So, you’ve seen every film in the Nightmare on Elm Street franchise – but have you seen every episode of the anthology TV series Freddy’s Nightmares? Night of the Living Tapes author Geoff Turner, filmmaker Henrique Couto, and Couto’s frequent collaborator David Denoyer have, and now they’ve put together a book called Welcome to Primetime: The Unofficial Freddy’s Nightmare Companion! Copies are available for pre-order through Death Cult Press and are expected to ship out the week of April 1st.
Freddy’s Nightmares ran for two seasons, from 1988 to 1990, with a total of 44 episodes. Robert Englund appeared in full Freddy Krueger mode in every episode of the show, in which Freddy, the dream serial killer, hosts an anthology of stories set in Springwood.
Directors who contributed to Freddy’s Nightmares include Tobe Hooper, Mick Garris, Tom McLoughlin, Ken Wiederhorn, William Malone, Gilbert Adler, and Dwight H. Little, and one...
Freddy’s Nightmares ran for two seasons, from 1988 to 1990, with a total of 44 episodes. Robert Englund appeared in full Freddy Krueger mode in every episode of the show, in which Freddy, the dream serial killer, hosts an anthology of stories set in Springwood.
Directors who contributed to Freddy’s Nightmares include Tobe Hooper, Mick Garris, Tom McLoughlin, Ken Wiederhorn, William Malone, Gilbert Adler, and Dwight H. Little, and one...
- 3/6/2024
- by Cody Hamman
- JoBlo.com
“The Asia Pacific video industry continues to experience a secular shift from TV to online in terms of engagement and monetization,” highlighted a report released by research and analysis company Media Partners Asia Research Services (MPA) on Wednesday. Among the key data points, the firm estimated that the video industry in the region grew by 5.5 percent in 2023 to hit $145 billion in revenue, driven by a 13 percent jump in “online video sector sales to $57 billion, partially offset by less than 1 percent growth in the TV revenue pie to $98 billion.”
The report analyzed free-to-air TV, pay TV, subscription VOD, premium advertising VOD and user-generated content (Ugc)/social video advertising in 14 Asia Pacific markets.
“China remains the largest and most regulated video market, generating $64 billion in revenue in 2023,” it found. “Ex-China, the largest markets in 2023 are Japan ($32 billion), India ($13 billion), Korea ($12 billion) and Australia ($9.5 billion) followed by Taiwan and Indonesia, both at around $3 billion.
The report analyzed free-to-air TV, pay TV, subscription VOD, premium advertising VOD and user-generated content (Ugc)/social video advertising in 14 Asia Pacific markets.
“China remains the largest and most regulated video market, generating $64 billion in revenue in 2023,” it found. “Ex-China, the largest markets in 2023 are Japan ($32 billion), India ($13 billion), Korea ($12 billion) and Australia ($9.5 billion) followed by Taiwan and Indonesia, both at around $3 billion.
- 1/3/2024
- by Georg Szalai
- The Hollywood Reporter - Movie News
The Asia Pacific region is seen as one of the key drivers for growth in the global streaming industry, but is still feeling the squeeze as investment spirals and cost conscious consumers cut back on subscription spend.
Speakers at this year’s Apos conference looked at strategies to increase profitability in the pandemic hangover era, including aggregation, introducing ads, forming partnerships and rationalizing sky-high content costs.
In a first day session, Kelly Day, Amazon Prime Video VP International, said that a combination of original content and aggregated channels, delivered through a single app and billing relationship, was key to driving usage in an era where customers face overwhelming choices and “we’re starting to see a little bit of subscription fatigue”.
“At Prime Video we’re focused on delivering great selection – and that can come from our original SVOD content and sports. But it’s also increasingly coming from our partners – services like Paramount+,...
Speakers at this year’s Apos conference looked at strategies to increase profitability in the pandemic hangover era, including aggregation, introducing ads, forming partnerships and rationalizing sky-high content costs.
In a first day session, Kelly Day, Amazon Prime Video VP International, said that a combination of original content and aggregated channels, delivered through a single app and billing relationship, was key to driving usage in an era where customers face overwhelming choices and “we’re starting to see a little bit of subscription fatigue”.
“At Prime Video we’re focused on delivering great selection – and that can come from our original SVOD content and sports. But it’s also increasingly coming from our partners – services like Paramount+,...
- 9/28/2023
- by Liz Shackleton
- Deadline Film + TV
The Indian media landscape has been jolted by two largely expected, but nevertheless seismic, events in recent days — and aftershocks look inevitable.
The proposed merger between local powerhouse Zee Entertainment Enterprises and Sony’s Indian TV businesses has been nearly two years in the making, but finally cleared a key regulatory hurdle on Thursday. The combined companies have the potential to create a giant in broadcast TV — a sector that is still paramount in India — and are valued at $10 billion.
Last week’s other tremblor was news from Burbank that Disney+ Hotstar, India’s streaming market leader, had lost 12.5 million subscribers, following the loss of key sports rights to a competitor. While no surprise, the news confirmed that the Indian streaming market remains a difficult environment to achieve both scale and profitability.
The Sony-Zee merger is not final yet. India’s National Company Law Tribunal (Nclt) approved the merger last week,...
The proposed merger between local powerhouse Zee Entertainment Enterprises and Sony’s Indian TV businesses has been nearly two years in the making, but finally cleared a key regulatory hurdle on Thursday. The combined companies have the potential to create a giant in broadcast TV — a sector that is still paramount in India — and are valued at $10 billion.
Last week’s other tremblor was news from Burbank that Disney+ Hotstar, India’s streaming market leader, had lost 12.5 million subscribers, following the loss of key sports rights to a competitor. While no surprise, the news confirmed that the Indian streaming market remains a difficult environment to achieve both scale and profitability.
The Sony-Zee merger is not final yet. India’s National Company Law Tribunal (Nclt) approved the merger last week,...
- 8/14/2023
- by Naman Ramachandran and Patrick Frater
- Variety Film + TV
‘Amityville: No Escape’ – This Found Footage Installment Is Only Half Successful [The Amityville IP]
Twice a month Joe Lipsett will dissect a new Amityville Horror film to explore how the “franchise” has evolved in increasingly ludicrous directions. This is “The Amityville IP.”
The found footage entries in the Amityville series have been hit and miss. The Amityville Haunting featured a few innovative uses of the format, but the minuscule budget and bad acting hampered its potential. Amityville: Vanishing Point was unable to screen in Canada, though it, too, looked very cheap. The seventeenth film in the “franchise,” Amityville: No Escape, adopts two different strategies for its use of found footage.
Co-written by actor Ira Gansler (he plays the Woodsman), as well as director Henrique Couto, the film opens with cards explaining how the content of the film came to be. The video was cut by the District Attorney’s Office in Suffolk County to “contextualize the inauspicious events that took place on April 15th,...
The found footage entries in the Amityville series have been hit and miss. The Amityville Haunting featured a few innovative uses of the format, but the minuscule budget and bad acting hampered its potential. Amityville: Vanishing Point was unable to screen in Canada, though it, too, looked very cheap. The seventeenth film in the “franchise,” Amityville: No Escape, adopts two different strategies for its use of found footage.
Co-written by actor Ira Gansler (he plays the Woodsman), as well as director Henrique Couto, the film opens with cards explaining how the content of the film came to be. The video was cut by the District Attorney’s Office in Suffolk County to “contextualize the inauspicious events that took place on April 15th,...
- 6/6/2023
- by Joe Lipsett
- bloody-disgusting.com
Global streaming operation Netflix is forecast to spend $1.9 billion on local content in the Asia-Pacific region this year as group revenue from the region accelerates to 12%, according to a new report. The content investment spending figure represents a 15% hike.
Netflix will grow revenues this year by 12% year-on-year to exceed $4 billion compared with 9% growth in 2022, says a new report published on Monday by Media Partners Asia.
According to the Singapore-based research and analysis firm, Netflix’s revenue growth in 2023 will benefit from: a rebound in the lucrative but saturated Australia market, where Netflix’s performance will be gradually bolstered by advertising growth; robust levels of growth in Japan and South Korea, which generate high per user revenues; and material gains and contributions from India, Indonesia, Philippines and Thailand.
“The ad tier has seen a slow start in the three Apac markets. Australia is expected to see greater momentum through 2023, helping boost...
Netflix will grow revenues this year by 12% year-on-year to exceed $4 billion compared with 9% growth in 2022, says a new report published on Monday by Media Partners Asia.
According to the Singapore-based research and analysis firm, Netflix’s revenue growth in 2023 will benefit from: a rebound in the lucrative but saturated Australia market, where Netflix’s performance will be gradually bolstered by advertising growth; robust levels of growth in Japan and South Korea, which generate high per user revenues; and material gains and contributions from India, Indonesia, Philippines and Thailand.
“The ad tier has seen a slow start in the three Apac markets. Australia is expected to see greater momentum through 2023, helping boost...
- 3/6/2023
- by Patrick Frater
- Variety Film + TV
Netflix is forecasted to grow its revenue in the Asia-Pacific region by 12 percent in 2023, hitting $4 billion, according to a new report from regional research and analysis firm Media Partners Asia. Performance in Asia’s major economies and population centers has become a vital metric for Netflix as subscriber growth and revenue per user has largely plateaued in North America and Western Europe.
The growth rate forecasted by MPA would represent a sizable uptick from Netflix’s 2022 Apac revenue increase of 9 percent. The research firm also projects that Netflix’s local content spending in the region will reach $1.9 billion, representing 47 percent of revenues.
Media Partners Asia’s analysts see three primary factors driving the gains in the East: A rebound in the lucrative but saturated Australia market, where Netflix’s recently launched ad-supported subscription tier will gradually bolster sales; robust levels of growth in the developed East Asian markets of Japan and Korea,...
The growth rate forecasted by MPA would represent a sizable uptick from Netflix’s 2022 Apac revenue increase of 9 percent. The research firm also projects that Netflix’s local content spending in the region will reach $1.9 billion, representing 47 percent of revenues.
Media Partners Asia’s analysts see three primary factors driving the gains in the East: A rebound in the lucrative but saturated Australia market, where Netflix’s recently launched ad-supported subscription tier will gradually bolster sales; robust levels of growth in the developed East Asian markets of Japan and Korea,...
- 3/6/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Prolific indie filmmaker Henrique Couto, who credits include Boggy Creek: The Series, Babysitter Massacre, and several Christmas-themed horror shorts we’ve shared over the years, has now brought us Found Footage: The Series, which just arrived on the Tubi streaming service. (You can watch the series for free at This Link.) The first season of this found footage horror anthology series consists of eight episodes from six different directors.
The series has the following synopsis: Take an analog journey to Hell. Press play if you dare as you experience tales of horror, murder, and monsters! In the tradition of Creepshow and Paranormal Activity comes a new dimension in terror!
Couto was one of the directors who worked on Found Footage: The Series. Other contributors include Dan Wilder (Babysitter Massacre: Heavy Metal), newcomers Tim Castle and Joe Solmo, Jb Sapienza (My Name Is Jonah), and Eric Widing (Primordial). Episodes were written by Wilder,...
The series has the following synopsis: Take an analog journey to Hell. Press play if you dare as you experience tales of horror, murder, and monsters! In the tradition of Creepshow and Paranormal Activity comes a new dimension in terror!
Couto was one of the directors who worked on Found Footage: The Series. Other contributors include Dan Wilder (Babysitter Massacre: Heavy Metal), newcomers Tim Castle and Joe Solmo, Jb Sapienza (My Name Is Jonah), and Eric Widing (Primordial). Episodes were written by Wilder,...
- 2/17/2023
- by Cody Hamman
- JoBlo.com
The annual marquee event of the Asian video industry, the Asia Video Summit, returned in full swing, hosting over 300 delegates in person and online as a hybrid conference, amidst a time of immense innovation and disruption in the video industry.
The Summit opened with clear views from industry stalwarts, Henry Tan, Group CEO, Astro, Clement Schwebig, Chairman, Asia Video Industry Association (Avia), and Vivek Couto, Executive Director, Media Partners Asia, that a return to profitability and a focus on revenue was much needed for sustained growth across Asia. Though Asia was a huge but diverse and difficult market, there was no doubt certain markets will continue to grow, said Couto. However, disruption was going to continue for the next few years, added Tan, and all players had to be prepared for a rollercoaster ride.
James Gibbons, President & Managing Director, Western Pacific, Warner Bros. Discovery, also shared his views on the...
The Summit opened with clear views from industry stalwarts, Henry Tan, Group CEO, Astro, Clement Schwebig, Chairman, Asia Video Industry Association (Avia), and Vivek Couto, Executive Director, Media Partners Asia, that a return to profitability and a focus on revenue was much needed for sustained growth across Asia. Though Asia was a huge but diverse and difficult market, there was no doubt certain markets will continue to grow, said Couto. However, disruption was going to continue for the next few years, added Tan, and all players had to be prepared for a rollercoaster ride.
James Gibbons, President & Managing Director, Western Pacific, Warner Bros. Discovery, also shared his views on the...
- 11/11/2022
- by Suzie Cho
- AsianMoviePulse
Click here to read the full article.
Netflix has maintained a significant subscriber lead over rivals Disney+ and Amazon Prime Video in Australia, Asia-Pacific’s most mature online video market. Increasingly, though, all platforms down under are pivoting towards the new top metric of profitability rather than simple subscriber growth.
A new report from regional consultancy Media Partners Asia found that Australia had 22.1 million premium video subscribers as of the end of August, up from 19.4 million at the same time in 2021. Netflix claimed 30 percent of the pie, according to MPA, with Disney+ and Prime Video each taking a 17 percent share. Local operators Foxtell Ott bundle (which includes Kayo, Binge and Foxtel Now) and Stan trailed with 12 percent and 11 percent shares, respectively.
“As the Australian SVOD market matures, platforms are increasingly focused on monetization. Netflix, Binge, Kayo and Stan have all raised prices over the past year and lower-cost, ad-supported tiers are expected from Netflix,...
Netflix has maintained a significant subscriber lead over rivals Disney+ and Amazon Prime Video in Australia, Asia-Pacific’s most mature online video market. Increasingly, though, all platforms down under are pivoting towards the new top metric of profitability rather than simple subscriber growth.
A new report from regional consultancy Media Partners Asia found that Australia had 22.1 million premium video subscribers as of the end of August, up from 19.4 million at the same time in 2021. Netflix claimed 30 percent of the pie, according to MPA, with Disney+ and Prime Video each taking a 17 percent share. Local operators Foxtell Ott bundle (which includes Kayo, Binge and Foxtel Now) and Stan trailed with 12 percent and 11 percent shares, respectively.
“As the Australian SVOD market matures, platforms are increasingly focused on monetization. Netflix, Binge, Kayo and Stan have all raised prices over the past year and lower-cost, ad-supported tiers are expected from Netflix,...
- 9/21/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Click here to read the full article.
On June 13, The Walt Disney Company passed on the opportunity to renew its streaming rights to Indian Premier League cricket. Investors and analysts largely cheered that decision, deeming the rights to the most popular sport in the world’s second-most populous nation, which ultimately sold at auction for 2.6 billion for a period of five years, simply too pricey given the relatively low revenues per user in the Indian marketplace.
But as Disney let the cricket rights go, a formidable new competitor stepped in to snap them up — Viacom18, a joint venture entertainment firm formed between Reliance Industries, operator of India’s largest telecom company, Jio; Paramount Global; and Bodhi Tree Systems, an investment vehicle backed by media industry veterans James Murdoch and Uday Shankar. (Reliance Industries has a 51 percent stake in the venture, while Bodhi Tree Systems has 40 percent and Paramount Global has 9 percent.
On June 13, The Walt Disney Company passed on the opportunity to renew its streaming rights to Indian Premier League cricket. Investors and analysts largely cheered that decision, deeming the rights to the most popular sport in the world’s second-most populous nation, which ultimately sold at auction for 2.6 billion for a period of five years, simply too pricey given the relatively low revenues per user in the Indian marketplace.
But as Disney let the cricket rights go, a formidable new competitor stepped in to snap them up — Viacom18, a joint venture entertainment firm formed between Reliance Industries, operator of India’s largest telecom company, Jio; Paramount Global; and Bodhi Tree Systems, an investment vehicle backed by media industry veterans James Murdoch and Uday Shankar. (Reliance Industries has a 51 percent stake in the venture, while Bodhi Tree Systems has 40 percent and Paramount Global has 9 percent.
- 6/21/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Click here to read the full article.
As the effects of the pandemic began to wane in South Korea in the first quarter of 2021, growth in streaming video subscriptions slowed sharply, a new report from regional research firm Media Partners Asia shows. New subscriptions across all streaming platforms totaled just 600,000, down from 1.7 million net sub adds in the fourth quarter of 2021. The country ended March 2020 with an estimated total of 14.7 million paid SVOD subscriptions.
The swift deceleration of growth in South Korea — mirroring some streaming platforms’ recent struggles in the major markets of the West — could add to recent investor concerns over the fundamentals of the director-to-consumer model, particularly given Korean content’s growing role in driving video consumption globally.
“At nearly 15 mil. paid SVOD subscriptions and 5 major brands investing heavily in local content, the Korean SVOD industry remains healthy and competitive, though growth slowed considerably in Q1,” said Media Partners Asia’s executive director,...
As the effects of the pandemic began to wane in South Korea in the first quarter of 2021, growth in streaming video subscriptions slowed sharply, a new report from regional research firm Media Partners Asia shows. New subscriptions across all streaming platforms totaled just 600,000, down from 1.7 million net sub adds in the fourth quarter of 2021. The country ended March 2020 with an estimated total of 14.7 million paid SVOD subscriptions.
The swift deceleration of growth in South Korea — mirroring some streaming platforms’ recent struggles in the major markets of the West — could add to recent investor concerns over the fundamentals of the director-to-consumer model, particularly given Korean content’s growing role in driving video consumption globally.
“At nearly 15 mil. paid SVOD subscriptions and 5 major brands investing heavily in local content, the Korean SVOD industry remains healthy and competitive, though growth slowed considerably in Q1,” said Media Partners Asia’s executive director,...
- 6/17/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
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