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Netflix to Become New Home of WWE 'Raw' Beginning 2025

BINGE (Australia)

Streaming Television (Wikipedia)

Streaming Media (Wikipedia)

Mr. McMahon Doc Series Is an Unflinching Portrait of WWE Founder’s Legacy
“The goal was to pull back the curtain and reveal the true Vince McMahon.”

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Netflix: Games

News.com.au - Streaming

The Sydney Morning Herald - Culture - Streaming

Pop Culture/Streaming Entertainment

Top 10 Movies Streaming (United States)

1. The Kingdom of the Planet of the Apes (Hulu)

2. Deadpool 2 (Disney+)

3. Twister (Max)

4. Deadpool (Disney+)

5. Ghostbusters: Frozen Empire (Netflix)

6. Tarot (Netflix)

7. If (Paramount+)

8. Wicked Little Letters (Netflix)

9. Challengers (MGM+)

10. Abigail (Peacock)

Others

The Beekeeper (Prime Video)

Find Me Falling (Netflix)

My Spy: The Eternal City (Netflix)

*correct at time of publication

Streaming TV (United States)

Top 10 TV

1. House of the Dragon (Max)

2. A Good Girl's Guide to Murder (Netflix)

3. Presumed Innocent (Apple TV+)

4. Batman: Caped Crusader (Prime Video)

5. Time Bandits (Apple TV+)

6. The Decameron (Netflix)

7. The Bear (Hulu)

8. The Boys (Prime Video)

9. Mayor of Kingstown (Paramount+)

10. Evil (Paramount+)

Streaming Service

An online provider of entertainment (music, movies, multi-episode series, etc.) that delivers content over an Internet connection to the subscriber's computer, TV or mobile device.

Netflix, Amazon Prime, Binge (Australia), Kayo Sports (Australia), Hulu, HBO, Disney, ESPN Plus, Gaia, Passionflix, Spotify, Discovery, Peacock, Paramount Plus, Triller TV, UFC Fight Pass, WWE Network and Apple TV+ are examples of paid streaming services.

Examples of free services include Amazon ABC iView, Freedive, Free TV, Hoopla, Kanopy, Pluto TV, Roku Channel, Snagfilms, Sony Crackle, SBS On Demand, Tubi TV, VUDU and Xumo.

The big streamers have been cutting their original content output

Where did all the new shows go?

By Tom Jones

Seasons change

If you’ve been mindlessly scrolling through streaming services and have been feeling even less enthused than usual, you may not be entirely to blame: almost all major US streamers have been cutting their original TV output this year, according to new analysis from Variety.

From content monolith Netflix, which released 203 original shows in the first half of 2023 compared with 174 in H1 ‘24, to Disney+, which has halved its already-slim original TV library as it continues an apparent shift to quality over quantity, shrinkage has hit the streaming world hard. Indeed, of the 8 major streamers Variety studied from Luminate data, only Max and Peacock maintained their output level year over year.

All told, the number of original seasons fell 19% at the 8 streamers tracked.

For a while, it seemed we might float forever on an endless stream of new series, as companies competed to supply viewers who’d become accustomed to basking in the Golden Age of Television. However, the financial reality of producing content in an increasingly-competitive arena where margins are tight and churn rates are growing is becoming apparent.

It’ll be interesting to see how streamers’ original show libraries stack up in the latter half of this year compared to H2 2023, when original production tallies at some major players began to reflect the effects of the extended Hollywood strikes. (Credit: Chartr with Sherwood_

Full article via subscription to Sherwood

Big Streamers Cutting Original Content
https://sherwood.news/culture/big-streamers-cutting-original-content-output-fewer-shows-to-watch/

News

Streaming, catch-up services on verge of eclipsing TV advertising - July 2024

Broadcasters will make the same revenue from advertising on streaming and catch-up services as they do from free-to-air television within four years amid a reinvention of the media’s business model.

That’s the conclusion of a comprehensive sector outlook report published by PwC on Tuesday, which found revenue growth had stalled in the last year, falling from 6.6 per cent in 2022 to 2.8 per cent. The survey covers television, publishing, film, gaming and other forms of entertainment.

In all, revenues rose to $62.3 billion, despite a decline in television and news media. The last 12 months has been a difficult one for the industry, with the end of a lucrative content deal with Facebook and Instagram’s parent company, Meta, reducing revenue to major publishers.

Nine Entertainment, the publisher of The Australian Financial Review, will make about 200 staff redundant this year; News Corp Australia has a plan to cut $65 million in costs and has already started losing journalists.

But the PwC report, an annual and widely followed publication within the industry, suggests that a decades-long pivot away from free-to-air television and newspaper publishing may be reaching its final stages. It estimates that digital revenue now represents 70 per cent of spending, up from 54 per cent in 2019. That is forecast to rise to 79 per cent by 2028.

“Advertising supported ‘watch’ businesses demonstrate the clear shift by consumers towards on-demand content, delivered over the open internet,” the report reads.

“Online TV, comprising broadcast video on-demand services plus advertising revenues from [subscription video] services’ new ad tiers, is steadily becoming more popular.”

At Nine’s last financial update, for the six months to December 31, the company said revenue had fallen 2 per cent to $1.37 billion, while earnings dropped 15 per cent to $316.1 million. Stan, however, grew its revenue by 11 per cent to $228.4 million, as the streaming platform increased prices.

‘Further along in transition’

E&P Capital’s Entcho Raykovski said Nine’s free-to-air advertising revenue had been slightly better than expected, but growth at 9Now, the company’s free streaming platform, had been “slightly lower than the company’s expectation”. E&P expected revenue growth of 13.7 per cent for 9Now in the six months to June 30. Nine reports on August 28.

Brian Han, an analyst at Morningstar, said Nine was better placed than its traditional rival, Seven West Media, because it was “further along in the transition from linear to a multichannel, digital-centric model”.

“Nine’s 9Now will also get a strong boost from the Olympics coverage,” he said. “Seven’s 7plus should also get a boost from next year when AFL can [be] streamed live and on-demand. All this should see advertiser interest.”

Just over half of those surveyed by PwC, however, said they watched traditional, free-to-air commercial television. That is down from 61 per cent in 2020. Some 31 per cent watched commercial television online in the last week, up from 29 per cent last year; public broadcasters, primarily the ABC, still offered the most popular free online television services.

Far more competition

PwC expects advertising revenues from traditional broadcasts to drop to around $3.5 billion by 2028 from more than $4 billion, with those from subscription and catch-up services increasing to a similar level from just over $2 billion this year.

Online, however, broadcasters face far more competition. Netflix reported this month that it has 277.65 million subscribers around the world, boosted by the success of hit shows like Bridgerton and Baby Reindeer.

Louise King, PwC’s lead partner for media and entertainment, said local companies had often lagged international players transforming their businesses away from traditional sources of revenue.

But Ms King said there were a number of advantages local companies, including Nine and Seven, had over larger overseas rivals.

“The regulation that has protected them is not as useful as it used to be, but some really great Australian content has been produced and that has been aired on the local players first,” she said, adding that favoured access to local sports broadcasting rights was likely to also benefit those companies.

“Should that shift it would be challenging,” she said.

Morningstar’s Mr Han said the inflection point – between traditional revenue and new, digital sources – “may have already been reached”.

“Nine generates more than half of its earnings from digital sources such as 9Now, Stan, Domain and digital parts of Fairfax and radio,” he said. “Seven probably is already making more profit from 7plus and its digital properties from linear free-to-air TV.

“These digital contributions are only likely to grow as advertisers follow audience to an on-demand, streaming environment.” (AFR, Wries)

Streaming Media News

Netflix Netflix Q2 2024 Earnings
https://youtube.com/watch?v=wro9lCCgW0E

Netflix beats estimates as ad-supported memberships rise 34% from last year

Adds 8M Subscribers

278 million global subscribers

The streamer’s global paid memberships rose 16.5% year over year to 278 million. This marks one of the last updates Netflix will release regarding its membership numbers

Shareholder Letter:

“our biggest update in a decade.”

“This new interface provides more visible title information at a glance — including synopsis, genre and ratings”

“Title previews are also larger and more dynamic, with more immersive trailers and bigger box art to make browsing easier. We’ve also simplified the navigation bar and moved it to the top of the page to create quicker, easier short cuts. And this new design includes My Netflix, which has everything members have saved or watched and was previously only available on mobile.”

“The challenge for so many of our competitors is that while they are investing heavily in premium content, it’s generating relatively small viewing on their streaming services and linear continues to decline”

“we believe our biggest opportunity is winning a larger share of the 80%+ of TV time (primarily linear and streaming) that neither Netflix nor YouTube has today.”

“This has driven industry leading penetration, engagement and retention for us, which limits the benefit to Netflix of bundling directly with other streamers”

More Intel:

Netflix shares were down about 1.5% in extended trading following the earnings release.

Company performance per WSJ

Earnings per share: $4.88 vs $4.74 per share expected by LSEG

Revenue: $9.56 billion vs.9.53 billion expected by LSEG

Total memberships: 277.65 million global paid memberships vs. 274.4 million expected, per StreetAccount

Revenue was roughly $9.6 billion, up 17% compared to the same quarter last year, driven primarily by the increase in average paid memberships.

Netflix said it now expects full-year reported revenue growth of 14% to 15%, compared with previous guidance of 13% to 15%.

The company reported net income of $2.15 billion, or $4.88 per share, up from $1.49 billion, or $3.29 per share, during the second quarter of 2023.

Netflix’s global paid memberships rose 16.5% year over year to 278 million. This signals one of the last updates Netflix will release regarding its membership numbers.

News

Netflix Second Quarter 2024 Earnings Interview
https://ir.netflix.net/investor-news-and-events/investor-events/event-details/2024/Netflix-Second-Quarter-2024-Earnings-Interview-2024-HkuRh-_yAj/default.aspx

Pop Culture/Combat Sports News

Netflix

Japanese Female Pro-Wrestling Drama Series ‘The Queen of Villains’ Premieres September 19

How did one woman whip Japan into a frenzy? Launching on September 19, The Queen of Villains unveils the story of Dump Matsumoto, the most terrifying “heel” during the golden age of women’s pro wrestling in Japan. Spanning five episodes, the series explores the events that led to her rise decades ago.

From the ‘70s to the ‘80s, female pro-wrestling tag teams like “Beauty Pair” (Jackie Sato and Maki Ueda) and “Crush Gals” (Chigusa Nagayo and Lioness Asuka) became national icons. They captivated Japan not only by competing but also by singing and dancing in the ring. On the other side of this was Dump Matsumoto, the sworn rival of the “Crush Gals.” She made all of Japan her enemy, wreaking havoc in and outside of the ring. But once upon a time, young Dump Matsumoto was told she was too kind to be a villain. What events made her one of the most disliked figures in Japanese wrestling history?

Bringing these iconic female wrestlers to life is a talented cast chosen through auditions:

Multi-talented comedian Yuriyan Retriever portrays Dump Matsumoto.

Erika Karata (Desert of Namibia) plays Chigusa Nagayo, who starts as a failed wrestling trainee but eventually rises to stardom.

Ayame Goriki (Watashi ga Ore no Jinsei?!) portrays Lioness Asuka, known for being the most athletic and technical wrestler among her peers.

The renowned Osamu Suzuki developed, wrote, and produced the series. After hearing Matsumoto talk about the women’s pro wrestling era on his show, Suzuki was inspired to turn her story into a series and wrote the screenplay himself. Kazuya Shiraishi (The Devil’s Path, The Blood of Wolves, Lesson in Murder) serves as the supervising director, while Chigusa Nagayo herself led the actors’ physical training and presided over the wrestling scenes.

Watch the rise of these women to fame and the lessons their journeys hold today. The Queen of Villains premieres globally on September 19, only on Netflix.

About Netflix Series The Queen of Villains Cast: Yuriyan Retriever, Erika Karata, Ayame Gorik Developer, Producer, Screenwriter: Osamu Suzuki Supervising Director: Kazuya Shiraishi Director: Katsuhito Mogi Writer: Junya Ikegami Producers: Haruhiko Hasegawa Hidehisa Chiwata Produced by: Netflix Production Company: KADOKAWA Release Date: September 19, 2024 Episode: 5 episodes. (Credit: Netflix)

https://netflix.com/thequeenofvillains

#TheQueenofVillains

Logline: The Queen of Villains unveils the untold story of Dump Matsumoto, a professional wrestler who ignited a boom in women's wrestling in the 1980s with her cult-like following. Unlike the iconic “Crush Gals” duo, Chigusa Nagayo and Lioness Asuka, Matsumoto made her mark as the most famous heel. Dominating television screens, they became a cultural phenomenon, captivating Japan. (Credit: Netflix)

Media Man: Pumped for Dump. We used to bring in VHS tapes of Dump and her associates into Australia in the late 80s and early 90s. One of the greatest women pro wrestlers of all time. The killer heel and queen bee of the ring. Netflix makes a killer and smart move in delivering this gem to the global audience. This will more than satisfy the cast majority of pro wrestling and fight fans, and we as those who love the hero vs villain scenario - a base of storytelling. Shakespearean and a beautiful violence. This is pop culture history.

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OVW and pro wrestling lifestyle continues to be showcased via Netflix

Wrestlers | Real Life | Official Clip | Netflix
https://youtube.com/watch?v=2ZCAkE-alzk&ab_channel=Netflix

"I started wrestling kinda like a last-resort type thing. You can only take so many hits before you get angry" Hollywood Haley Evans

At a storied professional wrestling organization, new owners and a roster of rising stars strive to make an impact beyond the ring in this docuseries.

Ohio Valley Wrestling in Louisville, Kentucky was once a proud finishing school for young wrestlers who hoped for a chance at a career in big time Pro Wrestling but times have changed. With new owners in the picture, once-famous pro wrestler Al Snow has been given the summer to turn OVW's dire financial situation around. Wrestlers tells the story of a handful of eccentric misfits who attempt to come together to help Al save this historic gym while achieving their own wild dreams of wrestling professionally. Now streaming on Netflix. (Credit: Netflix)

Wrestlers | Official Trailer | Netflix
https://youtube.com/watch?v=hY9CISx70Oo&t=1s&ab_channel=Netflix

"Wrestling is my escape" Hollywood Haley Evans

Media Man: Strong thumbs up. Much respect. The sort of show you can watch again and again, and gain more insight and respect, as we are. Keeping the dream alive. Never give up.