How Attention Follows Content (Webinar Replay) with David Sanderson, Founder of Reelgood

Why Content Movement Matters

Tim Rowe, State of Streaming 0:00

Welcome back to the Stay of Streaming Podcast. I'm your host, Tim Rowe, and this week you'll be hearing a very special replay of the webinar that we did with Real Good. We talk exclusively about how content moves from streaming portfolio to streaming portfolio, but we distill that down to what it means for you, the advertiser, how attention follows content, how money follows attention, and what to do with those insights. So if you want to understand better not only your buyer's journey, but where your audience is and how they move and what they're watching, this is a replay you won't want to miss. Enjoy. What we're gonna learn about today.

David Sanderson, Reelgood 0:38

Yeah, we're gonna give, we have a canonical data set of every movie and show, where that content is available right now, where it's been before. And with that, you can do some interesting insights of looking at how your competitors' catalogs evolving, you're looking at a specific title, seeing, you know, its history, where it's been, how that affects performance, and some sort of hidden gems that can be found in terms of catalogs, uh, content that can be Go licensed that maybe are sitting on the market you don't know about.

Tim Rowe, State of Streaming 1:03

And what stood out to us at State of Streaming about your data is how really it tells a user journey story. So we started publishing our Unified Streaming Power Index. We did a Q1 release, and now we're on a monthly cadence. So we're working on May's release, and we've been working together behind the scenes on establishing a popularity score, but essentially a way for us to directionally measure how are titles moving between apps and how are the eyeballs, how are the users following the content.

Realgood Data And Streaming Decisions

Tim Rowe, State of Streaming 1:34

So I'm really excited to dive into the data, some of the use cases. I think we've got a pretty cool group that's going to be joining us here today, and maybe we can tease out a few uh few specific use cases. But David, if you're ready, I'm ready. We'll bring the uh we'll bring the deck up and we'll rock. Let's do it. Let's do it. All right. Streaming by the numbers, tell us what it means.

David Sanderson, Reelgood 1:55

Uh yeah, basically, I think you know, we see that there's a lot of huge amounts of money spent in this industry in the streaming industry around you know, building out catalogs, deciding the strategy for those catalogs, even you know, huge titles you hear about like friends being licensed for. I think it's like around half a billion dollars. Crazy so huge amounts of money flying around, and kind of what we've found the industry finds helpful with our data is using that data to help inform those decisions instead of sort of gut-durn decisions, having hard data and facts to like kind of base some of those you know, massive uh spends on.

Tim Rowe, State of Streaming 2:29

Because they're huge decisions. Like, what's the catalog I'm gonna have? What's the mix? My audience, like we're distilling it down today to just the content, but these are huge business decisions to be made. So, yeah, let's let's peel it back. Let's take a look at some of the some of the data.

David Sanderson, Reelgood 2:45

Cool. So, quick background on us. Uh, a lot of people, especially in the US, know us for a consumer app, which is we realgod.com. We have a uh app for phones as well. Uh, when we were building that, we needed the data to power that. Uh, we tried, we started as gracem customers, we we used tried other existing data vendors, didn't find nearly the level of quality that we needed in terms of timeliness. Like if something comes to a streaming service or leaves, we needed that to be accurate, we needed no duplicates, we needed clean metadata, because anything other than that, our users would churn. So, long story short, we built our own. We spent you know years and tens of millions of dollars uh building out a machine learning model to build this data set for us. Uh, and then we had that for our product. And then shortly after that, we kind of fell into the data licensing business. As uh Google was one of the first that approached us and they were running into the same problem. Uh, they use our data now um across a lot of their products. We power consumer tech companies uh for a long time, and we've had a growing vertical in the media space where they find this same data set useful for some of the stuff that uh you mentioned at the top.

Tim Rowe, State of Streaming 3:45

Yeah, that's why it gets me so excited because it's you're coming at this from a totally different lens. So it's really like first of a first of its kind for us to get to unpack it a little bit. So this piece really interests me, which is your ability to take maybe maybe paint the picture for us of what a single piece of content looks like across the streaming universe and why the real good universal ID exists and why

Universal IDs And Clean Metadata

Tim Rowe, State of Streaming 4:12

it's important to this whole story.

David Sanderson, Reelgood 4:13

Totally, totally. So, one important caveat is like we don't push our ID on anyone. We are very much of the opinion like you should stick with us because the data's good and you're happy. You shouldn't be stuck with us to our ID. So we do have a universal ID that's more, if anything, representative of like the canonical entry that we have with a single entry across the whole globe for any given title with everything mapped accurately to it. So the example I give is like, you know, there may be a movie that's on Disney, Netflix, and Prime. They all have a completely different ID for it. And then you would think, oh, well, you just match on like the title and some of the metadata, but like you'd be shocked at how frequently they'll have a different uh runtime or a different release year or different cast for the same movie. So you need a way to match those two together. And historically, this industry has done it with just thousands of people manually matching and entering data. What our ML model does is it does the work of like 10,000 people effectively in real time, where it can accurately look at the metadata and with a high level of confidence say, yes, this is the same. I'm gonna map this together. No, this is a different title, and I'm gonna create a new entry for it. So that's kind of like the high level, and it's obviously running in real time um throughout the day, matching together like hundreds of catalogs from uh hundreds of street sources.

Tim Rowe, State of Streaming 5:26

And I know that the slide's coming up, but yeah, and maybe it is the next slide. Like, how big is the content universe? And then it's all of those variations times a moment of.

David Sanderson, Reelgood 5:41

I mean, I think like our starting data set, like people always say, How do you get the data? And we're like, that's the easy part. Getting the data is easy, it's mapping it all together. That's the hard part. So, like we start our system starts with about 50 million individual types according to it. Our system then maps that down to, as you can see, about four million here. So it matches them all together to that. So that's I'd say it's like there's a you know, this is including episodes, but there's definitely in the hundreds of thousands of movies, hundreds of thousands of shows, and then like once you get into episodes, that's when you get into like the millions figure.

Tim Rowe, State of Streaming 6:12

All right. Yeah, thank you.

David Sanderson, Reelgood 6:14

Yeah. Should we jump into the title

The Hidden 88 Percent Of Movies

David Sanderson, Reelgood 6:18

view? All right.

Tim Rowe, State of Streaming 6:18

Three acts today, the hidden act is part one, and then we've got two behind it.

David Sanderson, Reelgood 6:23

Exactly. Yeah. So one thing, a lot of this is just as we poked at our data as we're kind of taking this as the media vertical is growing quickly for us, taking that lens to our data set, and we've admittedly stumbled into some pretty interesting um figures around the market. So one is going into it, I kind of thought, okay, well, if you license, you know, if you're just the average person, you subscribe to the top eight streaming services, you're kind of covered. Like you should have anything. And it was pretty shocked to find is actually you only have about 12% of this is looking at movies, but for movies, you only have about 12% of movies uh that exist. The other 88%, yeah, is sitting kind of out of view. And where those are sitting, uh well, first off at a metric standpoint. So it's about 33,000 again, dedupe titles across the major streaming services, but then about almost a quarter of a million sitting outside of that. And I think sitting in that pile is a lot of uh you know, potential sort of like needles in the haystack for companies to go access and find and bring to their catalog and make them unique compared to their competitors. But you also see in that, like right now, where that content lives. So it's across, you know, some of the A VODs, obviously, T Vod kind of covers everything, no surprise. Uh, but a big chunk of that is also just uh international content, which we're seeing some of the streaming services, you know, start to do a better job of finding these like things that have performed super well in other markets, and that you kind of have like a proof point of that will probably hopefully be a success as long as it translates, but it's a it's clearly a high quality piece of content. And you know, being able to find those and bring those to the US market, I think is a huge opportunity.

Tim Rowe, State of Streaming 7:55

And there's even some overlap with titles between these, no?

David Sanderson, Reelgood 8:01

Uh yes, yeah. So that 30, that's why I say sort of like that 33k. Let's take that. Like that's deduped. Like there'll definitely be some overlap. We've seen over time as as the streaming markets evolved. If you look at the data, like the Venn diagram almost bubbles has sort of like like move farther and farther away from each other in terms of like overlap between them is getting less and less so. Um, I think in the earlier days there's definitely more, but now I think you know, exclusive content, and you're seeing even the companies that license the content out are starting to sort of pull more of the if they have their own streaming service, kind of keeping more of that content closer to the best. Very cool. Yeah.

AVOD Becomes A Faster Stop

David Sanderson, Reelgood 8:36

So one of the other trends that we've seen, which I think has come as a no surprise, but as I've seen this industry change over time, I think in the early days, Avod was looked at this weird, uh, sort of like cousin of the industry that people didn't take too seriously. And I think I think there was a big misunderstanding amongst a lot of people in the industry if they thought that consumers come to streaming because there's no ads, and that was like the big innovation. But I always kind of thought like, no, I think it's the fact that it's on demand, like that's huge. The fact you don't have to wait like watch something. Yeah, it's the fact that whenever you want, you go watch something. So it kind of had this cognitive dissonance, and then it was kind of uh as we've seen recently, where like now AVOD is you know ubiquitous and like all the major services have their own advertising tier. I think that this graph comes as no surprise. What this is looking at is the time that it's taken for content that's been on SVOD and then later gone to AVOD, the time for it to do that has significantly gone down over the past five years, where Avod is now like part of the playbook, I think, of licensing teams. So it's gone, and there's also again, there's like more buyers, uh, there's more demand for that content too. So no surprise that this has gone down. But yeah, I mean, it used to take on average or a median, I should say, six months for content to go to AVOD. Now you're seeing it go in about two and a half months.

Tim Rowe, State of Streaming 9:51

It's interesting to think about this in like the theatrical release sense and the time it used to take to go to VHS and then to DVD and to Blu-ray and now to SVOD, AVOD. Like the conversation is kind of the same, it's just continuing to evolve. It's obvious. Yeah. Project Hail Mary, which we talked about on a webinar similar to this just a couple weeks ago, is now I think it's on T Vod. I think you can you can stream it now. So I saw it a couple days ago, super fast.

David Sanderson, Reelgood 10:20

No, you're right. Like, even my internal clock, like I just when I saw it, I think, yeah, it was a couple days ago. I was like, oh wow, okay, yeah. Like that clearly that timeline is taken, especially I think when you see flagships and when like one studio makes that move, there's a bit of a follow effect too. So it's like, oh, okay, they they're releasing it in this timeline afterwards, they must be on to something. And so, like, I think it's sort of inherently over time those windows get smaller and smaller between the shifts across on do we have that slide in here?

Tim Rowe, State of Streaming 10:48

The Project Hail Mary piece.

David Sanderson, Reelgood 10:50

We may maybe do later.

Tim Rowe, State of Streaming 10:52

Like, yeah, and and and and I look forward to getting to it. I want to make sure that when we get there, that we call out like that slide was hot two weeks ago, it's now outdated. That's how fast that's a good point. Yeah, decisions are being made, and how valuable having these insights I think are. So not too uh not to pump the book too hard, but uh I I I'm blown away by that. When I saw it last night on my home screen, I was like, that's nuts.

David Sanderson, Reelgood 11:19

Yeah, no, same. I was talking to a company yesterday, and yeah, they were saying, Oh, yeah, no, like they're showing their product, and you're like, Oh, that's available now. So uh, but digging just a little bit further into this AVOD timeline, it's interesting. This is why I think you need the data, like you sort of have you know the outer layer of the onion, but you got to peel it back because you yeah, if you look at data too much in aggregate, it

Genre Changes The Licensing Window

David Sanderson, Reelgood 11:39

can almost backfire on you. Like you do need to look further down.

Tim Rowe, State of Streaming 11:41

What do you mean?

David Sanderson, Reelgood 11:42

Well, what I mean is like if you know, if you were just simply saying that, like, say you're a studio and you're like, okay, we need to, you know, we need to make sure our time to AVOD is two and a half months, you're not looking deep enough because you need to actually, if you look at it on a genre level, the story changes, uh, or like you know, there's there's more fidelity to that sort of question or to that um approach, which is, and again, the logic makes sense. I mean, it's nice when you look at the data and kind of logic, you're like, oh, I guess that yeah, it kind of makes sense. But like what we saw is that like thriller horror type content has a much faster time to going to Avod when you compare to if you look at the bottom, like family animation, children, that makes sense. That's kind of evergreen content, especially like things like Disney, where it's like, you know, people are re-watching that over and over, so they're gonna keep that much longer before it goes to Avod.

Title History As A Performance Signal

Tim Rowe, State of Streaming 12:33

Super helpful to see this.

David Sanderson, Reelgood 12:37

Switching gears a little bit, but uh sort of relatedly, like one big thing we're seeing with our partners is the importance of when they're going to, so they kind of you know understand how they're gonna license or what they're gonna license, but then also understanding if they are looking at licensing out or licensing in any title is understanding where it's being before. Um, and to your point about kind of like the viewership and performance, like what we've seen is this can have a massive impact on the performance when it brings to uh when you bring the title to your service. Um, and I've seen kind of two interesting things happen. One is sometimes they'll take this data that we have of where a title's been, and then they overlay viewership data that they're getting from the viewership companies. And it can uh it can do two things. One, it can help explain, like sometimes there'll be a peak, like they'll see, okay, it was sort of, you know, viewership was here, all of a sudden there was a peak. Um, and then they can once they overlay that, oh, well, because it went to Prime Video that day, or oh, it left, you know, Netflix that day or something. So they explain some of the viewership. Um, and then the other thing is what I'm seeing some of the more, I'd say, cutting-edge companies doing is what they can do is take either viewership from titles that they've had or titles that they've had on their platform, how they've then performed, and then tie it in where was that content available before, and being able to start model out how content will perform. Like if they're looking at licensing title, this is almost part of the math equation of like they can put in our data as to where was it available before. That is a huge impact and then on like their prediction of how it will perform, and then they can like tune that model over time and kind of to what we were saying earlier, make like almost more intelligent, like math-informed decisions about what content they're putting in their catalog or what they're licensing out.

Tim Rowe, State of Streaming 14:15

And David, I'm I'm thinking about kind of a similar application of that to advertising, where you could look at impression delivery of advertising on platforms against some attention data, against some of this content data, especially if you're buying at enough scale, understanding that could become an arbitrage lever. Um, if if you're able to piece that all together, which is currently a limitation on the advertising side of kind of really understanding where's the content, what are what are people watching? So just thinking out loud, I don't know if that's maybe something folks are already doing, but but something I could certainly see being interesting.

David Sanderson, Reelgood 14:57

Yeah, well, and relatedly, I mean, with our Avod customers, I see that's something obviously they care a lot about is like can they be the only Avod to have it to market, um, to have a title on market? And then, yeah, I mean, obviously, like they care about the advertising dollars, but it's like that's going to drive attention, and then as well as like things that are in the zeitgeist or whatever, like potentially they can hire, you know, get higher CPMs for that. That's good. All right, should we move on to act

Competitor Catalog Moves And Positioning

David Sanderson, Reelgood 15:21

two?

Tim Rowe, State of Streaming 15:21

We should.

David Sanderson, Reelgood 15:22

All right. So this is yet another kind of zoomed out view of the industry. Uh, but uh, you know, we find a lot of our partners like to do is peek over the fence. Um, they want to see what their competitors are doing, and that can help inform their content strategy for like their catalog, largely meaning, like, you know, either they see one of their competitors is growing in a certain genre or certain we can go down to a tag level, and that kind of informs, okay, that's clearly the way that they're going. You can decide either we're gonna go head to head with them and try to compete to win these deals, these licensing deals to get this content for ourselves, or you can zag and you can say, Oh, you know what, they're focusing on that. They don't no one's none of our competitors seem focused on on you know horror or something, like a certain genre. Right. Like, okay, that's something that's an opportunity for us. And then we also see that you and I were talking earlier about like with marketing teams. This is something too where once we've had teams that get our data, and then like the CMO sees, oh wow, we have the biggest catalog of blank insert genre here, and they didn't know that before looking at the data, but then that kind of dictates their whole campaign for the year of like, oh, we need to be known as the you know, this type of service because we have what other people don't have. So looking at this, I mean, you can see I what I thought was interesting to this is you can see at the top, like Disney seems to be divesting some of their biography content and row right below that, Paramount is growing their biography content. Uh, and then like the other one that I thought was interesting here was Hulu. You can see that in 2025, huge divestiture of their children's content. Again, logic checks out here, where it's like, oh, they know that they're merging with Disney. Disney's like the king, you know, one of the kings of um of this type of content. They can they don't necessarily need to be licensing that. So uh, and then and then relatedly too, I think you uh mentioned in the in a previous session we had just about like Apple TV, like they're quietly making a lot of headway around children.

Tim Rowe, State of Streaming 17:16

Children's content, yeah.

David Sanderson, Reelgood 17:18

And I've seen that in my house. Like I've seen like the as you know, my kids used to watch Disney, but as Apple TV has picked up and up their catalog of great kids content, it's starting to do this, it's starting to level out what my kids' attention is going between Disney and Apple TV.

Tim Rowe, State of Streaming 17:31

And I think what's so interesting about that, David, and doesn't get talked about enough, is Apple is a vertically integrated consumer tech company. Yeah that's that's different than Prime Video, which right is Amazon, which is this conglomerate marketplace, just amalgam of businesses, and that's different still than Netflix, which is really a pure content streaming play. So each having their own business objectives, but then seeing where is the overlap, where is that unique coverage, and then how does that apply to those strategies is really interesting. I don't think there's a slide for it, but I think it was around here that that you mentioned the louder milk story, or maybe there's a slide coming up where that's that's a better fit. Do you want to use that out?

David Sanderson, Reelgood 18:20

I can, yeah,

Loudermilk And The Power Of Surfacing

David Sanderson, Reelgood 18:21

yeah. So louder milk is always an interesting example. I think we have one a little later that will touch on the same piece. Uh, but like it speaks to not only your catalog strategy, but like your like how important merchandising is. So Prime Video had the show called Louder Milk filmed in my hometown of Vancouver. Funnily enough, filmed in my best friend's dad's record shop growing. Crazy was a I saw it on TV and I was like, no way. I know that place. Yeah, it was Ben Friend's dad's record store. Um but uh anyway, it was on Prime. When it was on Prime, we have a popularity score based on a few million users every month in the US. It was about the 800th most popular title that we were seeing.

Tim Rowe, State of Streaming 18:59

Okay.

David Sanderson, Reelgood 19:00

Then again, looking back at kind of like this type of graph, it went to Netflix and we did the same thing. We overlaid it with the availability and we saw how did it jump to eighth most popular in the US? It went to Netflix. Wow. Netflix simply like merchandise that conflict, they just sort of their algorithm or something or whatever, you know, kudos to them. They surfaced it, and yeah, it became like there was a lot of articles at the time, it became this like huge show in the zeitgeist. And the show was, I think, like 10 or 12 years old at this point. So I always think right. I think of that as a good example of it's not just your catalog. Like if you license something amazing and you shove it in the basement and don't tell anyone about it, like how much good did that really do you? But it's like picking the content and then surfacing the content to your audience.

Tim Rowe, State of Streaming 19:42

And if you know your audience and you know what content has performed well historically, and if you know what other apps and streaming platforms are doing, then you can really carve out your piece of the market. But it's having that layer all together. We've got a great question. What's up, Tommy? Good to see you. We've got a question here from Tommy that says Netflix, Paramount, and Amazon have made massive investment into kids at their 2026 Upfronts, Paramount announcement partnership. Awesome to create an elephant and piggy show with a pigeon show coming. We've got breaking news from the chat. Thank you, Tommy.

David Sanderson, Reelgood 20:19

I'm excited about my kids. Love that, so I'm stoked on that. Um, that'll be fun. That actually, I kind of want to go now and pull some of like the Q1 through now data for this year. Like, this is last year, but I kind of want to see how that will evolve. But that's interesting. They're making, I mean, to me, like I think as streaming services care a lot about churn, kids' content is such like an easy win because it's like if you get your kid hooked on a show, they're gonna rewatch it. Tons of time, like you're not gonna cancel that.

Tim Rowe, State of Streaming 20:44

Why the Oreos are on the bottom shelf, like yeah. Make make the parents' life easy, and and there's a lot of goodwill that can come with that.

David Sanderson, Reelgood 20:54

Yeah, thank you for that comment. That's really interesting. That's really cool to hear. Uh, yes, one other thing we're we're we're we're uh languishing on this slide, but there's one other thing that I want to point out here, which is like a shout out to Netflix for science fiction. I think that that was a smart move to build up that catalog. Again, if services can look ahead, like we had the Artemis this year, we had Project Hail Mary coming out. Like, there's a lot of stuff around science fiction. We do see like when those zeitgeist cultural events happen, this content, huge spikes in viewership, which is something we'll touch on a little bit later. But um, it's another thing I just recommend like looking at what's coming and seeing what related content you can license.

Tim Rowe, State of Streaming 21:29

I you know what, Nick, if you could bring Tommy's comment back up, I think that that couples really well with it. Across many of the upfront studios spoke a lot about live events, franchises, big investments into creators. That's that what else can I do activation piece. Like, yeah, cool, we get it. The content piece got it. It's that's on screen, and arguably it's the least valuable, right? My $6.99 a subscription. That's just one business line. Um, how can we create value beyond that? Great point, Tommy.

David Sanderson, Reelgood 21:58

Maybe, Tommy, to your point, maybe that's a good. To just poke at this one.

Tim Rowe, State of Streaming 22:01

Oh, yeah. This is one of my favorites.

Squid Game Halo Effects And Creators

Tim Rowe, State of Streaming 22:03

This was about the Squid Games challenge and then Squid Games show. Can you yeah, talk us through this?

David Sanderson, Reelgood 22:09

Yeah, so uh, like to the point about creators, we're definitely seeing that too. We actually, this this graph was made for one of our customers who works with the biggest YouTube creators and is trying to help see how this content does on the streaming services, how should they approach which streaming service should they approach, you know, with these creators with content? I think there's a lot of cool stuff happening there. I I heard one example from them. They had this massive creator, they had a this the streaming service had a flagship title that like dropped something happened and it dropped, and they were kind of like boom crap. That was our like they could they lost access and it was like part of their next quarter big releases. They lost access. They went to one of these pretty famous YouTube creators and they were like, We need a show, like now. And they but they also in parallel went to like some of the other studios and were like, Can you make this type of show? And like, I think those studios were like, you know, best case scenario, six months, and they were like, Yeah, we got like 30 days, but they did it with this creator, creator had it in 30 days and like problem solved. So it's an interesting, like time to market that you can do really with some of these creators. But anyway, for this, the reason I was thinking about this is because this is you know, Mr. Beast had his like sort of Squid Games knockoff reality show. Um, as you can see, he's obviously done stuff with Prime, those have been hugely successful uh over there. Netflix kind of did their own version of that of sort of creator style reality spin-off of Squid Games, very similar to the Mr. Beast one. And we were looking at the popularity score for it and saw like this interesting halo effect between the Squid Games main show and the spin-off. So if you look first when this when this spin-off show, reality show came out, it was the second most popular title. So, okay, first off, a top performer there. People viewed it, you can see it kind of fell off. What was so interesting to me when we looked at the data is if you look at this one that says 2022, that was not season two of the reality show. That was season two of the main Squid Games launched. And then it caused this huge halo effect to cause the spin-off to shoot way back up. Then, you know, people watched it, fell back down. Then season three of Squid Games, the main show came out, another huge spike. And the last spike on the right here is actually when they released season two of the reality show. So this it was really cool to see this ping pong effect of yeah, if you can do creator-led content or reality type content or spin-off type content of some of your flagship top performers, like you really get this like doubling down on your investment.

Tim Rowe, State of Streaming 24:29

Yeah, I think that that's just a really strong confidence indicator that hey, this works and this is a way for us to maybe cover some gaps, but really extend the shelf life of the investments we're already making. How do we how do we just keep these things printing over and over and over again?

David Sanderson, Reelgood 24:48

Yeah, yeah. Okay, I'll hop back and fly through. I'm just doing a time check and then we got a few minutes here. Um, it's all

Franchises And Long Running Series Strategy

David Sanderson, Reelgood 24:56

made.

Tim Rowe, State of Streaming 24:56

MBCU spent a billion for Taylor Sheridan. Studios want franchises and universes. Teach us, teach us about that, David. Good setup. Yeah, honestly, you've cued this as like really perfect.

David Sanderson, Reelgood 25:08

Yeah, exactly to that point. Um, what we saw when we looked at the different catalogs of the different streamers and their TV show catalogs. Um, as you can see, some of like the Paramount's and the Peacocks, they especially have like, you know, these big legacy catalogs, but you can see that like for Paramount, 12% of their catalog are shows that have over seven seasons. When you compare that to Netflix, it's like in the single digit. So it's a massive, you know, it can be like four X. Um, what the difference between these. So you can kind of see the strategy as well, where like Paramount PCAT, yeah, like things like the Sheridan Universe, things with a lot of seasons. That's kind of what they're leaning into. Netflix, as you can see from the data here, much like putting out more shows, but but kill it, they're famous for this, right? Like killing them quickly, like you know, maybe a few seasons. Apple TV, newer player on the space, but you know, similar kind of approach, it seems.

Tim Rowe, State of Streaming 26:02

Yes, house of Netflix, great way to extend the shelf life, and I think really re-establish what what movie night can mean.

David Sanderson, Reelgood 26:10

Yeah, yeah. All right, flying through some of the blind spots, yeah.

Tim Rowe, State of Streaming 26:15

Flying through blind spots. I love that. Go fast, take chances.

David Sanderson, Reelgood 26:18

Yeah,

Channel Blind Spots And Missing Hits

David Sanderson, Reelgood 26:19

okay. So um a few is just simply, and this is through no fault. We love we love our friends at Max, we love our friends at Prime. Um but the channel, like this proliferation of channels, like the data problem's already tough in this industry, and you know, we put a tremendous amount of work and money into trying to solve it. And what we've seen is that there's sometimes cracks forming where you know, if you're you're one of the services that has like, you know, the prime or you have like max channel, Apple TV channel, whatever it is, again, the problem exists where you have two different IDs, two different systems. You have like you know, Warner Brothers kind of identification system and Prime's identification. You need to try to map those together to make sure that you know, when you have the max catalog, it shows all of the max catalog. And what we're seeing is just given these problems, that there's there's cracks starting to form where sometimes massive titles are missing. So, like with when we just simply looked at our data, we saw that the Prime Max channel was missing two of the biggest movies, uh Moonlight and Dune. And even more than that, there were 81 titles missing from the Max channel, which just from a streaming service standpoint, I know these people are working on it, and that's great. Um, but it is just something to be, I think services need to be aware of because it does create like there's marketing laws around, you know, if you're saying you have max, you kind of have to have the full max, and then just simply consumer trust. Like if if you were going to if you watch Dune 2 on Max, you're like, why is Dune one not here? I know that's part of the Max catalog, but I'm not seen in my Prime channel. So just like a user trust thing.

Tim Rowe, State of Streaming 27:44

And that's becoming such a huge piece of this business is Prime, Roku, others are doing it where not just T Vod, but that you can subscribe to the app through their marketplace, if you will. So that's becoming a a big driver for some of these apps. So I think it's a it's an important thing to be aware of, and then especially from a media buying perspective, to make sure, hey, we're getting everything that we paid for. Are we are we reaching all those people with the content? It's all good. That's uh that's an important piece. Yes, this is the Project Hail Mary Martian slide.

Zeitgeist Moments And Smart Catalog Picks

Tim Rowe, State of Streaming 28:17

Tell us this is now outdated. Two weeks ago, this was breaking. Um, it's now it's now yeah, it's good.

David Sanderson, Reelgood 28:22

I'm not I have a date in there, but yeah, so as of a couple weeks ago, like Project Hail Mary, number one in the box office. So this was a great example of looking at so for similar content. Like we saw Netflix seem to make a good headway with science fiction. What we saw is like for a long period, almost the entire time that Project Hail Mary was number one in the box office, the Martian, which is the same screenwriter, same author, um, wasn't available on NES fod. Uh, luckily, not that long after we put this out, Philo, our friends at Philo picked it up. I'd like to claim credit, I don't know. We can, but um at least some influence.

Tim Rowe, State of Streaming 28:52

Hopefully. On the attribution model, you're you're you're getting some credit.

David Sanderson, Reelgood 28:56

Yeah, yeah, the correlation we'll take at least. But um, but yeah, just the point is it's just like again, when you can look at a data set like ours, you can find these not even needles in the haystack, but you know, diamonds in the haystack kind of just sitting there where you can be have something unique compared to your competitors. And this is again, this is out of date now. Um, some of these I've seen.

Tim Rowe, State of Streaming 29:15

I know now I've seen the matrix. I that's I I I do think that you're influencing some of these decisions because now I've seen Matrix and Office Space both available since since you put this out. Yes, again, just two weeks ago.

David Sanderson, Reelgood 29:28

We're gonna have to keep the engine running to uh yeah.

Tim Rowe, State of Streaming 29:31

Let us know in the chat what do you wish

Wrap Up And How To Get Deck

Tim Rowe, State of Streaming 29:33

was on demand and and real good can just influence it. Um I I David, I I want to be respectful of your time, of our audience's time. This is oh, perfect. We're we're right at it. We did it. We did it. Closing there, the credit slide. Thank you, David. This has been enlightening. This is gonna be something that we're factoring into our May USPI. So as we're looking at the media buying universe, this is going to become part of that criteria. David, thank you to your and you and your entire team for helping support that mission.

David Sanderson, Reelgood 30:06

Of course. Thank you, Tim. Fun as fun as always, and and Tommy, thank you for the great comments. I'm gonna dig into some of the stuff you said.

Tim Rowe, State of Streaming 30:12

Really good. And if anyone wants this deck, we didn't, you know what, we don't have a way to get the deck easily, but you can DM the page. Um, you can DM me. I'm sure if you DM David, we'll get you the deck. If you want the deck, send us a message and uh we'll make it easy to get. Perfect. Thanks, David. Thanks again, Tim. See ya. All righty.