Assessing the global allure of new content is vital to survive and thrive in today’s competitive streaming environment. In the Variety and IndieWire Streaming Room presented by Vuulr…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Assessing the global allure of new content is vital to survive and thrive in today’s competitive streaming environment.
In the Variety and IndieWire Streaming Room presented by Vuulr, Reemah Sakaan, CEO of Britbox International; Ian McKee, founder and CEO of Vuulr; Jason Kwong, chief digital and strategy officer for Redbox; Amy Kuessner, SVP of content strategy and global partnerships at ViacomCBS Streaming and Filippa Wallestam, EVP and chief content officer for Nordic Entertainment Group joined Variety international editor Manori Ravindran for a discussion about how programming deals are being reimagined for the marketplace.
Each of them discussed the role content plays in their day-to-day decision-making and how the pandemic changed the way business will be done going forward.
“The differentiation question is going to become more and more complex. Because there are many people competing for that kind of general entertainment space. At the end of the day, brand is some, user experience is some — but content is king, and therefore the biggest differentiation is going to come from the content choices,” McKee said, describing how he sees the future of streaming and advertising.
“You have to have great content to break through,” Kwong noted, once again returning to the role content plays in providing customers with the best possible experience.
All of the executives spoke about the role the international audience will play in how they build out their content catalogs. “For Pluto and Paramount Plus, 2022 is certainly going to be about international expansion,” Kuessner said. McKee spoke about how “content from the UK travels well,” when discussing the success of their international content in America.
In the end, they all believe that to succeed in the future, it’s not just about finding good content — but content that will connect to the audience at home no matter where in the world it comes from.