Two months after its nationwide launch in July, NBCUniversal's free service makes its way to Roku's popular streaming platform.
Illustration by Alex Castro / The Verge Comcast and Roku have come to an agreement months after NBCUniversal’s Peacock streaming service launched. Peacock will be available to stream on Roku in the coming weeks. “We are pleased to have reached an agreement with Comcast that will bring Peacock to Roku customers and maintains access to NBCU’s TV Everywhere apps,” a Roku spokesperson said. “We look forward to offering these new options to consumers under an expanded, mutually beneficial relationship between our companies that includes adding NBC content to The Roku Channel and a meaningful partnership around advertising.” The decision comes after Comcast and Roku got into a public argument over the status of dozens of NBCUniversal apps. Comcast threatened to pull the apps as... Continue reading…
NBC fans are in the crossfire as Peacock remains absent on Roku.
At times, there are instances when we find some video interesting but we cannot play it because of geo-restrictions, which means that a particular video is not available in our country.This VPN service has got more than 3000 servers around the world and along with YouTube, you can also unblock content from other major video streaming platforms such as Netflix, iPlayer, Amazon, Hulu, and Peacock with this VPN service.You will be able to use this service on 5 different devices if you buy a subscription of ExpressVPN for $6.67 per month if you buy to opt for an annual subscription.This fast, reliable, and powerful VPN service is available for all the major operating systems including Windows, Mac, Android, iOS, and Linux.SurfsharkSurfshark is a powerful VPN service that comes at a cheaper price but it does it mean that it is lacking in features.This service can be used to unblock content from all the major websites and video streaming apps which are having a geo-restriction, which means that you will be able to unblock content from Netflix, iPlayer, Amazon, Hulu, and Peacock also along with YouTube.If you decide to buy an annual subscription of Surfshark, it will be costing you $1.99 every month.CyberGhostCyberGhost comes packed with all the basic and advanced features of a good VPN service.
We’ve been hearing various rumors about a potential Fresh Prince of Bel-Air reboot for years, but now it seems it is finally going to happen…sort of. Newly launched streaming service Peacock plans to release a two-season ‘reboot’ of the show, one that is styled as a drama rather than a sitcom, and that is set in modern life with modern … Continue reading
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The streaming service has approved two full seasons of the show.
Streaming app Peacock has free movies and TV shows, and it unlocks more -- like originals -- if you pay. But you still can't stream it on a Roku.
The streaming giant offers up some of its popular titles for free.
Today in India since long, both brides and grooms decorate their hands and feet with mehndi designs to bring happiness and success into their marriage.Instead of doing it the night before, the mehndi is added days before as, according to superstition, the darker the color of the henna, the more love will develop between the two.As such, families prioritize the henna party over the other smaller customs, creating grand festival-like parties just to host the mehndi ceremony using Mehendi powder by the Henna manufacturer in India.The designs used in mehndi are elaborative and significant.Drawing a certain design means the couple is hoping for certain aspects they wish to receive during their marriage.Various designs are there and each design has its specific meaning.A mandala flower is an intricate weaving of lines that form a circle similar to an open flower.However, due to the intricacy of mandalas even outside of mehndi, one bride’s mandala mehndi will almost always look different from those made for other brides.A peacock design highlights the beauty, guidance, and protection.
NBCUniversal's streaming app Peacock has free movies and TV shows, and it unlocks more -- like originals -- if you pay. But you still can't stream it on a Roku.
It'll star SNL's Kate McKinnon as tiger-loving Baskin.
Disney owes part of its early streaming success to its expansions into India and Western Europe — proving, as Netflix did, how crucial global audiences are in the streaming wars. Business Insider broke down what we know about how the various legacy-media companies are expanding their streaming businesses internationally, and what hurdles they'll face. Players including Disney and WarnerMedia will have to navigate pre-existing distribution deals and figure out which brands to peg their platforms to, experts told Business Insider. Disney and its rivals are also learning that some streaming markets may be more valuable than others. Visit Insider's homepage for more stories. Disney Plus is winning the early race among legacy media's nascent streaming services with 60.5 million paying subscribers in its first nine months. A chunk of Disney Plus' growth this past quarter came from its combined offering in India with Hotstar, a locally established streamer, and growth in the prior period came partly from Disney Plus' expansion into Western Europe. The international impact on the platform's early success shows how crucial global audiences are in the streaming wars. Netflix first proved this in 2017 when its international subscriber base overtook its US audience. International viewers still fuel Netflix's subscriber growth. With streaming competition heating up in the US, Disney, ViacomCBS, and WarnerMedia shared in recent weeks new plans to expand their services internationally. Legacy media will face challenges their tech rivals didn't when pushing overseas, experts told Business Insider, including navigating pre-existing distribution deals and figuring out which brands to peg their platforms to. But these players need to the lay out the groundwork now for what will likely be a long road abroad. "We're talking about services that are only profitable at scale," said Eric Haggstrom, forecasting analyst at Insider Intelligence. "Growing user base and brand early on is very important." Here's what we know about legacy media's international streaming plans, so far:  Disney's Disney Plus is available in more than a dozen countries, and is pushing into the Nordic regions, Belgium, Luxembourg, Portugal, Indonesia, and Latin America later this year. The media company is also pegging to its Star brand an upcoming international streaming offering that will house Disney-owned content that isn't a fit for the family friendly Disney Plus, including ABC Studios, Fox TV, FX, Freeform, Searchlight, and 20th Century programming. No international plans have been announced for Hulu and ESPN Plus. ViacomCBS's free, streaming-TV service, Pluto TV, has already expanded into parts of Europe and Latin America. The company is also planning to launch in 2021 an international streaming service that will feature programming from all its brands, including Showtime, starting in Australia, Latin America, and the Nordic regions. WarnerMedia's flagship streaming service HBO Max is eyeing entry into Latin America, as Bloomberg's Lucas Shaw reported. The company has yet to reveal a timeline or concrete details on the expansion. Discovery said it will soon announce a streaming service that will encompass much of it non-fiction programming, including HGTV, Food Network, and Animal Planet programming. Like its legacy-media competitors, it'll probably roll out stateside first, but few details have been revealed. The company also has US-based apps for some of its media brands, like its Food Network Kitchen subscription. Lionsgate has been expanding its domestic pay-cable network Starz internationally through platforms like Prime Video Channels, internet providers like Orange and Vodafone, and direct-to-consumer apps. Its international direct-to-consumer service, StarzPlay, launched in the UK, France, Germany, Brazil, and Mexico last year, and is slated to launch in 20 more territories this year. Through a joint venture, the Starz brand also streams in the Middle East and North Africa with StarzPlay Arabia.  NBCUniversal plans to expand Peacock internationally but hasn't yet shared details. Disney and WarnerMedia are constrained by their legacy operations in ways their tech rivals aren't Apple TV Plus demonstrated the advantage tech companies have in streaming when it launched in November, around the time Disney Plus debuted in a few countries, in more than 100 territories around the world. As a tech company, Apple had the infrastructure in place to move into much of the world overnight.  Disney is building that infrastructure, but it's also encumbered by pre-existing international licensing deals in ways Netflix and others streamers aren't. Since Netflix started releasing originals, it has hustled to secure the global rights to that content where possible, while also distributing or coproducing local projects, such as India's "Sacred Games," Spain's "Money Heist," and the UK's "The Crown," to appeal to audiences around the world. "Netflix did a lot of things right, particularly in terms of reaching out to local directors and producers to make sure the programming they're making is appropriate for the market," Alan Wolk, analyst at TVREV, told Business Insider. "That was a great lesson for everybody else on how to roll things out internationally." Before Disney follows Netflix down that road with its forthcoming international streaming service, it'll have to claw back the rights around the world to its own programming, such as ABC's "Grey's Anatomy" or Hulu's "The Handmaid's Tale," which air and stream on local channels in the UK and other parts of the world.  "The biggest issue in general for these services is they've already sold a lot of their content into longterm deals internationally," Haggstrom, the Insider Intelligence analyst, said.   In the UK, Comcast's Sky airs and streams shows from both WarnerMedia's HBO and ViacomCBS's Showtime. Some HBO and Showtime shows also stream in India on Disney's Hotstar. That doesn't mean WarnerMedia's HBO Max and ViacomCBS's forthcoming streaming service can't expand into the UK or India. But it does make their entries a tad more complicated. Legacy media had to deal with this before launching in the US, too, by the way; Disney, for one, had to retrieve the rights to the Star Wars films for Disney Plus.HBO's existing distribution deals may be part of why HBO Max is looking to Latin America first. WarnerMedia CEO Jason Kilar, who was the founding CEO of Hulu, knows how crucial it is for streaming services to get their international rollouts right. Hulu pushed into Japan, but never expanded more broadly. Netflix, on the other hand, aggressively pursued international expansion, and overtook Hulu's audience by a wide margin. "I'd say it was a mistake, and one of my biggest regrets was not being able to persuade the board of Hulu to go international," Kilar told Bloomberg's Lucas Shaw in August. Netflix had 193 million subscribers as of June, where Hulu has 35.5 million. Some international markets may be more valuable than others as legacy media charts its streaming expansion As legacy media expands streaming internationally, Disney, ViacomCBS, and others will also need to consider which markets are the most lucrative. Netflix started reporting its financials by international region this year, which gives more insight into streaming markets globally. The US and Canada, and Europe, the Middle East, and Africa, bring in the most revenue per paying subscriber. In regions like Latin America and Asia-Pacific, Netflix's average revenue per subscriber has declined as its audiences have grown. Disney Plus' average revenue also dropped last quarter to $4.62 because of its price point in India, where it launched as part of the bundle with Hotstar. Excluding Disney Plus Hotstar, the service's average revenue was $5.31 per paying subscriber, the company said. "Netflix is a major player in all those markets," Haggstrom said. "The newcomers are going to have to look at, how concentrated is the market? And what is the revenue opportunity in the market, both in terms of ads and subscription options?" Some markets, like India, may be more accepting of ad-supported services if it keeps down the costs of subscriptions, Haggstrom said. Starz first established its brand internationally in the Middle East and North Africa, through its joint-venture, StarzPlay Arabia. After the service gained traction — and Starz was acquired by Lionsgate in 2016 — Starz starting expanding in 2019 its own StarzPlay offering in parts of Europe and Latin America, as a home for Starz dramas, Lionsgate movies and TV shows, and premium programming licensed from third parties. It plans to push into more territories this year. Lionsgate said it had 11.4 million streaming subscribers globally as of June, including StarzPlay Arabia and the Spanish-language service, Pantaya. Legacy players are pegging their services to their strongest international brands Legacy streamers like Disney may have advantages moving into international markets where their brands are well known. Disney is a behemoth at the international box office with Marvel, Disney, and other films, and has international touchstones through its theme parks in Europe and Asia. Warner Bros. and DC films are also big at the global box office. ViacomCBS has an international TV footprint, as well as its movie studio, Paramount. And Lionsgate's Starz, which had been licensing programming to TV networks around the world, has found success bringing its brand name to more parts of the world. The challenge for these legacy players then becomes which brands to peg their streaming services to. In some cases, it means making tough choices. Disney is putting Star, which is more established in Asia, at the forefront of its international general-audience service, and not Hulu. Hulu has a robust streaming audience in the US, but it's virtually unknown outside of the country. "Hulu also, I must say, has no brand awareness outside of the US and nor does Hulu have any content that's been licensed to it internationally," Bob Chapek, Disney's CEO, said on the company's latest earnings call. Wolk, the TVREV analyst, also pointed to Hulu's roots as a joint venture between major US broadcasters as a possible reason for its stalled international push.  "I suspect the name Star is more Disney-ish than Hulu," Wolk said. "They're still in the process of Disney-fying Hulu." ViacomCBS, meanwhile, has yet to name its upcoming streaming service, but said it will feature both CBS and Showtime content. It's likely that one or both brands will have to play second fiddle to the broader streaming brand. "It may be that some of the content is valuable but it doesn't have much brand equity," Haggstrom said of brands like CBS. "This is something that all these companies are going to have to deal with."Join the conversation about this story » NOW WATCH: A cleaning expert reveals her 3-step method for cleaning your entire home quickly
The first year of Disney Plus has shown that, while the platform is still getting a lot of things right, it’s also making some highly avoidable mistakes.
A marquee franchise akin to the reach of Marvel’s Avengers is what they want right now to outclass the likes HBO, Hulu, a newly arrived Disney+ and Peacock.Charlize Theron of Monster fame has also publicly stated that she and the rest of the entire cast are open to a possible sequel of Old Guard.So the main news is that a film named Project Power which has been getting excellent reviews since the time it arrived on Netflix has already started a buzz for a possible TV series spin-off apart from a sequel which is anticipated because the film ended after leaving a door open for more stories.It has been reported that Netflix believes that the concept of the film has some potential to make itself a highly successful franchise.It is widely believed that the filmmakers intentionally left a door open for further adventures because they already have an idea for the sequel, and they held themselves back from going too deep into the story.The best way to do it will be to make a more extended version of the story.If the future projects could include a mythological part in the adventure, it will guarantee a definite viewership and perhaps soaring popularity as well.
Business Insider is seeking nominations for its second annual list of the top executives who are leading the rise of free, ad-supported streaming video. We want to hear from you.  Please submit your ideas through this form by September 9.  Visit Insider's homepage for more stories. People have been spending more time streaming video during the pandemic, and it's growing the market for ad-supported services. Nielsen looked at viewers during one week in July and found people were spending more time streaming video that wasn't supplied by one of the majors — Netflix, Hulu, YouTube, Amazon Prime Video, and Disney Plus — than they were last year. Of that "other" category, as Nielsen called it, ad-supported video-on-demand services like Vudu, Crackle, and Tubi made up 20% of the streaming share. Free, ad-supported services have also been among the hottest acquisition targets by major media companies of late, helping to legitimize the services and expand their reach. Fox snapped up Tubi, Comcast acquired Xumo, and Fandango bought Vudu this year. Media giant NBCUniversal also launched its own ad-supported streamer, Peacock, in 2020. As free ad-supported streaming reaches its next level, Business Insider is seeking nominations for its second annual list of the top executives shaping the AVOD industry. We want to hear from you. Please submit your ideas through this form by September 9.  We're looking for senior execs who are overseeing key elements of free, streaming-video services. They could be the CEO of service that's charting tremendous growth; a smart-TV exec bringing free content to a video platform; a team leader charged with a crucial part of an AVOD business, like content development, data and analytics, or advertising sales; a programmer with an innovative strategy for selling to AVOD services; or an executive championing ad-supported streaming within a media conglomerate.  These leaders are helping their companies navigate the evolving TV landscape, and shaping the future of ad-supported video. We're seeking leaders who are innovating around streaming-video services that don't charge subscription fees For this list, we are interested in people who are innovating around free, ad-supported streaming-video services that do not charge subscription fees. That could include TV services like Pluto TV; free on-demand platforms like The Roku Channel, IMDB TV, or Vudu; free tiers within broader streaming services, like Hotstar's AVOD offering in India; as well as platforms like Facebook Watch and YouTube that have ad-supported video. The list will be determined by Business Insider based on our reporting and the nominations that we receive. The rankings will factor in the executive's roles and responsibilities, the scope of the changes they've introduced, and the person's impact on the company's performance and AVOD industry broadly.Join the conversation about this story » NOW WATCH: What it takes to be a PGA Tour caddie
The 1995 blockbuster comedy film Clueless celebrated its twenty-fifth anniversary in pandemic ridden 2020.According to reports from reliable journalists, Peacock streaming service is planning to create another “Clueless” show which will have some unexpected “twist.”However, Amy Heckerling who wrote and directed the 1995 film will not be involved in the modern version of Clueless, but instead, Jordan Headout and Guss Hickey have been roped in as the head writers of the show.The Head Writers also comically described the new show’s plot.“baby pink, blue-tinted, tiny sunglasses-wearing, oat milk latte, and Adderall-fueled look at what happens when queen bee Cher disappears and her lifelong number two Dionne steps into Cher’s vacant Air Jordans.the remake will be based on Dionne.In the 1995 film, Alicia Silverstone had played the role of Cher while Stacey Dash had played the role Dionne, but the new show has no plans of casting them again, but there have been rumors that they will be offered cameos to please the fans of the popular show.The talks of Clueless has been buzzing on the internet since the last year, but it was reportedly put on hold, but as the ties with Peacock streaming service has been established, and the show has got a new home, it is expected that the development of the show will pick up some pace.The plot of the story was loosely based on Jane Austen’s novel Emma that was published way back in 1815.
Dealmaster also has deals on Nintendo Switch games, Apple's iPad Mini, and more.
The Spanish-language streaming company Vix launched its ad-supported OTT service in Brazil on Friday, adding to the growing number of services that are expanding the market for advertising video-on-demand (AVOD) internationally. Two top Vix execs talked with Business Insider about how they're tackling the unique hurdles in AVOD's international expansion and the lessons they learned from streamers like Netflix. Vix held off on its Brazil launch until it acquired enough Portuguese-language content to satisfy local audiences, and it is using its existing social footprint to draw viewers to the newer AVOD offering.  The Vix execs also said selling ads directly is a key component to their business model. Visit Insider's homepage for more stories. The Spanish-language streaming company Vix launched its ad-supported OTT service in Brazil on Friday, adding to the growing number of services that are expanding the market for advertising video-on-demand (AVOD) internationally. Other free streamers including Pluto TV and Tubi have also pushed abroad in recent months with the help of corporate backers like ViacomCBS and Fox, respectively. Their international expansions come after subscription players like Netflix and Amazon made streaming a global habit, but also experienced growing pains in markets like India where their price points were steep compared with local competitors. Ad-supported streaming video, which is usually available for free or cheap, faces its own challenges in expanding globally, such as building out local libraries without the support of subscription revenue, and attracting local advertisers. The landscape is also getting more competitive as legacy players venture into the AVOD space, like NBCUniversal's Peacock. Two top Vix execs talked with Business Insider about how they're tackling the unique hurdles in AVOD's international expansion and the lessons they learned from streamers like Netflix. Vix, founded as a digital-media outlet for viral videos and stories aimed at US Latino and Latin American audiences, acquired in 2019 Pongalo, a company that runs Spanish-language streaming services. The deal helped Vix, which counts Discovery and private-equity firm HarbourVest Partners among its investors, launch an AVOD offering that has become a major player among Latino audiences. Vix said it was on track to hit 10 million app installs in August, up from the 5 million it told the Los Angeles Times it had in July. The app has risen in Roku's app rankings in recent months, as well, Variety reported. Vix launched its AVOD service in both the US and Mexico last year, but held off on pushing into the lucrative streaming market of Brazil because of the language barrier. Most of Vix's now-20,000 hours of programming was in Spanish, while Portuguese is the dominant language in Brazil. The company had to build up a library of local-language content before expanding into the region. Subscription services like Netflix found international success in part by building local libraries.  "Netflix did a lot of things right, particularly in terms of reaching out to local directors and producers to make sure the the programming they're making is appropriate for the market," Alan Wolk, analyst at TVREV, told Business Insider. "That was a great lesson for everybody else on how to roll things out internationally." Vix went to some of the same content owners it licensed Spanish-language movies, series, and novelas from to acquire Portuguese-language programming. "We were able to go to them and ask them to add Portuguese content into their deals with us," said Rich Hull, Vix's chief strategy officer and founder of Pongalo. "We were able to shortcut that process ... Sourcing and licensing content is a really time-consuming process and it's a very specialized art." Vix is leaning on its existing social footprint to draw audience to its streaming-TV app Vix is leaning on its larger social following to draw audiences to its OTT app in Brazil, as it has in other markets. The company garnered more than 700 million video views on Facebook in July, according to data from measurement firm Tubular Labs.  In Brazil, Vix said it had roughly 30 million followers across its Facebook, Instagram, and YouTube channels. The company is using social to help program and market its AVOD offering to local audiences. For example, Vix's short-form videos about the British royal family tend to over-index in Brazil. Audiences there are "obsessed with the royals," Hull said. So Vix licensed more movies and TV shows about royals and is using the short-form videos on its social channels to draw audiences to that longer programming.  "That social web, OTT funnel that we built is kind of our secret sauce," Vix CEO Rafael Urbina said. Vix says its AVOD model is a 'flywheel' and direct ad sales are key to it Attracting local advertisers can be another challenge for ad-supported platforms expanding into new markets. The concept of AVOD is still relatively new outside of the US. Vix said it points to its success in similar markets, like Mexico, in its pitches to advertisers, as well as its standing in globally recognized app store's like Roku and Google Play Store. In Brazil, Vix is also leveraging its existing ad-sales team, which has direct relationships with local advertisers as part of the company's social-video business. It landed a sponsorship deal with local food brand Perdigão for a Brazilian BBQ-themed on-demand channel on its AVOD service, for instance. The Vix execs said selling ads directly is key to the company's business model, because it generally secures higher CPMs, a common metric for ad rates, than when selling through programmatic exchanges. Direct sales don't always carry higher CPMs than ads sold through third parties, said Brian Wieser, global president of business intelligence, at WPP's media arm, GroupM. But TV and streaming advertisers typically care more about the context — the shows and platforms — their ads are airing in than many other digital advertisers, so it makes sense that an AVOD platform would be able to realize higher CPMs by selling directly. "When it comes to TV, almost all advertisers do care about the context," Wieser said. Vix said the higher rates also help increase revenue, which gives the company more money with which to vie for content-licensing deals. Vix, as a whole, expects to bring in $20 million in revenue in 2020, up 40% from 2019. "The AVOD business model is kind of a flywheel," Vix CEO Rafael Urbina said. "You need audience. To get the audience, you need content. But to sustain the content, you need ad sales." Vix said it caps ad loads at 10 minutes per hour. That's less than most traditional-TV channels, but more than AVOD services including Tubi that run 4 to 6 minutes of ads per viewing hour. Join the conversation about this story » NOW WATCH: A cleaning expert reveals her 3-step method for cleaning your entire home quickly
NBC’s newly launched Peacock streaming service will be the destination for Clueless, a reboot of the ’90s TV show by the same name. The show itself comes from CBS TV Studios and we’ve known about it since last year. Though the show has been in development for several months, that work took place without any particular network attached to air … Continue reading
"The Umbrella Academy" and "Selling Sunset" are just two of Netflix's originals that are popular on the service this week. Netflix introduced daily top lists of the most popular titles on the streaming service in February. Streaming search engine Reelgood keeps track of the lists and provides Business Insider with a rundown of the week's most popular TV shows on Netflix. Visit Business Insider's homepage for more stories. Netflix's "The Umbrella Academy" is a monster hit for the streamer. It's not only its most popular TV series this week, but the most in-demand streaming original in the US, according to data firm Parrot Analytics. Netflix introduced daily top 10 lists of its most viewed movies and TV shows in February (it counts a view if an account watches at least two minutes of a title). Every week, the streaming search engine Reelgood compiles for Business Insider a list of which TV shows have been most prominent on Netflix's daily lists that week.  Below are Netflix's 9 most popular TV shows of the week in the US: SEE ALSO: Should you pay for Peacock? Data reveals you can watch most of its movies and TV shows on the free version. 9. "The Rain" (Netflix original, 2018-present) Description: "Six years after a rain-borne virus wipes out most of Scandinavia's population, two siblings join a band of young survivors seeking safety — and answers." Rotten Tomatoes critic score: N/A What critics said: "Perhaps it was better left to the imagination, because this is a disappointingly dull slog that injects almost three hours of filler into about an hour and a half's worth of plot." — TV Guide (season 2) 8. "Immigration Nation" (Netflix original, 2020) Description: "With unprecedented access to ICE operations, as well as moving portraits of immigrants, this docuseries takes a deep look at US immigration today." Rotten Tomatoes critic score: 100% What critics said: "Immigration Nation transports viewers inside detention centers and ICE field offices across the country, and even into Ciudad Juarez, Mexico. But it's the stories of the victims, torn from their children and parents, that prove the most haunting." — Daily Beast 7. "The Last Dance" (ESPN, 2020) Description: "This docuseries chronicles the rise of superstar Michael Jordan and the 1990s Chicago Bulls, with unaired footage from an unforgettable 1997-98 season." Rotten Tomatoes critic score: 96% What critics said: "A stunningly refined and comprehensive look at the legacy and inner turmoil of one of the most essential sports teams of all time." — 6. "Wizards: Tales of Arcadia" (Netflix original, 2020-present) Description: "Merlin's apprentice joins Arcadia's heroes on a time-bending adventure in Camelot, where conflict is brewing between the human, troll and magical worlds." Rotten Tomatoes critic score: N/A What critics said: N/A 5. "Selling Sunset" (Netflix original, 2019-present) Description: "The elite agents at The Oppenheim Group sell the luxe life to affluent buyers in LA. Relationships are everything, and that often means major drama." Rotten Tomatoes critic score: N/A What critics said: "The Oppenheim Group is seemingly being held together by a thread and with more at stake than ever, season four can't come quick enough." — Radio Times (season 3) 4. "Shameless" (Showtime, 2011-2020) Description: "This dramedy based on a British series centers on siblings in a dysfunctional Chicago family who struggle while coping with their alcoholic father." Rotten Tomatoes critic score: 85% What critics said: "Shameless no longer has the power to surprise us, since the writers have already put the characters through seemingly thousands of TV's most outrageous plots." — Boston Globe (season 10) 3. "The Seven Deadly Sins" (Netflix original, 2014-present) Description: "When a kingdom is taken over by tyrants, the deposed princess begins a quest to find a disbanded group of evil knights to help take back her realm." Rotten Tomatoes critic score: N/A What critics said: N/A 2. "World's Most Wanted" (Netflix original, 2020-present) Description: "Suspected of heinous crimes, they've avoided capture despite massive rewards and global investigations. A docuseries profiling the world's most wanted." Rotten Tomatoes critic score: N/A What critics said: N/A 1. "The Umbrella Academy" (Netflix original, 2019-present) Description: "Reunited by their father's death, estranged siblings with extraordinary powers uncover shocking family secrets — and a looming threat to humanity." Rotten Tomatoes critic score: 82% What critics said: "The Umbrella Academy season two greatly improves on the show's first year, and a combination of great characters, memorable performances, and crazy twists will leave you desperate to return to this wonderfully quirky world for a third season ASAP." — ComicBook
The number of classic movies on streaming services has risen considerably in the last year — meaning it’s now easier than it used to be to become a cinephile in the streaming age. But which service has the highest concentration of classic films? Two years ago, I wrote an article about how hard it was to be a cinephile in the age of Netflix. I wanted to see how many classic films were actually available on streaming services, without having to pay anything extra. At the time, there wasn’t much — only 24 films from the AFI’s Top 100 were… This story continues at The Next Web
Apple TV Plus is the gadget giant's competitor to Netflix, Disney Plus and the like, and it's streaming a new series based on a soccer commercial (really) starting Friday.
NBCUniversal's streaming app Peacock has free movies and TV shows, and it unlocks more -- like originals -- if you pay. But you still can't stream it on a Roku or Amazon Fire TV.
Most of the latest episodes of your favorite shows are uploaded on Hulu.Hulu has a catalog of 85000 episodes including TV shows and movies.Hulu offers two subscription models: first is their ad version which will cost you $6 per month, while the no-ad version will cost you $12.Although compared to Hulu and Netflix, Amazon Prime does not have an extensive range of new releases and documentaries.There are some movies that you will only find on Disney Plus.Peacock Peacock offers the best free catalog among all and is a bit different from other streaming platforms.
The Netflix version is not want they "envisioned or intended."
The Netflix version "will not be what Bryan and I had envisioned or intended," Michael Dante DiMartino says.
The $1.3 billion conversational support startup Intercom has hired former Sitecore chief financial officer Dan Griggs as its new CFO. Griggs will help lead Intercom towards an IPO, although it's still "a few years out." In May, Intercom laid off 39 employees, or 6% of its workforce, and many of its smaller customers were impacted by the coronavirus pandemic, but Griggs says the company has seen a rebound. Visit Business Insider's homepage for more stories. The $1.3 billion conversational support startup Intercom is eyeing an IPO and just hired a chief financial officer to help it get there. Intercom announced the appointment of Dan Griggs in August, though he actually began his role in April after spending nearly six years at customer experience company Sitecore. As chief financial officer of Intercom, he's  preparing the company to go public "We have no specific timeline — I envision it a few years out," Griggs told Business Insider. "Nothing is set in stone: We're really focused on realistic strategic growth objectives and building a long term sustainable business." Griggs says the company is "near profitability" this year, but is willing to invest in areas that will help it grow — like sales to mid-market and large enterprise customers — even if it pushes the timeline for profitability back. Ultimately, Griggs expects Intercom to become profitable within the next two years.  Griggs was drawn by the team and its 'big ambitions'  Griggs worked at the adtech company Rocket Fuel as vice president of financial planning and analysis, prior to Sitecore, where he was working when he heard about the opportunity through a recruiter. At the time, he wasn't looking for anything new, but Intercom caught his eye. He was further drawn in his first interactions with founder and then-CEO Eoghan McCabe, as well as Karen Peacock, who was COO at the time but became CEO in July. "[It] really felt like there was an opportunity to make a difference here," Griggs said. "It's a chance to build a really great team and really take the team to the next level and help build out our infrastructure to support the scale we're looking for." Griggs has already had an eventful year as he's been tasked with navigating Intercom through the coronavirus pandemic. In May, the company laid off 39 employees, representing about 6% of its workforce. Many of its smaller customers scaled back on their contracts as they took a hit during the crisis, Griggs said.  Read more: Intercom, a $1.3 billion messaging startup backed by Mark Zuckerberg and Jack Dorsey, laid off 39 employees and is relocating 47 roles to Dublin Still, he says the company is seeing a rebound from the initial market reaction to the pandemic from March to May. "I'm pretty optimistic about the business," Griggs said. "We really have a great story to tell to both customers and to the market about what we're doing and what problems we're solving." Intercom competes with other customer support companies like Zendesk, but relies on a more conversational approach where humans and chatbots interact with customers.  As CFO, Griggs plans to invest in scaling the company's sales, marketing, and business operations, and doesn't expect Intercom to need to raise money again anytime soon. In total, it's raised $240.5 million at a $1.3 billion valuation, via PitchBook.  "As I think about it, we have plenty of liquidity," Griggs said. "We're not struggling for cash. For me, it's really about finding that balance between profitability and growth. We have really big ambitions and have every right to believe in continued growth to our company." Do you work at Intercom? Got a tip? Contact this reporter via email at [email protected], Signal at 646.376.6106, Telegram at @rosaliechan, or Twitter DM at @rosaliechan17. (PR pitches by email only, please.) Other types of secure messaging available upon request. SEE ALSO: The new CEO of Intercom, a $1.3 billion startup backed by Mark Zuckerberg and Jack Dorsey, says she'll lead the company to profitability and an IPO in a 'few years' Join the conversation about this story » NOW WATCH: Pathologists debunk 13 coronavirus myths
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WarnerMedia's new CEO Jason Kilar announced a major restructuring of the AT&T-owned media company last week. He consolidated operations across the sprawling media empire, while dismissing three key executives and beginning layoffs of hundreds of more staffers. He also elevated a handful of key leaders who were chosen to run newly expanded divisions within the company. Business Insider looked at the executives whose power grew as part of WarnerMedia's latest leadership shuffle.  Visit Insider's homepage for more stories. WarnerMedia's Jason Kilar, in his first major move as CEO, is collapsing the legacy-media company's byzantine organizational structure. On Friday, Kilar announced in a memo to staffers sweeping changes that consolidated WarnerMedia's content operations across TV, film, and streaming under Warner Bros., formed a new group to run all international operations, combined the company's US ad-sales and distribution groups, and brought marketing and communications under new control. Kilar dismissed three top execs as part of the leadership shuffle, including two people in charge of programming HBO Max. At least 800 staffers across Warner Bros. and HBO are also being laid off, Variety reported.  The statures of other leaders are rising within the company. Kilar named the executives chosen to run these newly expanded groups. They include people like Ann Sarnoff, who runs Warner Bros.; HBO's programming president, Casey Bloys; and Andy Forssell, who was a key player in getting HBO Max off the ground. Kilar also revealed which of his direct reports were largely safe for now:  Jeff Zucker remains chairman of WarnerMedia News and Sports Pascal Desroches is still CFO Richard Tom, Kilar's first C-suite hire, is staying on as chief technology officer Jim Cummings continues as as chief human resources officer Priya Dogra carries on her duties as executive vice president of strategy and corporate development Jim Meza is still exec vice president, general counsel Here are the seven executives whose power grew as part of WarnerMedia's restructuring: Jason Kilar Kilar already had the power, but the restructuring was his first major display of it after taking the CEO job in May. His move to simplify the legacy studio's sprawling media empire undid some key appointments by his predecessor and current boss, John Stankey, who runs AT&T. For instance, Kilar dismissed former WarnerMedia Entertainment and Direct-to-Consumer chairman Bob Greenblatt, who was Stankey's first splashy hire when he took control of WarnerMedia after it was bought by AT&T. Kilar reigns over the Warner Bros. TV and film businesses; cable networks like CNN and HBO; entertainment brands like DC Entertainment and Turner Sports; and ad-tech arm, Xandr. He's been pushing the organization to put consumers before short-term business interests, discouraging practices like squeezing too many ads into the forthcoming ad-supporting version of HBO Max, as Jessica Toonkel at The Information reported. He also brings with him a wealth of digital experience to complement other WarnerMedia leaders like Ann Sarnoff and Jeff Zucker, who come from traditional TV and film backgrounds. Kilar spent about nine years at Amazon in various roles including senior vice president of worldwide application software. He was Hulu's founding CEO, helping its legacy-media owners stake a claim in and create business models for streaming video. And he cofounded and led the short-form video startup Vessel, which was acquired by Verizon in a 2016 attempt to revive its now-defunct mobile-video unit, Go90. Ann Sarnoff Warner Bros. chair and chief Ann Sarnoff is taking on responsibility for all the company's TV and film programming as part of her expanded role leading its new Studios and Networks group. On top of running WarnerMedia's studios, Sarnoff now oversees content for HBO, HBO Max, and TV channels TBS, TNT, and TruTV. While well-known in entertainment circles, Sarnoff is a rare Hollywood outsider to lead the iconic Warner Bros. studio. She was hired from BBC Studios in 2019. She brings to the gig more operational and TV prowess, having spent nine years at BBC, most recently as president of BBC Studios America where she helped grow viewership for franchises like "Doctor Who" and "BBC Earth." She also served for stints at Dow Jones and the WNBA, as well as for about a decade in various roles at Viacom. Sarnoff is out to prove that the traditional TV and film studio can evolve for the digital age. In her first year in the job, she formed a new film label to produce mid-budget movies for HBO Max. She also made key appointments, including naming Tom Ascheim from Disney's Freeform to an expansive role leading global kids, young adults, and classics. Casey Bloys Casey Bloys is the creative force behind HBO, and now he's programming for HBO Max and TV channels TNT, TBS, and TruTV, too. He was put in charge of original content on those platforms as former content chief Kevin Reilly exited. Bloys reports to Sarnoff in his new role. Kilar praised Bloys in a recent interview with Bloomberg's Lucas Shaw for helping shepherd in the quality programming that Kilar believes sets HBO Max apart from other streamers. Bloys has helped HBO lead in premium TV even as Apple, Amazon, and Netflix race to beat the network at its own game.  Bloys was responsible for critically acclaimed HBO series that recently received Emmy's nods like "The Watchman" and "Euphoria," as well as documentaries like "McMillions." He joined HBO in 2004 and came up at the cable network as a programming exec under former chief executive Richard Plepler. Plepler led HBO during an era that included cultural hits like "Game of Thrones" and "Boardwalk Empire." Bloys was promoted to programming chief in 2016, after helping bring in a string of comedy hits like "Silicon Valley," "Veep," and "Last Week Tonight with John Oliver." After Plepler departed in 2019, Bloys led the network alongside Glenn Whitehead, who handles business and legal affairs. Bloys has continued to pursue boundary-pushing series like the racy teen drama "Euphoria," and "Run," a dark comedy from "Fleabag" creator Phoebe Waller-Bridge. And he's on the hunt for the network's next smash hit. He currently has a "Game of Thrones" prequel, called "House of the Dragon," in the works for 2022. Bloys also oversees original programming for Cinemax, which has struggled in the last year as pay-TV distributors stopped bundling it with HBO. The network wasn't mentioned in Kilar's latest announcement. Andy Forssell Andy Forssell, Kilar's fellow Hulu alum, is being elevated to the top job overseeing the business side of HBO Max. Forssell runs product, marketing, consumer engagement for WarnerMedia's flagship streaming service in his new role as general manager of HBO Max. He's also architecting the platform's global expansion, which Kilar says will kick off in Latin America. Forssell has managed much of the day-to-day development for the HBO Max product since its inception. He was the chief operating officer at Otter Media before taking on the HBO Max duties. At Otter, insiders told Business Insider Forssell was a key liaison between upper management and the individual brands like Crunchyroll, Rooster Teeth, and DC Universe. Forssell joined Otter Media from its subsidiary Fullscreen, where he had been its chief operating officer. He was also a top player at Hulu for six years, where he held a number of roles, including acting CEO in 2013. Gerhard Zeiler Chief Revenue Officer Gerhard Zeiler is now running WarnerMedia's newly combined international arm that spans Warner Bros, HBO, and Turner's TV channels.  He's responsible for the local operations of WarnerMedia's TV networks, as well as commercial activities like ad sales and distribution, and regional programming for HBO Max. As CRO, Zeiler has been a key player in monetizing WarnerMedia's businesses in various ways including subscriptions for HBO Max. He was also part of the effort to bring an ad-supported tier to HBO Max, which CNBC reported is expected to launch in 2021. Zeiler led the team responsible for negotiating carriage deals with TV providers like fellow AT&T subsidiary DirecTV and cable company Comcast, as well. Recently, that group has been hustling to make HBO Max available through as many platforms and distributors as possible. But it's yet to land a deal with the two biggest streaming platforms: Roku and Amazon Fire TV. When asked why HBO Max isn't on Amazon devices by Bloomberg, Kilar said to "call the Seattle folks." Zeiler, who has been with WarnerMedia since the Time Warner days, was also in charge of integrating WarnerMedia's ad-sales group with Xandr's ad-tech business since the two divisions merged in April. No mention was made of Xandr in Kilar's memo announcing the restructuring. Tony Goncalves Otter Media CEO Tony Goncalves is in charge of WarnerMedia's new commercial arm that unites its US ad-sales and distribution groups with its home-entertainment and content-licensing efforts. Goncalves will be leading closely watched relationships with major advertisers, distributors, and other streamers in the new gig. Content licensing, for example, is a hot topic for HBO Max as DC and Harry Potter films rotate on and off the platform. The service has also been on a mission to bring marquee titles from the Warner Bros. catalog to the service, like "Friends." Goncalves, who joined AT&T through its 2015 acquisition of DirecTV, was a key player in launching HBO Max. Greenblatt, WarnerMedia's old direct-to-consumer boss, turned to him for his streaming expertise last May, as Otter Media was also being brought closer under the WarnerMedia umbrella. At DirecTV, Goncalves oversaw the satellite-TV operator's digital efforts, including its TV Everywhere and over-the-top platforms, among other roles. He rose in the ranks under the phone company. He was CEO of AT&T's digital brands, where he oversaw the relationship between AT&T and The Chernin Group, which operated Otter Media as a joint venture until AT&T bought full control in 2018. And he led the launch strategy for DirecTV Now (now AT&T TV Now), which was the company's last major digital-TV initiative. The linear streaming service got off to a solid start in 2016, but lost subscribers as programming costs ballooned, discounts were nixed in an effort to become profitable, and AT&T shifted its focus in 2020 to a pricier internet-based offering that is more akin to traditional pay-TV services. Christy Haubegger Christy Haubegger, a former Creative Artists Agency agent and founding member of the Time's Up initiative, is taking control of WarnerMedia's marketing and communications groups. Haubegger joined WarnerMedia in 2019 as chief enterprise inclusion officer. Kilar's restructure puts WarnerMedia's global marketing and communications teams, including those responsible for branding and corporate-social responsibility, under Haubegger's command. The shift comes as Hollywood and the broader media industry is reckoning with its record on race and gender. In recent weeks, HBO and other entertainment platforms have been trying to amplify Black creators and voices who they work with in light of the latest racial-justice movement.  Haubegger, who founded Latina magazine in the 1990s, has an established track record for elevating women of color and diverse voices in the entertainment industry. She brought clients like Eva Longoria, Jennifer Lopez, and Salma Hayek to CAA during her time there and pushed the agency to work with more clients of color, according to Stanford Lawyer, a publication by Haubegger's alma mater, Stanford Law School.