In any case, your opportunity to watch “The Godfather” for free on YouTube is now over. For some reason, the movie popped up on the site yesterday, via a Sony Pictures UK channel. But after a flurry of press coverage about the movie, both the video and that Sony channel have now disappeared.

The YouTube error message where the Sony UK channel used to be may or may not be instructive: “This account has been suspended due to a violation of YouTube’s policy prohibiting content designed to impersonate another person or user.”

Did Sony UK actually have the right to put the movie up? The film, famously, is a Paramount production, though it’s possible the Viacom unit may have sold off international and/or streaming rights.

On one hand, earlier this afternoon, there were ads running alongside the movie, which would indicate that the film had been “claimed” by YouTube’s ContentID program, which allows content owners to yank down clips that shouldn’t be there and run ads against the ones it was okay with.

And it’s not completely unheard of for YouTube to feature free, full-length feature movies. But that’s often part of a promotion that YouTube would have signed off on and/or promoted itself. Two years ago, for instance, YouTube and Sony teamed up to dust off “Ghostbusters” and advertised the movie on the site’s home page.

On the other hand, the movie’s now gone. I have queries into YouTube and Sony.

In the meantime — seriously. Take the cannoli, and go rent “The Godfather.”

UPDATE: Sony says the account was indeed bogus. Here’s their statement:

On Wednesday, August 24 reports surfaced alleging that Sony Pictures UK had posted a copy of The Godfather movie to a YouTube account “SonyPicturesUK.” The YouTube handle in question is, in fact, not a Sony Pictures account and is in violation of Sony Pictures’ rights. Upon discovering the existence of this fraudulent account, Sony Pictures Entertainment worked with YouTube and the account was deactivated. Sony Pictures is investigating the violation.

In an interview Thursday, Mr. Katzenberg said that since Paramount is expected to move into the “lower end of the animation business,” its new unit “isn’t going to impact DreamWorks at all.”

Mr. Katzenberg’s comments follow Paramount’s announcement Wednesday that it will open its own animation division, pitting it against Walt Disney Co.’s Pixar Animation Studios and DreamWorks Animation.

Read the rest of this post on the original site »

Today, it announced a promotion with DreamWorks and Paramount Pictures to bring “Kung Fu Panda 2,” which debuts in theaters next Thursday, to its most popular Facebook game, CityVille.

The more than 88 million monthly players will have the chance to own a “Kung Fu Panda 2″-themed drive-in movie theater in their city. Those who opt to place the theater in their city will also receive collectible items, such as members of Kung Fu Panda’s Furious Five. When all five items are collected, players will earn an exclusive “Po the Panda” statue (Po is pictured here).

San Francisco-based Zynga said nearly a third of all Kung Fu Panda fans on Facebook also played CityVille. Manny Anekal, global director of brand advertising at Zynga, said: “The integration is a natural fit and something we think our players will love.”

Earlier this week, Zynga partnered with Lady Gaga for a promotion on FarmVille to pump the pop artist’s upcoming album, and another social game maker, Electronic Arts, is working with celebrity Chef Jamie Oliver for its Restaurant City game.

In-game advertising is a natural fit for social games since most are available for free and are monetized through virtual goods, but given that it’s still an industry in its infancy, it’s unclear how many promotions and branded virtual goods users will tolerate inside the games.

The indie movie that turned into a hit, “Paranormal Activity,” is back again with a sequel.

The small film, about a demon-plagued couple with an infrared-equipped videocamera, was acquired by Viacom (VIA) studio Paramount Pictures as a remake and then performed spectacularly well.

Thus, here comes another one to freak you out–the trailer for the October movie has been playing before this week’s “The Twilight Saga: Eclipse” juggernaut:

BoomTown did an interview last night with outgoing RealNetworks (RNWK) CEO Rob Glaser after the announcement yesterday of his departure from the company he founded and led for 16 years.

That will be posted later today, but here is a profile of Glaser I wrote after spending time with him in Seattle, when I was covering the Internet for The Wall Street Journal.

It’s from Feb. 12, 1998–yes, that means Rob and I are genuine Web antiques–and focuses on Glaser’s decidedly complicated relationship with his former employer, Microsoft (MSFT).

As you will see, it comes from a much different era of the Internet, when Microsoft was much scarier, RealNetworks represented innovation and the medium was still in its infancy. My favorite line is a description of Glaser as “radiating so much intensity that his face resembles a clenched fist.”

Here it is:

Rob Glaser learned the software business as one of Bill Gates’s most aggressive proteges at Microsoft Corp. So he knows all too well the anguishing strategic decision that most software entrepreneurs inevitably confront: Go head-to-head against Mr. Gates and risk annihilation. Or cooperate with him–and risk annihilation.

Now an Internet entrepreneur himself, Mr. Glaser thinks he has another strategy: A delicate dance with Microsoft that combines a little bit of competition and a little bit of cooperation.

His newly public company, RealNetworks Inc., popularized the use of realtime audio and video on the Internet’s World Wide Web. It already has more than 18 million registered users of its free “streaming” software for receiving multimedia over the Net. It also has a rapidly growing business selling server software for transmitting audio and video to Website operators.

But it stands squarely in the path of the strategy that has drawn Microsoft into trouble with antitrust regulators: Emulating innovative products, integrating them into its operating systems and then giving them away free. RealNetworks’ daunting task is to prove it can do a better job of outmaneuvering Microsoft than Netscape Communications Inc., the browser pioneer whose market share and profitability have been devastated by Microsoft’s integration strategy.

Mr. Glaser insists he and the software giant can coexist. “I learned an amazing amount from Bill,” he says, speaking in staccato bursts and radiating so much intensity that his face resembles a clenched fist. “We knew we could either compete head-on like Netscape or do something a lot more interesting.”

His strategy is known internally as “coopetition.” Out of mistrust, Netscape two years ago rejected an unsolicited offer from Microsoft to become a partner and investor. But Mr. Glaser approached his former colleagues last summer seeking just such an alliance. In July, he sold a nonvoting 10% stake to Microsoft for $30 million, and licensed RealNetworks’ technology to the software giant for another $30 million. Microsoft also agreed to bundle RealNetworks’ software with Internet Explorer.

In making the deal, Mr. Glaser helped himself to Microsoft’s cash and prestige and calculated that Microsoft wouldn’t consider streaming technology to be as strategic to its future as the browser.

“What we were trying to do in the partnership is to set it up so that our success would not disadvantage their core business,” Mr. Glaser says. “Microsoft is a very paranoid company and so we have tried to create an environment where while they might be covetous of some of our success, analytically they would not fear it.”

The deal gave Mr. Gates the opportunity, if he so desired, to clone RealNetworks’ products during the period when they were licensed to Microsoft. “There’s no question they could use our own technology to become extremely vigorous competitors and try to put us out of business,” says James Breyer, a director and member of Accel Partners, a venture-capital firm that helped finance RealNetworks.

So Mr. Glaser needs to stay ahead of Microsoft by rapidly improving his software, accumulating enough customers to become the standard for sending audio and video over the Internet and diversifying into related businesses.

Last month, for example, he announced an agreement with one of Microsoft’s archrivals, Sun Microsystems Inc., to finetune his software to perform better on Sun’s popular Internet servers than on Windows-based servers.

“They are neither friend nor foe, but Microsoft is most certainly the environment we live in,” says Mr. Glaser, now 36 years old. “It’s how we work within that environment that will make all the difference.”

Mr. Glaser’s own personality seems suited to the relationship’s contradictions. He has been a committed liberal since his days at Yale University, where he wrote a column called “What’s Left” for the student newspaper. He initially named his company Progressive Networks to reflect his politics. And he donated 700,000 RealNetworks shares to causes related to freedom of speech and environmental issues after the public offering, and promises to contribute 5% of the company’s future profits as well.

But he became a notoriously hardcharging and sometimes arrogant manager after he joined Microsoft in 1983, at the age of 21. Some colleagues dubbed him a “screamer.” When deadlines approached for projects, several former colleagues at Microsoft say he became increasingly revved-up, downing one Diet Coke after another and erupting at even tiny mistakes. “My intensity sometimes manifested itself in less positive ways,” Mr. Glaser concedes.

“Like Microsoft, Rob was smart, young, perhaps a little hard to take, and convinced he was absolutely right about a lot of stuff,” recalls Mike Slade, a friend of Mr. Glaser’s at Microsoft who now runs an Internet publishing company, Starwave Corp. “But that was what was rewarded at the company and everything was going too fast there for a lot of management training.”

The pace did take its toll. Even though Mr. Glaser rose to become vice president of multimedia systems and one of Mr. Gates’s favorites, his last years at Microsoft were rocky. Some at the company point to an internal power struggle with Microsoft’s head of technology, Nathan Myhrvold. “They both wanted to be Bill’s boy genius and visionary for the company,” says a colleague. “Obviously, Nathan won.”

Mr. Glaser dismisses tales of infighting, blaming his departure on a diminishing feeling of “joy” in his work. “I began to think that Bill had the best job of all,” he says. In 1993, at the age of 31, he resigned, with about $15 million of stock in his pocket.

His retirement didn’t last long. Soon after, he saw a version of the Mosaic browser, the first graphical interface software for navigating the Web. He had an epiphany, he says, realizing that the Internet could eventually become a major purveyor of audio and video.

Mr. Glaser sank about $1 million of his own money into a start-up that would first produce software for compressing and transmitting sound. With additional funding from friends, such as Lotus founder Mitch Kapor, RealAudio 1.0 quickly made its debut in April 1995.

RealAudio was greeted with more than a little disdain from the Internet elite because it was a tinny and unsatisfying experience for most users. But it gave the Internet a voice, and Mr. Glaser kept plugging away, improving fidelity and striking deals with more content providers to use it on their Web sites. The hook: Free player software for consumers.

He is attempting to repeat the process with RealVideo. It currently provides small, jerky moving pictures but will, he believes, someday transform the Internet as data transmission speeds increase. In a recent demo of the player, Mr. Glaser selected a music video by the languid singer Jewel, he joked, “because she doesn’t move around too much.”

Meanwhile, Microsoft has been developing its own Media Player and NetShow streaming software, partly with technology acquired by purchasing VXtreme, a RealNetworks competitor.

The Microsoft products are now free. But the company may decide to charge for the latest version of NetShow coming out this year, which would be good for RealNetworks. Meanwhile, Microsoft will continue to bundle RealNetworks’ player software with the Microsoft browser, also good for RealNetworks. And the day after RealNetworks’ Sun deal, Microsoft announced an agreement to make its own Media Player compatible with RealNetworks’ server software, yet another positive development for RealNetworks.

“The user only wants it to work,” says Rich Tong, a Microsoft marketing vice president. “So it is good business to work with RealNetworks to set standards for compatibility and expand the market for all of us.”

Skeptics assert that RealNetworks has forged only a temporary truce with Microsoft. Like Netscape, it must continually confront the challenge of trying to make money on technology that Microsoft gives away. RealNetworks charges $29.95 for an enhanced version of the player it gives away free, and $695 and up for its most powerful server software.

Some large companies are snapping the products up. Mercedes Benz, Eastman Kodak and Lockheed Martin are buying RealNetworks’ latest software, RealSystem 5.0, to bring their internal networks to life. Boeing Co., for example, uses RealNetworks’ software to communicate with employees world-wide and conduct training sessions. A variety of media concerns such as Metro-Goldwyn-Mayer, the Public Broadcasting System, AOL, Fox News’s 24-hour newsfeed and Paramount Pictures use it as well.

Mr. Glaser recently cut a deal with Macromedia Inc., the largest provider of animation-editing software, to transmit animated material over the Internet. RealNetworks is also operating multimedia Web sites for other companies, and has a joint venture with MCI Communications Corp. to create a broadcast network on the Web.

All these initiatives are running up big bills. Earlier this month, RealNetworks reported that revenue more than doubled for 1997, to $32.7 million from $14 million the year before. But heavy research and development spending tripled losses to $11.2 million, or 40 cents a share, from $3.8 million, or 14 cents a share. The company’s high costs, plus the looming threat of Microsoft, have depressed the stock, which hovers at around $16 a share, only slightly above the $12.50 a share it opened at when it went public in November.

But Mr. Glaser exudes confidence. His intense personality seems calmer these days. Once divorced, he now has a steady girlfriend and is traveling more frequently, including a summer trip to New Zealand, Australia and French Polynesia, where he made the decision to take RealNetworks public. His 13.5 million shares are worth $218.5 million. And he thinks he has Microsoft figured out. “People in Silicon Valley see things unnecessarily in black and white: You either hate Microsoft or you are a vassal of them. I am saying there is a third way.”

Four years ago, the movie, “Snakes on a Plane,” became a genuine Internet phenom well before the movie was in theaters.

Which, in the end, only showed that online buzz had negligible impact on the viewing public, given that the movie’s box office turned out to be tepid at best.

But will another small film, about a demon-plagued couple with an infrared-equipped videocamera, called “Paranormal Activity,” prove that the chatter of Facebook and Twitter has more legs today?

It looks like it, given that the very-low-budget film–acquired by Viacom (VIA) studio Paramount Pictures as a remake–performed spectacularly well last weekend, selling out midnight-only shows focused on college towns.

That middle-of-the-night tactic was made larger this past weekend, creating a ton of online heat, which led to an expanded release planned for this coming weekend at all hours.

Of course, along with a clever television marketing push, the studio is using Internet feedback to discern where to head next and how.

Well, “Paranormal Activity” looks scary and all–although BoomTown would like to know exactly when people will stop trying to irk demonic spirits.

That quibble aside, it will be interesting to see if the reliance on Facebook (where the movie has about 32,000 fans, most whom are posting variations of “It scared the crap out of me!!!!”) and Twitter (where is it now a trending topic) turns a cult win into a mega-hit.

That’s what many predicted would happen to camp thriller “Snakes,” starring Samuel Jackson, especially considering the deluge of Internet frenzy starting in 2005 that actually forced Time Warner (TWX) studio New Line Cinema to finally release it.

But the movie buzz peaked too early, well before the film debuted, and it limped to a weak box office–leaving the blog-fueled “Snakes” as an asterisk in the annals of failed Web marketing hype.

So, until all the tweeting gets you to the theater–I shall pass, as I prefer skeletons in my closet–here is the clever promo for “Paranormal Activity,” as well as the classic line from “Snakes”:

Much of that debt belongs to big banks, of course–J.P. Morgan (JPM) has more than $1 billion by itself. But Tribune (TXA) owes lots (though much smaller amounts) of money to lots of media companies, too–mostly dollars that the company’s TV stations owe various studios.

Here’s who’s on the hook:

• Time Warner’s (TWX) Warner Bros. Television: $23.7 million
• News Corp.’s (NWS) Twentieth Television: $8.1 million
• Disney’s (DIS) Buena Vista Entertainment: $6.2 million
• GE’s (GE) NBCU Domestic TV: $4.9 million
• Sony’s (SNE) Sony Pictures Television: $2.2 million
• Nielsen Media Research: $1.9 million
• Viacom’s (VIA) Paramount Pictures: $1.69 million

Here’s the complete filing (click button on top right to enlarge):
Tribune’s Bankruptcy Filing

Yesterday, Time Warner (TWX) CEO Jeffrey Bewkes said that Warner Bros. plans to experiment with VOD releases day-and-date with DVD later this year. And now this morning, Apple (AAPL) announced that a number of major and independent movie studios have agreed to make their films available on iTunes day-and-date with DVD–$9.99 for library title purchases and $14.99 for new release purchases. Among the studios participating in the deal: 20th Century Fox (NWS), Walt Disney Studios (DIS), Warner Bros., Paramount Pictures (VIA), Universal Studios Home Entertainment (GE), Sony Pictures Entertainment (SNE), Lionsgate (LGF), Image Entertainment (DISK) and First Look Studios (FRST.PK).

An impressive lineup and one that clearly heralds a shift in the movie industry’s view of digital distribution. A shift in iTunes movie purchases as well–upward. The removal of Hollywood’s typical 30-day lead time on DVD releases will no doubt boost new-release sales on iTunes, assuming customers don’t mind paying $14.99 for films that lack the extra features and picture quality of their DVD counterparts. It will boost movie studio revenues as well. With no manufacturing and reproduction costs to speak of, margins from day-and-date download releases are presumably quite high.

So much for that hard-fought DVD format war …

Paramount Pictures (VIA) and application developer FanRocket this week debuted a new service for Facebook users that will enable them to send each other movie clips. A combination media player and clip library, the service called VooZoo aims to exploit the Hey-Remember-That-Funny-Scene-From-”Nacho Libre” phenomenon by providing users with access to clips from such movies and an easy means of bombarding their friends with them.

The studio will plug the DVD version of the movies after each clip is played in the hopes of driving further sales. An interesting strategy, but one analysts seem to have met with a raised eyebrow. “It’s one thing to go to a friend’s profile page and they have a clip of Eddie Murphy driving the Ferrari and go, ‘Oh, yeah, that was hysterical,’ ” said John Barrett, research director at Parks Associates. “It’s quite something else to say, ‘Hey, that was such a great scene I’m going to spend the next two hours right here in front of my PC.’ It would be some kind of clip that would make someone do that.”

Though Paramount Pictures has denied reports that it plans to abandon the next-generation DVD format, news of an escape clause in its HD DVD contract allowing it to release films on Blu-ray has the industry wondering aloud about the format’s continued viability.

And for good reason. Earlier this week Universal’s HD DVD-exclusive contract ended. And last Friday, on the eve of the Consumer Electronics Show, Warner Bros. stunned the industry by announcing plans to end support of the format entirely in June. “[That] maybe the pivotal event that resolves the format war,” said Thomas Coughlin of Coughlin Associates. “It certainly changes the rules and the playing field. I think everyone is trying to reassess what this means–including the HD DVD guys. [If Blu-ray does come out on top] it would be poetic justice after the Betamax vs. VHS war. That time, Sony lost.”

But is it truly the format’s death knell? Ovum analyst Carl Gressum says no. “There is a lot of speculation whether this is the end of HD DVD,” he said. “It is not, but we are getting dangerously close to a ‘chapter 11’ for the group. If the other supporting studios now decide to drop HD DVD, the situation will turn dire, and HD DVD could become more of a replacement to DVD on the PC client than as a movie-distribution playback format.”

UPDATE: Universal Pictures flatly denies it’s abandoning the HD DVD format. Said Ken Graffeo, executive vice president of HD strategic marketing for Universal Studios Home Entertainment, “Contrary to unsubstantiated rumors from unnamed sources, Universal’s current plan is to continue to support the HD DVD format.”

Looking five, six, seven, 10 years ahead, advertising will become 15%, 20%, 25% of Microsoft’s business. As much as people have bones to pick with advertising, people much prefer an advertising-funded experience to one they pay for.”

–Microsoft CEO Steve Ballmer

Viacom has a new online advertising partner and–big surprise–it’s not Google. It’s Microsoft.

The entertainment broadcaster has signed a far-reaching, five-year strategic partnership with the world’s largest software company valued at approximately $500 million. Under its terms, Microsoft will buy ads across Viacom’s broadcast and online networks and license content from its MTV, Comedy Central, BET and Paramount Pictures properties for use on the MSN Web site and the Xbox 360.

In return, Viacom will adopt Microsoft’s Atlas AdManager digital-advertising technology and grant Redmond the exclusive right to sell remnant display-advertising inventory on its U.S. sites.

Quite the partnership, and one that may further in evolve in the years ahead. “This broad-based relationship will lead to conversations in other business areas,” Viacom CEO Philippe Dauman told Reuters. “What impressed me was the extent to which Microsoft is making the commitment–technological, financial and otherwise–to be a winner in this space.”

“Financial and otherwise,” indeed. As Om Malik notes, Viacom seems to have gotten itself quite a deal from Microsoft. “Viacom doesn’t have to spend anything and at the same time it is getting advertising dollars and more distribution for their content,” he writes. “I get a feeling that, going forward, this is going to become a template deal for all large media companies with content assets. For them it’s a green light to pillage Microsoft’s overflowing coffers. Deals like this will increase the pressure on Google to do similar ones with other content providers, mostly to thwart Microsoft’s advertising ambitions.”

Paramount Pictures plans to debut “Jackass 2.5,” the third installment of the “Jackass” movies, online, skipping the multiplexes entirely. “2.5” will launch Dec. 19 on Blockbuster’s new online property, Movielink, where it will be streamed free for two weeks. Then, beginning Dec. 26, it will be released on DVD, through video-on-demand and in Apple’s iTunes Store. An interesting experiment, and one that could pave the way for first-run broadband movies.

But will it succeed? Paramount certainly seems to think so. After all, the film is sort of a long-form version of the rough-edged, occasionally tasteless DIY content that predominates online. Said Tom Lesinski, president of Paramount Pictures Digital Entertainment, “When you think about what people generally consume online it’s fairly low-end user-generated content, yet there are hundreds of millions of people online watching video every day.”

Or as another executive candidly told the New York Times: “There’s more vomiting, nudity and defecation. The stuff that consumers really want.”

To keep you abreast of tech news while he’s away, we’re compiling a daily digest of 10 must-read tech stories. We’re calling it the Tech 10 and it appears below.

1. Although they made no jokes about their secret marriage, as did Apple’s Steve Jobs when he appeared with Microsoft’s Bill Gates at D5 in May, the CEO schmoozefest between Steve Ballmer of Microsoft and John Chambers of Cisco today in New York City yielded news of increased cooperation between the two tech giants, according to eWeek. Ballmer also deflected questions from moderator Charlie Rose about whether Microsoft was contemplating acquiring Yahoo, writes Elizabeth Montalbano of IDG News Service.
2. Adobe’s Media Player isn’t quite ready for show time: the eagerly awaited player won’t be fully released until next year. In an exclusive, Beet.TV’s Andy Plesser gets the word from an Adobe spokesman and posts a video interview with Adobe’s Chris Hock, head of its Flash media group.
3. Paramount Pictures and DreamWorks have chosen HD DVD over competing technology Blu-Ray as a means of releasing their DVD movie titles, according to FT.com. The decision heats up the DVD format battle, as media companies consider which technology provides a better viewing experience.
4. With little fanfare, Hewlett-Packard has debuted Cloudprint, a free service enabling users to print documents on any printer from almost any location worldwide. According to the New York Times, the innovation came after H-P wondered earlier this year how it might piggyback on the release of Apple’s iPhone.
5. Speaking of the iPhone (left), recycling is already catching on. This week, Apple is bringing out refurbished iPhones at the online Apple store. Engadget notes that the company is discounting the reconditioned handsets by $100 for both models.
6. Skype, reports the Register, is blaming its outage woes last week on a flood of users downloading a routine security patch. The VOIP provider has also issued an apology for the “unprecedented” service interruption, which for some users lasted into the weekend.
7. Google is flexing its muscle in China. Reuters reports that the search colossus has bought a stake in a Chinese community Web site called Tianya.cn. The move in the second-largest Internet market in the world marks Google’s growing interest in social networking.
8. Tilera Corp., a start-up in Silicon Valley, has revealed details of its 64-processor chip. The Wall Street Journal says that the chip and its underlying design could be used in products that have upward of a thousand calculating engines.
9. A multistage attack has left job-search site Monster.com reeling from a potentially huge stolen-data headache. Computerworld disclosed that more than 1.6 million records belonging to several hundred thousand people have been compromised by a Trojan horse program that could plant malware on their computers.



10. Who’s behind those mysterious edits to the entries on Wikipedia? Why, the very corporations written about. According to Wired, Wikipedia Scanner, a data-mining service launched earlier this month, has shown that millions of entry changes can be tracked to corporate “editors.”

–posted by Associate Editor John Sullivan

From top to bottom, Blockbuster is deliberately and willfully infringing on our patented methods. Netflix invented a 100 percent better mousetrap that Blockbuster copied.
- Netflix spokesperson Steve Swasey, April 5, 2006

Apparently, Blockbuster isn’t as hopelessly tethered to its VHS rental-business past as you might think. Yesterday, the video-rental retailer acquired studio-owned movie download service Movielink and with it a potentially significant foothold in the video-on-demand market. Terms of the deal were not disclosed, but early this year when rumors of an acquisition first began to circulate, analysts had estimated that Blockbuster might pay as much as $50 million.

Founded in 2002, Movielink is backed by Paramount Pictures, Sony Pictures, Metro-Goldwyn-Mayer, Universal Studios and Warner Bros. Studios. But while its impressive catalog makes it one of the Web’s largest digital-movie libraries, the service hasn’t caught on because of its strict digital-rights management software and prices (roughly the same as a typical DVD). Still, it’s likely a good acquisition for Blockbuster, whose market value has declined to just over $800 million from $8.4 billion, largely because of its failure to buy Netflix when it had the chance.

Blockbuster chair and CEO Jim Keyes called the deal the next “logical” step in the company’s transformation. Presumably, that means the next phase in Blockbuster’s re-creation of the Netflix business model, which the video-rental chain has been diligently following for the past few years. Netflix, of course, is spending some $40 million this year on its own VOD service, which is already up and running.