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Since Fall 2013, I have been working with a vibrant startup to redefine internet-based television. I stepped in as the lead creative and senior UX designer for PlayOn.tv, a Seattle-based company that delivers shows and movies, and aggregates popular streaming platforms like Netflix, Hulu, and Amazon Instant straight to users. PlayOn allows users to stream, cast, and record any media content found on the internet, enabling them to record entire seasons of their favorite shows to watch on any device, at any time. Similar to Pandora or Spotify, users can subscribe to PlayOn on a yearly basis, eliminating the need for cable. When I joined in 2013, PlayOn had already been around for nearly a decade with several million downloads of their desktop and mobile apps. Despite this growth, the company aimed to elevate its suite of applications. The existing interface was bland, non-engaging, and displayed a dynamic feature set in a discordant manner, making the product seem unfriendly, unintuitive, and overly complex. Simplification was needed. PlayOn's desktop application circa 2013: Overwhelmingly complex at times, and at other times, empty and un-engaging. I began by identifying user needs and current problems with the existing UI. I sent out a survey to all existing PlayOn users, receiving responses from about 7,000 people. The 30-question survey largely ignored the current application UI, as the PlayOn team sought fresh insights and a new approach. Questions focused on users’ daily TV watching habits: Do they watch mostly movies or television shows? Live news, sports, or series? When they come home after work, do they prefer to browse passively for recommendations or do they have a specific show or series in mind? I also sought feedback on ideas that didn’t exist yet, such as: Subscriptions that auto-download favorite shows Dynamic folder management Integrated support features Ease of management for videos in the record queue Quickly transferring shows to an iPad Other questions aimed to understand the “ideal user’s” TV environment: Do they watch shows in the living room? If so, what color are the walls? What is the lighting level? How large is the average TV display? Do they watch in bed? How often would they want to watch multiple episodes consecutively? After receiving thousands of responses, with many users providing detailed messages about their viewing habits, I gained a better understanding of our audience: younger to middle-aged professionals who preferred a family room-TV experience but watched most of their television and movies via streaming platforms instead of cable. They desired a more mobile-friendly experience with better casting and intuitive browsing, similar to other platforms. The new UI we developed didn't just focus on making the experience more beautiful and user-friendly; it also evolved the product in terms of what it offered.

YouTube's competition is NOT TikTok or Instagram. It's Netflix, Hulu and MAX. According to Nielsen's reporting, U.S. households are streaming YouTube on their televisions more frequently than legacy streaming platforms (YouTube landed at just over 9% in May of 2024, with Netflix landing in second place at 7%). YouTube is not shying away from this metric, either. They announced at Made on YouTube earlier this year that they are going to allow creators to organize their videos into seasonal, episodic content. A step up from playlists. This will encourage users to binge content from their favorite creators on their T.V. similarly to how one might binge a season of "Love is Blind" or "House of the Dragons". Could the priorization of television content mark a pendulum swing back towards high-quality, horizontal content over lo-fi, vertical content that was popularized with the rise of TikTok? I think both will exist at the same time. But the creators who break through on a more mainstream level will be the ones who prioritize appearing on a television with higher-quality, episodic content over quick, short-form. I always say: "The shorter the video, the shorter the audience remembers it for." Not sure the grammar checks out there, but you catch my drift. I predict we will see YouTube push for a creator to be nominated for an Emmy in the next few years, as a way to legitimatize themselves in the eyes of the legacy television world. This isn't far off, either. Creator Tabitha Brown won an Emmy for her children's show she launched on YouTube a few years ago. I wrote more about the potential shift back towards horizontal video and what YouTube might be looking for in the next generation of creators they hand-pick to push out on their feeds to millions in today's trend report on my Substack: https://lnkd.in/g6hE2T8E As always, let me know your thoughts below ⬇️ And you can listen to my marketing podcast, "Ahead of the Curve with Coco Mocoe", for more pop culture and marketing deep dives!

I was reading Dan Barrett's "Always Be Watching" Newsletter discussing the changing viewing habits of audiences in light of The Acolyte’s recent cancellation. I often hear from fellow filmmakers that viewers have shorter and shorter attention spans (an argument not without merits), but my experiences interacting with audiences online have me pondering this... if anything they'll invest more time into something they love. For example, KDramas have notoriously long episodes (usually 1 hour, often longer) and there's no denying their popularity. KDrama marketers lean into online audiences with their marketing. There's an entire YouTube channel dedicated to realising KDramas on Netflix: https://lnkd.in/gyV9yz2T From the newsletter: "In TV, clearly the definition of quality is changing for a significant number of consumers, especially younger consumers, some of the time. While many media executives still define “quality” TV as something like the kind of prestige series you’d find on HBO—high production values, household-name stars and showrunners, great writing, etc.—social video has introduced all sorts of new attributes, like authenticity, relatability, relevance to my sub-community, discoverability, social currency, digestibility, being educational, time-to-surprise/shock/laugh, etc. This is not to say that the old markers of value no longer matter, just that they matter less or less often." "YouTube made up nearly 10% of all viewership on connected and traditional TVs in the U.S. in May, according to Nielsen. Netflix ranked second, claiming 7.6% of viewership. “We’re not talking about your mobile phone, your laptop ... but on the biggest screen in the house, the TV,” said LightShed media analyst Rich Greenfield. “Every [media] executive has to be paying attention.”" https://lnkd.in/gErXZHJm How are some shows effectively utilising YouTube and social media (rather than treating it like the enemy)? The German series MAXTON HALL became Prime Video’s most-watched International Original Series back in June. To reward viewers (and possibly invite in even more) they released the first episode for free on YouTube for 2 weeks. Shows like THE SUMMER I TURNED PRETTY use TikTok the way it should be used... not with constant "produced" content but unfiltered phone footage of their cast just feeding into trends suitable to that platform. tvN in South Korea creates special broadcasts celebrating successful shows and makes sure to include footage of fans reacting to the series... I know because I was one of those fans and I freaking loved it, even though it's a broadcaster I can't watch in my own country, yet they included me -- some random aussie -- in their show. Pathways to audiences are changing and how we think about this right from development is so important... it's even more important when your story has a message that needs to be heard.

I found this to be a very interesting article when you consider the impact of YouTube on modern society and culture, as well as entertainment and advertising. Are we going down a path of creator content on platforms like YouTube replacing traditional VOD programming, which in turn replaced cable/digital satellite TV programming, which in turn replaced radio programming, as the most widely consumed content with the largest audience? They used Good Mythical Morning as an example of a YouTube channel with an exceptionally high production standard for a YT channel, and I agree with them. I can mention other channels that also have high production values, so they stand as evidence of what can be achieved with a big enough budget on a platform that anyone can use! This also leads into the idea that if a brand aligns itself with a certain content creator, which currently happens of course, will the brand not receive additional exposure if that creator is featured in an award ceremony, or even better, receives an award? #digitalmarketing #youtube #contentcreators #iskapedigital

Draft Reel Script Dialogue Are you looking for great entertainment and valuable information? Then you need to check out Sparkx TV, streaming exclusively on Roku. Whether you're a small business professional or just looking for some quality content, Sparkx TV has something for everyone. And the best part? Subscribing is only $24.99 a year! That's right, for less than the cost of a single dinner out, you get 365 days of incredible content. Ever wanted to explore new business ideas? Our platform features insightful stories and tips from professionals just like you. Have kids? Don't worry, we’ve got you covered with our Kids Corner, full of fun and educational programs. Are you a music lover? Dive into our Music Video Section for the latest hits and classics. But that's not all! We’re launching Free Online Radio soon, adding another layer of awesome to your subscription. Ready to make smarter financial decisions? Wealth Wise and Advantage TV are our free channels that offer practical advice and strategies. Imagine having all this amazing content right at your fingertips for just $24.99 a year. And don’t forget, we have tons of free content available too! So, what are you waiting for? Subscribe today and start exploring a world of entertainment and information. Remember, you can enjoy all this and more, only on Roku. Let's make your viewing experience better than ever. Sparkx TV is here to bring you the best. Subscribe now, and thank you for watching! We appreciate your support. Catch all this content and more, only on Sparkx TV. Don't miss out, subscribe today! Ideas for Visuals Opening with an exciting montage of various shows and clips available on Sparkx TV. Quick cuts to testimonials from small business professionals. Shots of kids enjoying educational content from the Kids Corner. Clips from popular music videos available in the Music Video Section. A sneak peek animation for the upcoming Free Online Radio feature. Snippets from Wealth Wise and Advantage TV offering valuable advice. A dynamic graphic showing "Subscribe Now only $24.99 a year" flashing on the screen. Closing with a call to action, showing how easy it is to subscribe via Roku. Ideas for Captions "Unlock endless entertainment and valuable information with Sparkx TV - Only $24.99/year!" "From business tips to kids' education, Sparkx TV has it all. Subscribe today!" "Enjoy free content and exclusive shows, only on Sparkx TV. Subscribe now!" "Your one-stop for great content. Sparkx TV on Roku - Subscribe for just $24.99/year." "Thank you for watching and supporting Sparkx TV. Subscribe today for more amazing content!" Image options

“Non-additive Hours: You were browsing Netflix and landed on Love is Blind. You think, "Why not?" and watch it. You'd spend time on Netflix regardless and subscribe for another month even without this show. Incremental Hours: You sign up for Netflix specifically to watch Love is Blind and keep renewing your subscription because of it. Without Love is Blind, you wouldn't pay for Netflix.” This article got me thinking about the impact of shows on subscriber retention. For example, how many new and retained subscribers does a show like Fallout bring in the long run? I watched three episodes of Fallout (similar to The Wizard of Oz) and found it to be a typical second-screen show, suited for viewers who use their mobile phones or enjoy playing games simultaneously. Fallout felt childish, aimed at kids and those with a childlike perspective. While such shows may attract subscribers and retain those who might have otherwise canceled in the short term, the real question is how long they can maintain this retention. I believe that a robust slate of prestige shows encourages long-term subscriptions. Programming for diverse tastes is challenging. As Ted Sarandos mentioned in The New York Times, prestige shows are boutique businesses. While he’s probably right, I think catering to viewers who seek easy entertainment and use shows as background noise can be costly for streamers. These viewers don’t truly love films and storytelling; they treat content as a backdrop, easily replaceable by YouTube videos, podcasts, or Spotify. These viewers are like people who, when asked about their music preferences, say, “I don’t know, basically everything, or whatever’s on the radio.” They don’t value or love music deeply. The same applies to those who watch movies and TV shows designed for second-screen purposes. They don’t appreciate quality storytelling; they just want easy entertainment. With so many other entertainment options available, is it wise to chase after these viewers? Fallout is a good example of an IP that attracts attention. Similarly, the Road House remake made waves due to its famous IP but fell short in execution. Targeting UFC fans was smart, and a cameo from Conor McGregor could have been sufficient, but his acting skills unfortunately detracted from the film’s quality. The heavy CGI and testosterone-driven plot further undermined its appeal. Despite being a remake of a classic, its flaws were evident. If the studio considers this a success, they should rethink their strategy. Success isn’t just about viewership; it’s also about quality and audience satisfaction. I hope the next Road House movie will be much better. Prime Video & Amazon MGM Studios and Hello Sunshine created “Daisy Jones & The Six,” which I recently watched and thoroughly enjoyed. The writing, storytelling, and acting were all exceptional and believable. We need more of this kind of quality in the industry. #StreamingServices #ViewerEngagement #IndustryInsights Stat Significant

From FC: Four years after Quibi’s $1.75 billion crashout, its successors are flying high.   Apps like DramaBox and ReelShort are betting on short-form. They present feature-length #films, diced into consumable minutes-long bites akin to a TikTok. The more clips you want to see, the more you’ll have to pay. And it’s worked: Both apps report over $20 million in revenue from in-app purchases, and have climbed the charts above #entertainment stalwarts like Hulu and Amazon Prime Video. In January, The New York Times asked: “Minute-Long Soap Operas Are Here. Is America Ready?” The consumer response has proven it is. Short-form apps now often rank above legacy streamers, and make tens of millions in revenue from in-app purchases. Thanks to some savvy ad placements, they just keep growing. At first glance, these apps look a lot like TikTok. Their clips are often around one minute long, viewed in vertical mode on your phone. To get from one clip to the next, you swipe up, replicating TikTok’s infinite scroll. But TikTok’s algorithmic feed makes multi-part content challenging. There’s no guarantee that your audience will give that profile bubble a click, finding the adjoining videos. That’s where these short-form streamers differ, making a singular feed for each film-like plot. At the top of the industry, ReelShort and DramaBox jostle for first place. The duo are almost exactly equal for in-app purchase revenue, each collecting a combined $28 million across iOS and Google, per Appfigures. But DramaBox crushes ReelShort in app store rankings. In the Apple App Store, DramaBox ranks 9th to ReelShort’s 15th, above Peacock and Hulu. In Google Play, DramaBox leads the market in third place, ahead of #streaming juggernaut Netflix. ReelShort lags in 23rd. There’s something irreconcilably cheesy about these apps, making it difficult to take them seriously against the bigger streamers. But, with shrinking attention spans and minimized interest in prestige television, maybe these apps are #Hollywood’s next big product. DramaBox and ReelShort aren’t the first short-form experimenters. That title belongs to Quibi, Jeffrey Katzenberg’s 2018 #media experiment. Katzenberg collected $1.75 billion from investors to prop up his streamer, before dissolving in 2020 and selling off its library to Roku for less than $100 million. There are several reasons why these streamers have succeeded where Quibi couldn’t. Quibi went for prestige, pumping out shows with Anna Kendrick and LeBron James. ReelShort leans more into larger-than-life romances and thrillers. Quibi also embraced the traditional subscription model, charging $8/month with a brief free trial. Compare that to DramaBox, which offers twelve free episodes before offering a pay-per-view model, profiting on sheer human impatience. 

https://lnkd.in/dgWDUw7x Introduction: In the ever-expanding realm of streaming platforms, finding the right fit can be a daunting task. However, for anime enthusiasts, Kokoa TV emerges as a promising contender. In this blog post, we'll delve into the features, subscription plans, and user experience that make Kokoa TV a standout choice for anime lovers. Features: Extensive Anime Library: Kokoa TV boasts a vast collection of anime titles, ranging from classic series to the latest releases. With thousands of episodes available, there's always something new to discover. Exclusive Content: One of Kokoa TV's standout features is its exclusive content, including simulcasts and original series not available on other platforms. Subscribers can enjoy access to fresh, high-quality anime straight from Japan. Personalized Recommendations: Kokoa TV's recommendation engine analyzes user preferences and viewing habits to provide personalized suggestions tailored to each individual's tastes. This feature helps users discover new shows they're likely to enjoy. Ad-Free Experience: Say goodbye to interruptions and enjoy uninterrupted streaming with Kokoa TV's ad-free experience. Subscribers can immerse themselves in their favorite anime without distractions. Multi-Device Support: Whether you're at home or on the go, Kokoa TV offers multi-device support, allowing users to access their favorite anime content across various devices, including smartphones, tablets, smart TVs, and gaming consoles. Subscription Plans: Free Plan: Kokoa TV offers a free plan with limited access to content and features. Users can explore a selection of anime titles and basic features without a subscription fee. Premium Plan: For unlimited access to Kokoa TV's full library of anime content, users can upgrade to the premium plan. This subscription tier offers exclusive content, personalized recommendations, ad-free streaming, and multi-device support. Family Plan: Kokoa TV also offers a family plan option, allowing multiple users to share a single subscription account. With the family plan, users can create separate profiles for each family member and enjoy personalized recommendations tailored to their individual preferences. User Experience: Intuitive Interface: Kokoa TV's user-friendly interface makes navigating the platform a breeze. With easy-to-use menus and intuitive search functionality, users can quickly find and access their favorite anime titles. Seamless Streaming: Kokoa TV provides a seamless streaming experience with fast loading times and high-quality video playback. Users can enjoy their favorite anime in crisp, clear resolution without buffering or lag. Community Engagement: Kokoa TV fosters a sense of community among anime fans with features such as forums, fan clubs, and virtual watch parties. Users can connect with like-minded individuals, discuss their favorite shows, and participate in community events.