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Speaker 1: Welcome to another episode of Strictly Business, the podcast in

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Speaker 1: which we speak with some of the brightest minds working

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Speaker 1: in the media business today. I'm Andrew Wallenstein, chief media

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Speaker 1: analyst at Variety Intelligence Platform. When it comes to social video,

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Speaker 1: the view here in Hollywood is that it's the competition. TikTok, YouTube,

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Speaker 1: Instagram reels are all algorithmically trained to addict the brains

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Speaker 1: of viewers to endlessly watch and create super brief and

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Speaker 1: super cheap videos on mobile phones, and that time could

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Speaker 1: be better spent focused on screens and living rooms for

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Speaker 1: TV or theaters for movies. But what if Hollywood has

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Speaker 1: got it all wrong. What if instead of thinking of

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Speaker 1: short form video as the enemy, it's actually a friend,

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Speaker 1: extending just the helping hand it needs right now to

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Speaker 1: get more attention back on long form content. The latest

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Speaker 1: research for my next guest suggests just that. We'll be

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Speaker 1: back with Natasha Haritzuk from Warner Brothers Discovery Research to explain.

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Speaker 1: We are back with Natasha Haritzuk, head of corporate Research

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Speaker 1: at Warner Brothers Discovery. Thanks for being here.

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Speaker 2: It's wonderful to be here.

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Speaker 1: So before we get into where your research is now,

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Speaker 1: let's get to where it began with regard to understanding

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Speaker 1: where short form video fits into the broader media diet

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Speaker 1: of the consumer.

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Speaker 3: I think all of us who follow consumers within the

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Speaker 3: broad entertainment ecosystem new multiple years ago that short form

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Speaker 3: was starting to sort of creep into the viewing time

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Speaker 3: of our audiences. Now, what we decided to do at

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Speaker 3: Warner Brothers Discovery, within the context of my team, was

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Speaker 3: take a study that we had been doing, oh my gosh,

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Speaker 3: probably for fifteen years. So that year we decided to

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Speaker 3: call the study Entertainment Now and cast a much wider

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Speaker 3: net than we had done historically. So what the study

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Speaker 3: at the heart of it does is it looks at

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Speaker 3: the share of time people are spending across a broad

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Speaker 3: range of entertainment platforms. So we look at, of course,

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Speaker 3: linear viewing, we look at streaming, but for the first

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Speaker 3: time ever, we started to look at these different platforms

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Speaker 3: that we're pretty sure were encroaching. That was our view,

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Speaker 3: encroaching on linear viewing or TV viewing.

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Speaker 1: What platforms are we talking about?

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Speaker 3: So we looked this was kind of an interesting nuance

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Speaker 3: that I think made a big difference for us. We

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Speaker 3: broke out social video from social media platforms. So by definition,

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Speaker 3: social video is what I think we would call traditional

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Speaker 3: short form viewing, so YouTube TikTok explicitly, Instagram reels explicitly.

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Speaker 3: We also looked at music and gaming, which you know,

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Speaker 3: instinctively we knew well not even I mean gaming, we

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Speaker 3: know is a big thing, particularly for teenage boys, but

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Speaker 3: we knew with younger generations music was also becoming a

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Speaker 3: big chunk of the time that people were spending on entertainment.

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Speaker 3: So when the study came back, there were a whole

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Speaker 3: bunch of kind of fascinating things that confirmed some suspicions

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Speaker 3: we had, but we had the numbers to back up

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Speaker 3: these these hypotheses. These are these suspicions. So first of all,

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Speaker 3: we saw that okay, surprise, surprise, linear viewing was, particularly

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Speaker 3: with younger generations, just you know, marginal, so you know

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Speaker 3: that that kind of ship had sailed. We knew that,

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Speaker 3: you know, linear viewing was declining with younger generations, that

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Speaker 3: streamed content was starting to usurp it, and you know,

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Speaker 3: it was really you know, the primary way that younger

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Speaker 3: generations are watching.

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Speaker 2: TV shows and movies.

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Speaker 3: But then there was this massive proliferation of other platforms

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Speaker 3: they were tuning into. So Alpha Z millennials are highly

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Speaker 3: omnivorous entertainment consumers, and so there's a chunk of time

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Speaker 3: spent watching TV shows and movies, but the rest of

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Speaker 3: their time is divided pretty evenly between these short form

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Speaker 3: platforms like YouTube and TikTok social media.

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Speaker 1: So, I mean, frankly, none of this is surprising.

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Speaker 2: It's not surprising you've got young omnivores.

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Speaker 1: Yes, where did you want to go from there? In

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Speaker 1: terms of your research, what questions? What did you want

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Speaker 1: to ask in a survey? Where did you want to

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Speaker 1: dig further?

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Speaker 3: So the first thing is I think the first instinct was,

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Speaker 3: oh my god, is our lunch being eaten by these

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Speaker 3: new platforms? Is this like an existential threat to the

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Speaker 3: TA and movie business? And on the surface, it definitely

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Speaker 3: looked like it could be. But I thought, this is

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Speaker 3: simplistic to assume that this is a bad thing until

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Speaker 3: we dig a little bit deeper. So there were three

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Speaker 3: things that I think jumped out. So the first thing

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Speaker 3: that strikes you is that when you see this two

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Speaker 3: point two hours a day, you're immediately wondering, is there

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Speaker 3: a distinct set of values or needs or is there

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Speaker 3: a set, a separate occasion that's driving the decision to

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Speaker 3: watch TV shows and movies And is this something that's

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Speaker 3: really discrete from the decision to watch short form. We

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Speaker 3: didn't have on the surface ready explanation for that. You know,

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Speaker 3: we had hypotheses, but we wanted to really dig in.

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Speaker 3: I think the second thing was is short form a

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Speaker 3: bad thing?

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Speaker 2: Is it a good thing?

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Speaker 3: We didn't really understand the inter relationship between short form

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Speaker 3: view and entertainment viewing where they mutually discrete. Was short

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Speaker 3: form viewing something that was really going to be in

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Speaker 3: the long term detrimental to long form viewing. Was it

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Speaker 3: something we genuinely needed to worry about, or was there

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Speaker 3: something more nuanced that we didn't understand Because.

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Speaker 1: At first, blush, it's a zero sum game exactly, you're

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Speaker 1: watching short form, you're not watching long form.

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Speaker 3: And that's almost the way I think we'd historically thought

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Speaker 3: about anything else that was tearing the eyeballs away from

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Speaker 3: TV shows and movies that by definition it had to

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Speaker 3: be bad because if they were spending time on something else,

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Speaker 3: it was bad for TV shows and movies. So it

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Speaker 3: was this kind of sense of mutual exclusivity, and that

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Speaker 3: turned out to not be a very nuanced view, and

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Speaker 3: we needed to kind of prove out that these guys

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Speaker 3: are our enemy and it's going to get worse, or

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Speaker 3: is there something else beneath the surface that we're just

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Speaker 3: not really tapping into. So that was I think the

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Speaker 3: second That was the second piece that we needed to

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Speaker 3: dig into. And I think the third piece was that

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Speaker 3: these younger generations are spending upwards of six hours too

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Speaker 3: in some instances seven hours a day, so somewhere, you know,

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Speaker 3: in the ballpark of six to seven hours a day

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Speaker 3: engaged with entertainment content. So these guys are spending a

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Speaker 3: lot of time on entertainment and so that immediately made

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Speaker 3: me think, well, there's a malleability here, like, are these

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Speaker 3: you know, is the time spent on each of these

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Speaker 3: platforms immovable or could there be with the right inputs

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Speaker 3: from us, with the right content or with the right marketing,

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Speaker 3: some malleability where we could still share Because just because

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Speaker 3: that's the snapshot of how entertainment is being consumed today

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Speaker 3: doesn't mean that it has to be that way moving forward.

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Speaker 3: So you know, if you're looking at one generation and

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Speaker 3: they're spending forty minutes on entertainment consuming entertainment content a day.

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Speaker 3: That's a bigger issue because there's no headspace when people

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Speaker 3: are spending six to seven hours. Well why can't that

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Speaker 3: two point two hours of TV viewing be three hours

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Speaker 3: or four hours?

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Speaker 1: You know?

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Speaker 3: So I wanted to understand whether there were level or

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Speaker 3: triggers that we could engage to maybe steal some share

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Speaker 3: back from short form.

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Speaker 1: So what were the the data collection tools you trained

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Speaker 1: at getting at the problem here?

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Speaker 3: So we wanted to approach it from multiple angles. I mean,

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Speaker 3: first of all, when you're looking at what are the

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Speaker 3: needs the motivations that are driving the decision to view,

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Speaker 3: I mean quants a blind instrument, as we know, and

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Speaker 3: first party data will tell us what's happening, but not

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Speaker 3: tell us why. So these are you know, well established

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Speaker 3: facts in the research world. So we started off with

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Speaker 3: mobile diaries that dug into not just what people were

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Speaker 3: watching but why. So the final piece that we did

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Speaker 3: was with.

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Speaker 1: Midge, which explain who they are.

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Speaker 3: So Midge is a brand new company which is a

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Speaker 3: division of Mavericks, a company that's run by Liz who's

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Speaker 3: Eric and what is fascinating when they built this offering

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Speaker 3: that's called Midge. What sparked my int was that they

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Speaker 3: have this massive first party data set. I think they've

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Speaker 3: got three million users who have permissioned the use of

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Speaker 3: their entire digital footprint to the company. And so why

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Speaker 3: is that interesting? Because suddenly, you know, in the world

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Speaker 3: of entertainment where we can't knit together a lot of

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Speaker 3: different data sources, so we can't say that we know

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Speaker 3: that somebody viewed this show and therefore you know what

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Speaker 3: short form platforms where they are on prior viewing because

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Speaker 3: we don't have access to the short form data.

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Speaker 2: And I'm glad that we had.

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Speaker 3: The opportunity to work with Midge to kind of figure

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Speaker 3: out the model for tackling this first party data relationship

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Speaker 3: between short form viewing and subsequent long form viewing. It

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Speaker 3: took a little bit of wrangling, but what we finally

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Speaker 3: were able to do is identifying when somebody watched We

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Speaker 3: picked fifteen TV shows, and we picked fifteen movies. They

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Speaker 3: were then able to go into their data and find

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Speaker 3: people who had viewed these fifteen shows, these fifteen movies,

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Speaker 3: and then go back in time to see whether or

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Speaker 3: not they had viewed any short form content that was

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Speaker 3: connected to these fifteen shows, these fifteen movies, and we

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Speaker 3: were able to effectively build that journey out so we

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Speaker 3: could see that if somebody had watched short form content

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Speaker 3: related to Doune Too, what was the correlation between that

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Speaker 3: short form viewing and subsequently watching the movie? And it

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Speaker 3: was pretty the patterns were pretty consistent, and I can

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Speaker 3: go into detail.

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Speaker 1: Yeah, what'd you find?

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Speaker 2: Yeah?

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Speaker 3: So what we found was that in pretty much every instance,

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Speaker 3: for both TV shows and movies, there was a really

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Speaker 3: high correlation between short form viewing and subsequent long form viewing.

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Speaker 3: And then we picked a range of different TV shows

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Speaker 3: across our competitive set as well as within the Warner

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Speaker 3: Brothers Discovery family, and we made it We did a

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Speaker 3: similar sort of exercise with the fifteen movies that we picked.

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Speaker 3: We didn't want it to just be Warner Brothers Discovery.

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Speaker 3: We picked movies that ran across the competitive set, and

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Speaker 3: we also picked movies that were massive tent poles, movies

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Speaker 3: that were hits, and then we picked movies that didn't,

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Speaker 3: you know, do so well at the box office, again,

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Speaker 3: so that we had a mix of different test cases

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Speaker 3: to understand whether short form work better in some instances

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Speaker 3: versus others in terms of again driving the long form viewing.

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Speaker 1: But you're saying you saw these high correlations across this

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Speaker 1: broad variety of kinds of content. Yes, the implications are.

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Speaker 3: The implications are that there is an extremely strong relationship

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Speaker 3: between viewing short form content related to a specific TV

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Speaker 3: show or movie and they're going on to view it,

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Speaker 3: going on to buy a movie ticket, to actually buy

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Speaker 3: a digital version of a movie, and to watch a

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Speaker 3: movie or a TV show and a streaming on a

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Speaker 3: streaming service. So we again broke it down. So for movies,

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Speaker 3: we looked at whether or not short form viewing led

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Speaker 3: to a movie ticket purchase, which is of course a

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Speaker 3: huge deal for us because we're trying to drive people

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Speaker 3: back to the movie theaters, whether they purchased a digital

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Speaker 3: version of the movie or whether they watched it on

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Speaker 3: a streaming service. And so if we talk about movies first,

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Speaker 3: I think the lowest numbers we saw were in the

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Speaker 3: sixty five to seventy percent range, but in many instances

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Speaker 3: it was eighty five percent or higher. So eighty five

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Speaker 3: percent of the time when people viewed short from content

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Speaker 3: related to a movie title, they went on to view

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Speaker 3: the movie in some form.

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Speaker 1: But I'm hearing words like relationship and correlation. I'm not

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Speaker 1: hearing the word the a word the attribution. So what

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Speaker 1: are we really saying here?

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Speaker 3: So what we're saying is that there's an extremely strong

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Speaker 3: relationship between short form viewing long form viewing. The reason

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Speaker 3: why we can't use attribution is because we had to

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Speaker 3: start off with the title viewing and work backwards to

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Speaker 3: see if they'd seen short form related to that title.

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Speaker 3: It's not perfect, So in other words, we can't say that.

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Speaker 3: To really prove out attribution, you need to start off

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Speaker 3: and say, Okay, somebody watched a Barbie consumer, a Barbie

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Speaker 3: clip or a Barbie trailer on TikTok, and then four

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Speaker 3: days later they bought a movie ticket. We weren't able

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Speaker 3: to do that just because of this the way the

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Speaker 3: data was structured. We needed to start off with the

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Speaker 3: title explicitly, but by working backwards we could see that

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Speaker 3: they still that there was still a connection.

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Speaker 1: But what you are saying is that you've discovered that

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Speaker 1: short form is a powerful conversion tool to long form content.

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Speaker 3: Yeah, one hundred percent. I mean, you know, if the

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Speaker 3: numbers had been in the thirties or the forties, you'd say, well,

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Speaker 3: maybe there's some connection, But when you're seeing numbers of

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Speaker 3: a magnitude of on average seventy to ninety nine percent,

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Speaker 3: you know that there's something going on there, that there's

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Speaker 3: a synergy, that there's a strong connection point.

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Speaker 2: And I would go so.

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Speaker 3: Far as to say, especially based on the survey data

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Speaker 3: and what we heard in the Mobile diaries, that short

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Speaker 3: form is a vital marketing tool for studios. So short form,

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Speaker 3: when consumers see a clip, a trailer, a compilation, even

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Speaker 3: fan generated content, that becomes a powerful signal, a powerful

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Speaker 3: discovery tool, especially for young younger generations, that then encourages

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Speaker 3: them to go on and watch the content. And so

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Speaker 3: I would go so far as to argue that it's

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Speaker 3: a critical media platform for studios who want to promote

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Speaker 3: their content to younger generations. And I think what we

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Speaker 3: found with the Mobile diaries and with the survey research,

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Speaker 3: and actually a whole separate generational study that we did

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Speaker 3: into long form viewing with younger generations was that it

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Speaker 3: wasn't just about content discovery, and that alone, I think

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Speaker 3: is fascinating. You know, if you want people to watch

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Speaker 3: your TV shows or movies younger generations, and by younger,

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Speaker 3: I mean anybody from thirteen to forty three, because millennials

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Speaker 3: are now middle aged. If you start to seed your trailers,

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Speaker 3: seed clips and compilations on YouTube and TikTok, that's going

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Speaker 3: to increase the probability these guys are going to watch

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Speaker 3: your TV shows and movies.

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Speaker 2: That's I think a pretty.

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Speaker 3: Important, you know, development, a pretty important finding. But what

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Speaker 3: we also found that I thought was really interesting is

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Speaker 3: that when younger generations make a decision to watch a

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Speaker 3: TV show or movie, it's highly intentional. And that was

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Speaker 3: the interesting distinction between short.

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Speaker 2: Form long form.

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Speaker 3: Short Form is more about passive viewing. You know, throughout

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Speaker 3: the day, they're kind of scrolling, they're sort of passively

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Speaker 3: absorbing this content. But it's not something they don't set

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Speaker 3: a side time to view short form, and it's not

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Speaker 3: an immersive, emotionally engaging experience. It's probably more soothing and

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Speaker 3: it's more leaned back. When they make a decision to

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Speaker 3: watch a TV show, they carve out the time. It's

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Speaker 3: highly intentional, and this is where the short form becomes important.

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Speaker 3: They start to build up anticipation and excitement around that

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Speaker 3: viewing session and so not only is short form flagging

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Speaker 3: that this TV show exists or this movie exists, but

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Speaker 3: they keep rewatching clips and compilations, and the algorithm keeps

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Speaker 3: serving up content related to that title, and that starts

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Speaker 3: to build an emotional connection to the content. So the

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Speaker 3: more clips they see, the more fan content they see,

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Speaker 3: the more compilations they see, the more excited and the

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Speaker 3: more connected and invested they become in that piece of content.

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Speaker 3: So not only is it a tool for discovery, but

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Speaker 3: it's a tool for kind of immersion, and it builds

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Speaker 3: up excitement and anticipation around the title that they're going

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Speaker 3: to watch. And you know, I think that's an interesting

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Speaker 3: distinction for me, because when you think about historical advertising

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Speaker 3: and promotions for TV shows and movies, like, if somebody

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Speaker 3: sees a trailer five times, is that going to increase

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Speaker 3: their excitement to see a TV show or movie?

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Speaker 1: Might decrease it might actually decrease it.

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Speaker 3: And you know, for decades and decades we've talked about

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Speaker 3: frequency capping, and you know, at what point, what's that

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Speaker 3: tipping point between seeing too much of the promotional materials?

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Speaker 3: You know, and I think everybody you know, historically there's

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Speaker 3: a lot of debate about like what that magical number is,

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Speaker 3: but more has never been more. But what's fascinating about

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Speaker 3: short form because you're not just looking at one single

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Speaker 3: creative execution. There's infinite, infinite variety in the short form universe.

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Speaker 3: So because you're not seeing that one trailer or that

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Speaker 3: one promotional piece, you're seeing maybe twenty thirty different executions.

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Speaker 3: It could be something a fan, a spoof that a

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Speaker 3: fan created, it could be clips that the studio created,

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Speaker 3: It could be different version of a trailer. But they

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Speaker 3: may see twenty unrelated piece of content for that TV

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Speaker 3: show or movie, and that just keeps sparking their interest

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Speaker 3: and sparking their anticipation around viewing the actual piece. And

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Speaker 3: I think that's probably what makes short form particularly powerful.

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Speaker 3: The repetition isn't driving sort of on Wii and boredom.

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Speaker 3: It's driving anticipation, interest, and it becomes more and more

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Speaker 3: immersive as a content format.

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Speaker 1: We're going to take a quick break, but we will

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Speaker 1: be back with Natasha Heritzuk from Warner Brothers Discovery in

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Speaker 1: just a moment. We are back with Natasha Heritzuk from

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Speaker 1: Warner Brothers Discovery Research. She first began studying social video.

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Speaker 1: The view was that it was a distraction from long

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Speaker 1: form TV and movies, But the deeper she got into

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Speaker 1: her research, she realized there were a more complicated dynamic

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Speaker 1: at play. So yeah, I guess you know, as you're describing,

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Speaker 1: there's obviously lots of different kinds of video that can

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Speaker 1: be a discovery tool, marketing clips, user generated content that

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Speaker 1: doesn't necessarily even have any intellectual property. You know, people

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Speaker 1: could be talking about Severance, which is on the air

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Speaker 1: right now, but not necessarily showing a single second of it.

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Speaker 1: So if you're a marketer at your company or any

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Speaker 1: other company, how do you know how to harness these powers?

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Speaker 3: So I think there's a number of different considerations, and

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Speaker 3: any way, it's sort of I think the way that

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Speaker 3: we would have you know, digital has definitely I think,

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Speaker 3: added multiple layers of complexity for marketers, and then social

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Speaker 3: video adds almost this whole new dimension of complexity. But

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Speaker 3: I think the biggest mistakes and I'm so this is

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Speaker 3: a researcher, you know, wagging the finger at marketers, but

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Speaker 3: I think the biggest mistake that we've made, and this

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Speaker 3: is not unique to our industry, I think it's how

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Speaker 3: many companies have dealt with digital and short form. Is

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Speaker 3: they take something that would have been a linear execution,

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Speaker 3: you know, the thirty second spot, the trailer, and just

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Speaker 3: slapped it on these new platforms. And I think that's

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Speaker 3: how you don't do it. I think what you have

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Speaker 3: to do, first of all, is understand how do we

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Speaker 3: take a creative idea and build an execution that's organically

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Speaker 3: suited to this platform. The other thing that you have

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Speaker 3: to take into consideration it is not a homepage takeover.

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Speaker 3: You know, it's not something that's just going to show

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Speaker 3: up in as a banner ad. But it's sitting in

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Speaker 3: a real filled with immense amounts of clutter. Clutter on

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Speaker 3: a level that we've probably never experienced before. You know,

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Speaker 3: when you think about TikTok, every thirty seconds people are

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Speaker 3: seeing a fresh piece of content. So another major consideration

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Speaker 3: is how do we how do we stand out from

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Speaker 3: all that noise? And I think taking conventional forms of

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Speaker 3: advertising and thinking they're going to work within the context

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Speaker 3: of that clutter is not not the right path forward.

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Speaker 3: I actually think what makes this exciting for marketers is

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Speaker 3: they have an opportunity to really kind of dog food

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Speaker 3: new approaches to building trailers. How do you take a

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Speaker 3: trailer that's you know, sixty seconds long and make it

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Speaker 3: thirty seconds or twenty seconds and do it in a

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Speaker 3: way that's going to kind of stop the scroll. And

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Speaker 3: I think that's kind of, you know, an interesting challenge it,

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Speaker 3: you know, I think provides an opportunity for us to

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Speaker 3: think differently about the role of visuals, about the role

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Speaker 3: of audio. So I think there's an opportunity to really

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Speaker 3: rethink historically what would have been a traditional marketing execution

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Speaker 3: in the world of entertainment. I also think, you know, trailers,

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Speaker 3: of course, have never really changed over the course of

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Speaker 3: fifty sixty seventy years. I think there's a lot that

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Speaker 3: we can do differently with trailers that these these platforms

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Speaker 3: are built for. Thinking about audio differently, thinking about seating curiosity,

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Speaker 3: not showing every epic moment in a movie or TV

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Speaker 3: show through the trailer, but maybe showing just one moment,

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Speaker 3: having the bravery to just kind of pick a moment

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Speaker 3: or a piece of dialogue or a set and focusing

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Speaker 3: on that momentarily, and you know, using that to capture

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Speaker 3: attention and get people excited about what they're seeing.

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Speaker 2: Clips and compilations haven't really changed.

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Speaker 3: You know, I think there's sort of a formula that

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Speaker 3: we followed, you know, like bloopers or you know, funny

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Speaker 3: moments or the best kisses, and I'm not saying those

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Speaker 3: don't work. But again, there's so much creative latitude that

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Speaker 3: that I think marketers can deploy to capture attention on

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Speaker 3: these platforms. And you know, honestly, one way to get

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Speaker 3: inspiration is to look what fans are creating, what consumers

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Speaker 3: are creating, what influencers are creating. And I'm not saying

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Speaker 3: necessarily we want to mimic it, but to use the

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Speaker 3: stuff that's happening in the wild, happening organically on these

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Speaker 3: platforms and use it as a source of inspiration to

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Speaker 3: think differently. I also think there's this hygiene stuff. Is

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Speaker 3: this going to be something that is this a promotion

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Speaker 3: or is this a marketing campaign that sits best on

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Speaker 3: YouTube or TikTok? Should it sit on both? Is this

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Speaker 3: something that would work better on Instagram? So I think

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Speaker 3: we need to think about these platforms discreetly and understand

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Speaker 3: which we should be using or how we should be

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Speaker 3: using them in tandem. And then you know, one of

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Speaker 3: the interesting bits that we've from the research that I

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Speaker 3: think we're going to dig into, that we're certainly going

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Speaker 3: to dig into more in twenty twenty five is how

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Speaker 3: do we think about these different formats? Is there an

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Speaker 3: instance where trailer really is going to be the best format?

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Speaker 3: And I think what the research is showing us in

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Speaker 3: the early stages is trailers still work best for movies.

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Speaker 2: But again, let's rethink what a trailer is.

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Speaker 3: Let's not just mimic what we've always done, but think

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Speaker 3: about new creative ways of deploying trailers on these platforms.

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Speaker 3: And we found that clips and compilations work best for TV.

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Speaker 1: You know, we should note though that it's like, you know,

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Speaker 1: all of this is not necessarily a new revelation, as

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Speaker 1: if you know, the studios have not been marketing on

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Speaker 1: these platforms at all prior. I mean to the point

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Speaker 1: where we saw a bunch of experiments in recent years

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Speaker 1: where you know, they're slicing and dicing entire movies or

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Speaker 1: TV shows. I'm thinking, you know, Paramount got a lot

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Speaker 1: of attention for putting mean girls on TikTok in discrete episodes,

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Speaker 1: and so I'm curious if are we is the data

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Speaker 1: that we're looking at here the result of that increased

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Speaker 1: tonnage or we need to see more incre he's tonnaged,

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Speaker 1: and that's what this data is telling us.

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Speaker 2: I think it's a little bit of both.

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Speaker 3: I think we've dipped our toe in the water, and

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Speaker 3: this data would indicate that it's working. But I still

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Speaker 3: feel like we're not thinking about short form as a

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Speaker 3: bona fide media platform. I think we kind of know

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Speaker 3: that the kids are watching it, So there have been

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Speaker 3: these little bits of dog fooding and experimentation, but I

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Speaker 3: don't know if it's been done in a highly systematic,

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Speaker 3: strategic way, in the way that we would have thought

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Speaker 3: about promoting on you know, other platforms, on digital platforms

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Speaker 3: or on TV. So I think I think there has

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00:25:38,680 --> 00:25:41,800
Speaker 3: to be more than just experimentation. It has to become

439
00:25:42,000 --> 00:25:46,440
Speaker 3: a discipline within marketing groups. And I think some companies

440
00:25:46,480 --> 00:25:49,600
Speaker 3: have been doing it more as a discipline, maybe some

441
00:25:49,680 --> 00:25:53,080
Speaker 3: more than others. But I also think, you know, we

442
00:25:53,200 --> 00:25:56,320
Speaker 3: have to learn to I think so. I think part

443
00:25:56,359 --> 00:26:00,280
Speaker 3: of it certainly is that that whatever experimentation or even

444
00:26:00,280 --> 00:26:04,040
Speaker 3: more systematic marketing is happening on these platforms, it's it's

445
00:26:04,080 --> 00:26:08,680
Speaker 3: definitely working, But I think a big part of what's

446
00:26:08,800 --> 00:26:11,800
Speaker 3: driving the discovery and immersion is also stuff that's just

447
00:26:11,840 --> 00:26:14,640
Speaker 3: happening in the wild. That is, you know, classic user

448
00:26:14,720 --> 00:26:15,680
Speaker 3: generated content.

449
00:26:16,200 --> 00:26:17,160
Speaker 2: And I think.

450
00:26:18,480 --> 00:26:20,919
Speaker 3: You know a lot of creatives and a lot of

451
00:26:21,480 --> 00:26:24,840
Speaker 3: entertainment companies have had an uneasy relationship with that user

452
00:26:24,920 --> 00:26:27,480
Speaker 3: generated content because it's sort of outside of our span

453
00:26:27,520 --> 00:26:30,520
Speaker 3: of control. And I understand, you know, when your ori

454
00:26:30,560 --> 00:26:33,240
Speaker 3: IP is so precious to us, and I think every

455
00:26:33,240 --> 00:26:36,080
Speaker 3: company feels the same, and when you're sort of letting

456
00:26:36,119 --> 00:26:40,440
Speaker 3: that loose to you know, millions of people out there

457
00:26:40,440 --> 00:26:43,480
Speaker 3: who are doing weird and wonderful things with it, you

458
00:26:43,560 --> 00:26:46,600
Speaker 3: lose a huge amount of control. And you want to

459
00:26:46,600 --> 00:26:50,040
Speaker 3: make sure that you know people are being good custodians of.

460
00:26:50,320 --> 00:26:51,800
Speaker 2: Your brands and your franchises.

461
00:26:52,119 --> 00:26:56,399
Speaker 1: One last question you talk about, you know, social video,

462
00:26:56,560 --> 00:26:59,160
Speaker 1: as you know, studios need to be thinking about it

463
00:26:59,200 --> 00:27:03,720
Speaker 1: as a media play platform in itself. You referenced Quibi earlier.

464
00:27:04,800 --> 00:27:08,639
Speaker 1: Isn't the logical extension of what you're talking about is

465
00:27:09,960 --> 00:27:15,040
Speaker 1: forget about thinking about this as a marketing platform. Shouldn't

466
00:27:15,240 --> 00:27:19,960
Speaker 1: you guys be thinking about this as a programming platform

467
00:27:20,920 --> 00:27:22,359
Speaker 1: If it's so powerful?

468
00:27:23,119 --> 00:27:26,280
Speaker 3: I mean, I would based on the consumer data that

469
00:27:26,359 --> 00:27:29,760
Speaker 3: we've seen, based on this year long short form initiative

470
00:27:29,800 --> 00:27:32,720
Speaker 3: we've engaged, and I would say that that would be

471
00:27:32,760 --> 00:27:34,800
Speaker 3: a viable in my view, that would be a viable

472
00:27:35,280 --> 00:27:39,639
Speaker 3: long term strategy. So we very very consciously decided to

473
00:27:39,680 --> 00:27:42,720
Speaker 3: do a crawl walk run approach. So the crawl is

474
00:27:42,760 --> 00:27:47,000
Speaker 3: really marketing, you know, that's really that's the table stakes.

475
00:27:47,520 --> 00:27:51,399
Speaker 3: The next step up is using short form content for

476
00:27:51,560 --> 00:27:56,560
Speaker 3: immersion to drive that emotional connection, that longitudinal engagement with

477
00:27:56,680 --> 00:28:02,399
Speaker 3: the content, both pre and post viewing. Then the run is, yeah, like,

478
00:28:02,760 --> 00:28:06,480
Speaker 3: let's jump on that bandwagon. So I can tell you

479
00:28:06,520 --> 00:28:10,040
Speaker 3: what we've heard from consumers pretty consistently. If you've got

480
00:28:10,119 --> 00:28:15,440
Speaker 3: strong IP and you've got narratives, you've got characters, you've

481
00:28:15,440 --> 00:28:19,359
Speaker 3: got franchises that consumers love, they have a huge appetite

482
00:28:19,400 --> 00:28:23,719
Speaker 3: for seeing that content in shorter bursts. So it doesn't

483
00:28:23,760 --> 00:28:25,480
Speaker 3: necessarily have to be as.

484
00:28:27,240 --> 00:28:27,480
Speaker 2: I mean.

485
00:28:27,560 --> 00:28:29,840
Speaker 3: You can certainly take a TV show, chop it up

486
00:28:29,840 --> 00:28:34,000
Speaker 3: into smaller pieces and throw it on these platforms and people.

487
00:28:34,040 --> 00:28:37,119
Speaker 3: I mean, we've seen a number of different studios do

488
00:28:37,240 --> 00:28:39,800
Speaker 3: that and it works, and that can also be a

489
00:28:39,800 --> 00:28:42,800
Speaker 3: marketing tactic that drives people to the platform to view

490
00:28:42,840 --> 00:28:46,480
Speaker 3: the you know, the multiple seasons of that show, or

491
00:28:46,520 --> 00:28:49,160
Speaker 3: to watch that show in a more sort of conventional

492
00:28:49,240 --> 00:28:52,400
Speaker 3: long form plat on a more conventional long form platform.

493
00:28:52,680 --> 00:28:57,720
Speaker 1: I sense a Gilmore Girls mobisode reboot coming in twenty

494
00:28:57,800 --> 00:29:00,600
Speaker 1: twenty eight. Well, Natasha, thank you for taking the time

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00:29:00,640 --> 00:29:04,240
Speaker 1: out to walk us through some fascinating research my pleasure.

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Speaker 2: Thanks for listening.

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00:29:09,200 --> 00:29:12,160
Speaker 1: Be sure to leave us a review at Apple Podcasts

498
00:29:12,280 --> 00:29:13,400
Speaker 1: or Amazon Music.

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00:29:13,600 --> 00:29:16,560
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00:29:16,600 --> 00:29:17,920
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501
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Speaker 3: For the free weekly Strictly Business newsletter, and don't forget

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00:29:22,240 --> 00:29:26,280
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