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Posts tagged with Netflix

Global fan as hallucination

The global fan is one of those stories I’m beginning to lose faith in, like the conversion funnel and the pursuit of happiness. 

The global fan exists because Netflix, Amazon and Apple want it to exist. And for as along as they want it to exist, the rights holders will play along. 

At Sportel last year, Marissa Banu-Lawrence of Fox Sports put it well (on a very good APAC panel hosted by Imran Yusuf of SportBusiness): Australia is hyper localised. Even within Oz you have to go state by state. Australian sports fans are nuts for NRL, AFL, rugby codes, cricket.

What do the global streamers do with this information?

The NFL’s international rights remain stubbornly below 3%, ditto the IPL.

The Premier League is a weird outlier in this regard. Just because the Prem makes a pile of cash from Thailand doesn’t mean you will too, regardless of how you fiddle with your product to fit the international market. 

This next phase may well settle the big argument as to whether sport is global or local. 

The globalists say it’s only the heritage local media markets that stand in the way of sport and its gazillion worldwide fanbase, a story based mainly on social media impressions.

If and when the NFL goes global-one-ticket on Amazon or Apple, that friction is removed and with it the excuse. 

At that point the long tail works its magic, local meets global and the rest is geography (terrible podcast). 

But the research industry better be ready for the backlash if it turns out those global fan engagement numbers are just another hallucination.

The Taylor Swift Data Fallacy - the ceiling not the floor

Source: The YouTube Arguments

Why has Mr. Beast’s Beast Games underperformed on Amazon despite $100 million budget, why did The Sidemen drop from 73 million YouTube views to 2.4 million on Netflix, why did Pop the Balloon see similar declines?

The mistake: assuming top-tier creator success represents the average outcome when creators migrate platforms. It’s the ceiling, not the floor. Most creators moving to streaming miss the charts entirely. The best performers are acquisitions like The Amazing Digital Circus—where Netflix paid bargain prices after creators shouldered all risk.

What happened to 'broadcast quality'?

Traditional notions of “quality”, dictated by producers and broadcasters, have inverted. Audiences define quality based on interest, not technical specifications. A Roblox game with “16-bit console from 25 years ago” aesthetics can attract 25 million concurrent users (World Cup final numbers). Jen Topping identifies emerging demand for sophisticated storytelling as AI slop floods platforms. Professional production may find opportunity precisely because trustworthy, authentic content becomes scarce. The challenge: platform economics reward sameness.