at some point. Entering TV channel app passwords is one of the biggest problems for set-top boxes. Instead of re-entering them all, your AppleID will become your single sign-on for all of your content subscriptions.

I'm excited about modern, fresh, and near-futuristic design flourishes in TV apps, but I'm more interested in voice search tied to content. Think of what Siri already does on top of what was announced yesterday (improved function and quantity of indexed databases). Siri already knows who I mean when I ask about "John Malkovich" or "Jean-Pierre Jeunet". Wikipedia, Bing, and some version of IMDb that isn't owned by Amazon (which they're already using) are the tip of that iceberg.

I'm most enthused by the idea of Apple forcing a unified interface that pushes content vendors to index their content in a way that is user-friendly and leans toward driving discoverability.

As a Roku user, I'm never shy when complaining about how clunky and slow all of their apps are. The recently-introduced cross-"app", system-wide search is a fantastic improvement, but it does not go far enough. Individual app experiences are still awful. If Apple moves in the direction it looks like they're telegraphing, Roku is on the verge of being blown completely out of the water.

Note that they did not show iOS 7 for the iPad, nor is an iPad beta available yet. That may be indicative of the larger-screen interface working differently, due to the alternate usage pattern of a larger device as it relates to the expanding types of baked-in service logins (Facebook, LinkedIn, others). The larger-screen iPhone that many assume is in the works would be a part of this "bigger-screen" implementation of Apple's new Human Interface philosophy. 

The TV is a hell of a larger screen. 

 

More on all of this soon, after I play with both iOS 7 and Mavericks. I have more reading to do on all the game system stuff from yesterday too. 

 

Culture On Demand: Reading 4K Tea Leaves, or: Apple's "Very Grand Vision" for TV

Late last night, All Things D posted the full video of yesterday's Tim Cook interview.

At the ten-minute mark, they dive into discussion of TV. I found it interesting that All Things D themselves omitted "very" in quoting Cook on what Apple is doing about "fixing television". Following Microsoft, Sony, and Nintendo playing their hands in the set-top space, Cook was exactly as cagey about TV as he was last year. Of completely inconsequential interest: the roadblock ads that are running on All Things D this week appear to all be for new $7000 Sony 4KTVs.

I'm fairly convinced that at some point in the future, Apple is going to release both a revamped "hockey puck" and a physical TV set.

Macs, Retina, and 4K

Look to the iMacs and the Thunderbolt monitor released over the last couple of years to see Apple refining glare, viewing angle, and contrast quality. The radically slim profile of the newest "Late 2012" iMac displays reveals a continued drive toward thin, colorful, and beautiful monitors.

What no one really talks much about are the aspect ratio and resolution of the 27" iMac and the Thunderbolt display, which both feature a 16:9 panel that runs at 2560x1440. It isn't an enormous leap over 1080p, which is where it appears the vast majority of 22-inch and larger computer displays are bizarrely (to me) topping out. Jump down to the 15-inch Retina MacBook Pro, and you have a 2880x1800 display.

The resolution of 4KTV is 3840x2160.

I would be surprised if Apple didn't wait to release a TV until it could be more than "just" an overhauled AppleTV puck crammed into a 1080p display. It has to be more than a gorgeous aluminum and glass shell. I don't know why Apple would release less than a 4K television.

Apple is pushing all of its products toward the Retina ideal. No matter what unfounded "channel sources" tell some analyst who gets quoted in the Wall Street Journal, Apple's own product evolution patterns have proven time and again to be the best way to read their moves. Apple plots a very steady, concerted course, and that's visible in that for two straight years, we've gotten the same kind of dodge at All Things D from Tim Cook on TV. Frankly, we got almost the exact same rhetoric from Steve Jobs at D8, with some adjectives swapped. Based on their overt focus on "resolutionary" devices, I'm going under the assumption that the Apple "iTV" is a matter of when, and not if. They're massively bought-in with the display industry, and the TV is the one mass-market screen they don't make as of yet.

So, when do we get this fancy Apple television? Everyone, including Kara Swisher on stage, has been pulling a Veruca Salt and demanding it now. Since Apple talks like they're waiting on something, my assumption is that it's for 4K panel pricing to go down. That way, they can sell a TV at a price that people will actually pay. No matter what vestiges of the Apple Pricing Myth still exist, they won't put a TV on sale that costs $7k, no matter how pretty it is.

 

The Puck

The AppleTV, as it currently exists, could very well be what we have through the end of 2013. They may finally do a substantive overhaul of the OS. They may add more apps (channels). I hope they at least take a cue from Roku and add system-wide search. Maybe they'll rev the device again with a yet-faster processor.

The Xbox One and PlayStation 4 will both cost around $500 this fall. The Wii U is not likely to budge from $350. I got a hearty laugh this week from well-heeled game and media industry columnists who bent over backwards three times to explain how badly their tech-averse parents will be desperate to pay $500 for an expensive, aircraft carrier-sized bloatbox. For $350-500, my mother would much more likely get an iPad and, depending on the iPad model, an AppleTV, both of which she would actually use.

The sound logic for leaving the puck in play is that it's the actual TV's Trojan Horse, thanks to an extremely low cost of ownership. Even after the introduction of the full-on TV set, it turns any non-Apple TV into most of whatever that thing ends up being and doing. This disparity already exists traditionally in the Apple ecosystem, with the best example found in comparing the iPod touch and the iPhone.

The two devices are much closer in feature set and software support than ever before, but the iPhone is always king when it comes to internals, most prominently in the processor, RAM, and camera. The question then mutates into pondering what Apple will add to the AppleTV to make it more compelling, as well as what they will hold back for the actualt TV hardware.

 

Informed Outside Speculation

Let's start with a couple of things that Apple will not do.

Unlike Xbox One, there won't be some sort of ever-present, "always listening" system in a physical or functional form like the Kinect 2. That sort of surround-speaker-sized box would never get into (much less past) the concept design phase. The moment I saw that bit in Microsoft's keynote, I could instantly picture Phil Schiller's takedown: "the new AppleTV is only listening when you tell it to listen, and it won't track your heart rate, the number of people in the room, or whether you're in your underwear".

Tim Cook said himself that Apple is not in the content creation business, nor does it want to be. That's a smart move on Apple's part.

Indicative of what I think they will do on the TV side of things is the way in which Cook chose to answer a question regarding "new services" late in the interview. He indicated that Apple is more focused on finding more applications of existing services than they are in creating new niche services to see what sticks (like Google has). He made specific mention of Siri, FaceTime, and iTunes.

The AppleTV puck needs better navigation control than the gumstick remote it comes with currently. "Just get an iPod touch/iPhone/iPad" is not a solution to this. I don't see them going bulkier with something like Roku's RF-based, accelerometer-enabled Wiimote pseudo-ripoff...but maybe Apple will at least make a new RF-based remote that finally frees us from the tyranny of line-of-sight.

With that addition, AppleTV can have Siri, which would be activated by a button press and hold on the remote, just as on iDevices. The key is not having a remote that does not require line-of-sight. Siri has to "just work", right out of the box. System-wide search ("Siri, I want to watch The French Connection") should be part of that. Why else did they spend so much time working on and showing off Siri finding info about movies, actors, directors, and so on? Why stop at buying movie tickets? Why not build on this function in a different application?

There's no way the puck gets a FaceTime camera. People would have to attach it to the top of their TVs like the original iSights. The FaceTime camera will go right where it is on Apple's existing displays when they make the TV. Gesture control could theoretically be implemented, but it would be odd of Apple to require that the camera be on at all times. They actually care about privacy and design things around that, instead of constantly tying themselves in knots trying to look like they do (see Microsoft's last week of press).

 

The question mark for me is iTunes, and what "iTunes" continues to mean. Cook talked about it as this massive content ecosystem full of this and that, but functionally, it's a storefront.

Apple likes to throw around the buying power their users offer with record labels and studios. Apple would face anti-competitive inquiries if they fully blocked other storefronts from AppleTV, but they haven't opened the platform to very much paid video content outside of iTunes. Those few include Netflix, Hulu Plus, MLB, and NHL apps.

Amazon Instant is still missing from the AppleTV app list, even though it's on all other set-top app boxes. It presents the best cross-section of problems. Unlike Netflix and Hulu, there is "purchase and own" content in that Amazon service, which is protected by Amazon DRM. It would be inelegant if the Amazon Instant app for AppleTV lacked all of those purchase options (just like the iOS app does), only giving Amazon Prime users access to their free streaming content. Then again, "inelegant" has never stopped Amazon before.

Will we see Apple open up so that channel apps like Warner Archive Instant, Acorn, Crunchyroll, and others could pop up as they do on Roku, Blu-ray players, and so on? I don't see how they can avoid that, but they will do everything possible to delay that for as long as they can, and make sure that the interface defaults to driving people to spend money with iTunes. If there's any monopolistic thing Apple should be worried about, it's limiting which services you can buy or rent content from on their set-top service. Their saving grace on iOS has been the 70-30 split standard, which puts it on the vendor to choose whether to accept those terms.

By iTunes, did Cook also mean the App Store? Apple has admittedly never been serious about console-style, "real" games, but their iOS game developers already speak the language that the TV would. It would be interesting to see what they could come up with that isn't just an iPhone or iPad game over AirPlay. All three major console manufacturers have multiple things going against them in the indie developer space.

 

This is very much an open topic, and it won't be closed anytime soon. I'll revisit all of this after WWDC and E3.

Don't expect any direct TV talk at WWDC. See Jim Dalrymple's excellent summation of where your expectations should rest.

What you should pay attention to is the further convergence and interaction between iOS and OS X, which will take center stage. The design and UI choices found in both iOS7 and OS 10.9 will be especially indicative of however it is that Apple is actually thinking about TV. Remember, they've been working on this for years.

Culture On Demand: The Future of Hulu

This piece at Deadline is half informative, half pot-stirring.

When CEO and caretaker Jason Kilar left, that was a big sign of uncertainty and instability. This compounded concerns after rumors spread of News Corp and Disney possibly pulling out their 1/3 ownership stakes due to disagreements over the focus of the business (paid vs. free). The idea being that with them, their content would also go. Either or both would be a critical blow to Hulu.

Now, eight entities are actively bidding for the service, including an unnamed pay-cable channel. Wouldn't it be crazy (or great) if that turned out to be HBO? Amazon is nowhere to be seen. Some entries on list aren't terribly exciting:

KKR & Co.
Silver Lake Management with William Morris Endeavor
Guggenheim Digital
Time Warner Cable

The first three (SLM and WME bidding together) are private equity firms. They're odd fits or not likely to bid for the amount or package that it's speculated Hulu's board will go for, just as in the previous bidding process. Time Warner Cable is bidding to buy in an ownership stake, which is allegedly the opposite of the full buyout that Hulu's trio of stakeholders want.

On the very interesting side:

DirecTV

They have a very dedicated satellite TV customer base, but they want a piece of the streaming business. This could be a good asset for that, but only if they go with massive-scale thinking. My assumption is that they would want to use Hulu as an enhanced pipe that offers the content Hulu already has in addition to DirecTV's cable channel offerings. Content deals for "Hulu" would be lumped in with their existing negotiations, with the paid Hulu service effectively becoming the infrastructure of "DirecTV Instant".

For example, they could ditch DVR recording and shift to cloud-accessible files that don't need a hard drive or massive box like they do now. Instead, an XML file lets users pick up where they left off, wherever they log in. The bad news for existing users is that, in theory, the Hulu they know now might cease to exist, just like Blockbuster rental stores have.

On that note...DirecTV's ownership of the flagging Blockbuster service could piggyback into this, making a revised Hulu UI the unified DirecTV interface for cable subscription, clip videos, and VOD. There are so many options on the table, there's no solid way of knowing what DirecTV is thinking of for sure. If they're really in the game, they have to be thinking of something this big, rather than an acquisition that would leave Hulu largely untouched.

Chernin Group

Peter Chernin helped start Hulu by both bringing in capital partners and taking Jason Kilar's side every time that it mattered. I would be surprised if he weren't going for the whole thing, with an eye to run it in the successful way Kilar did. The open question then (and for any all-in buyers listed here) is how steep a price current Hulu owners Fox/Disney/Universal will ask for the content they are currently licensing to themselves after offloading Hulu itself.

Yahoo

This could be a great addition to Marissa Mayer's Yahoo-from-the-ashes campaign, in a mold that I would hope is different than the Tumblr acquisition. I'm not the only user who thinks that Hulu needs a big UI overhaul, across set-top devices and native apps alike.

Pushing all of Yahoo's exclusive video content to Hulu and leveraging Yahoo's existing advertising business feels like an excellent match. YouTube has an uphill battle in getting people to pay for anything, but Hulu has a multi-mixed model that encourages users to pay for Hulu Plus. Yahoo would then have a long-term model for their funding of original content that doesn't involve it getting lost in the glut of "anyone can upload" that is YouTube.

Yahoo-exclusive series like Electric City and Burning Love have been seen, but not as broadly as they could have been on a hybrid Ya-Hulu service. If I ended up coining that "Brangelina-ization", I hope someone credits me.

More interesting to me than all of that? Former CEO Kilar and former CTO Richard Tom have been recruiting for a new stealth startup in Los Angeles. Kilar's brilliant blog post about the future of TV still resonates:


Distributors will certainly play a role in the future of TV, but we believe that three potent forces will be far more powerful in shaping that future: consumers, advertisers and content owners.

Consumers have spoken emphatically as to what they want and what they do not want in their future television experience. What we’ve heard:

* Traditional TV has too many ads. Users have demonstrated that they will go to great lengths to avoid the advertising load that traditional TV places upon them. Setting aside sports and other live event programming, consumers are increasingly moving to on-demand viewing, in part because of the lighter ad load (achieved via ad-skipping DVRs, traditional video on demand systems, and/or online viewing).
* Consumers want TV to be more convenient for them. People want programs to start at a time that is convenient for their schedules, not at a time dictated to them. Consumption of original TV episodes will eventually mirror theatrical movie attendance: big opening Friday nights, but more consumption will be in the days and weeks afterward. Consumers also want the freedom to be able to watch TV on whatever screen is most convenient for them, be it a smartphone, a tablet, a PC, or, yes, a TV.
* Consumers are demonstrating that they are the greatest marketing force a good television show or movie could ever have, given the powerful social media tools at consumers’ disposal. Consumers now also have the power to immediately tank a bad series, given how fast and broad consumer sentiment is disseminated. This is nothing short of a game-changer for content creators, owners, and distributors.

The "MOVIES!" Network: Now Broadcasting Over-the-Air

Yesterday morning, a new movie network appeared over-the-air as a sub-channel to Fox-owned stations across the US. It's called "MOVIES!", and it's on the air 24 hours a day. My wife stumbled across it this evening just as Mel Brooks' High Anxiety started. The next movie on? Silent Movie. This sounds terrific, but I've a few caveats before you start thinking it's the best thing ever. The good news is that I find it's a great addition to the wide-open sub-channel space, and is bound to improve over time in areas where it's lacking at launch.

From the Blu-ray of An Affair to Remember

MOVIES! is SD-only, and there are some really gross picture artifacting issues that arise regularly. When Mel Brooks runs from pidgeons in High Anxiety, everything goes all blocky. This isn't a result of reception issues, but rather, broadcast signal strength.

It's "free" over-the-air broadcasting, but some boosted signal will improve the likelihood that people will stick with it. I don't expect that most are massive picture quality obsessives like me, but crap looks like crap looks like crap.

The channel is commercial-supported, but thankfully, the ads are not so frequent nor lengthy that they defeat my interest in watching a movie on TV that I have in much higher quality on the shelf. The feeling of the program flow is like the old days of weekend afternoon movies, which I like very much. This is in part thanks to ads like the ones for new-fangled catheters (hosted by Chuck Woolery) or AAG insurance (hosted by a goateed Senator Fred Thompson).

The programming is pretty diverse, with a regular patch of westerns and/or detective stories around the middle of the day. Each evening looks like a double feature followed by an encore of said pairing, with a late-night movie after. Tonight's is Anastasia and An Affair to Remember. The next day is The Star Chamber (starring Michael Douglas, and just out on Blu-ray) and The Sicilian Clan with Alain Delon. Others coming up over the next week include Capone (1975) and Roger Corman's The St. Valentine's Day Massacre, and a Mansfield to Day/Hudson double bill in The Girl Can't Help It and Do Not Disturb.

Then on June 1, something goofy happens. They start doing some syndicated TV crap from 10am-1pm, with movies the rest of the day. Most people including myself are working at that time anyway, but it's odd. The calendar only goes through June 2nd, so who knows what they plan after that point.

What is on there reflects some actual programming acumen, rather than throwing darts at DVDs tacked on a wall.

On the business side of things, the channel is run by the people of Weigel Broadcasting out of Illinois, who added dedicated MOVIES! execs earlier in May. The channel exists thanks to a deal with owned and operated Fox Television Stations. The content pool they're drawing from includes the entire 20th Century Fox back catalog. If the channel is successful, it could expand to more markets where Fox owns and operates affiliates. I would speculate it would also be offered to non-O&O Fox stations at some point, too.

 

In a media landscape full of expectations and prognostications about TV apps, omnivorous mega-boxes, and "smart" TV, something like MOVIES! might seem quaint or out of place, but I think it is quite the opposite. Whether something like this translates to the theoretical "TV app" future sooner or later, I think it's inevitable. The owners of these massive content libraries are smart to start using them to bring in revenue by actually getting the content dusted off and out of the vaults. That isn't to say that content deals with Netflix and Hulu are dead, but this is a good example of content owners leveraging the considerable arsenals they have under much more direct self-control, but with a layer of generic, unfettered branding.

I know at a glance that all the movies are Fox, but the un-branded naming of MOVIES! coupled with varied types of content prevent a reflexive reaction to whatever the word "Fox" means to anyone. I'll be interested to see what's on after next week.

XBox One and the Extinction of "Old" Console Gaming

I have a whole lot to say about where everyone is placing their battleships, and this is just a bit that I've been thinking about since the XBox One announcement. I want to resist any comment until after E3, but I'm not convinced a lot of this will change, so here goes.

Microsoft is obsessed with this new one being the "one box to rule them all", the way they're pitching it. Their keynote was fuill of "TV" this and that. Their pitch is not so fundamentally and functionally different than that of the PlayStation 4. Microsoft's edge is theoretically in console-exclusive content.

They've been easier to develop for since the beginning of the past generation, too, which helps...but indies are leaving them in droves since XBox 360 XBLA games won't work on the new rig, which is sheer insanity on their part. You're telling me their beast-like new console can't run an emulator runtime so you can play Super Meat Boy? Why kneecap the biggest opportunity for new user adoption in a space where you're already leading?

The move to curb used game sales is not a surprise, and isn't something consumers can do much about if they choose the XBox One as the box in their house.

That's a big "if", and not because hardcore gamers are screaming about used games, nor because it isn't backward compatible.

The true test to how complacent and fully owned their current and future audience is will come in users' acceptance that the new XBox Kinect is "always listening":

In response to a question about whether that functionality means that Kinect is always on, Link said that Kinect is always listening, but in a limited capacity. It also helps ensure developers can count on the peripheral, he said.

"The Kinect has a variety of settings," he said. "You know, it's always available to the system, so ... you can count, as an application developer or a game developer, [that] everyone's going to have a Kinect. You always have that stream available. And then, you know, there are settings, obviously, in the console to be able to change the settings of how your Kinect is used, if you're interested."

The always-on functionality even when the console is powered down comes courtesy of "multiple power states," he said. At its lowest setting, which Microsoft refers to as "wake on voice," the peripheral is "listening" for specific commands.

That creeps the hell out of me, and means I won't have one in the house.

Die-hard Halo fans (along with other XBox-only titles) may very well accept XBox Big Brother One because "that's where Halo is". I desperately want this to be Topic One for this weekend's Critical Path #86.

Oh yeah, Spielberg is doing a live-action Halo TV showthat XBox Live users get some sort of exclusivity on in a way that hasn't been 100% confirmed.

Tsujihara and "Forward-Thinking" at WB

Time Warner CEO Jeff Bewkes has been rightfully shoring up support last week behind new Warner Bros. CEO Kevin Tsujihara, who was elevated from being chief of the studio's home entertainment division. According to George Feltenstein in last week's episode of Screen Time, Tsujihara is the reason that Warner Archive exists in the first place.

Just yesterday, in a separate piece form Home Media Magazine, Tsujihara consolidated and reorganized roles within home entertainment such that video games fall under the same umbrella as movies and TV, and that they also support DC Entertainment in some vague manner. Huh.

In the same breath, Tsujihara created a new Chief Digital Officer position to be held by Thomas Gewecke:

Gewecke, previously president, Warner Bros. Digital Distribution, is responsible for driving the studio’s worldwide digital growth and managing its global business strategy. He will further be charged with coordinating the company’s various digital distribution strategies across all current and emerging digital exhibition platforms, including direct-to-consumer, business development and Flixster groups. SVOD and TVOD functions will continue to be managed by the television and home entertainment groups. Gewecke also reports directly to Tsujihara.

“The digital revolution continues to change every aspect of the way we do business, and this strategic realignment will help us address those changes to better deliver our world-class content to the widest array of consumers across the globe,” Tsujihara said in a statement.

Bold, smart moves. "Flixster" is code for "Ultraviolet", a digital locker "solution" that needs some solutions of its own.

Screen Time #35 WatchList: Movies Are Not Screwdrivers

Warner Archive's George Feltenstein and I talked about their month-old Warner Archive Instant (WAI) service, misreporting on the internet (ahem), and a ton of great rare and hard-to-find movies and TV shows from Warner Archive Collection (WAC).

The following movies and TV shows were discussed or mentioned during episode 35 of Screen Time, "Movies Are Not Screwdrivers". Almost every single one of these can be found on Warner Archive Instant, which US readers/listeners can try free for two weeks.

The embedded YouTube trailers are almost all user-uploaded versions and don't reflect the (exponentially higher) actual product. Where possible, I used Warner's own clips or trailers from YouTube. The individual WAI pages for each title feature much better trailers in most cases.

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