That’s the amount Netflix has committed to paying Hollywood studios for the rights to stream their movies and TV shows. And it’s up from $229 million three months ago, the company disclosed in an SEC filing yesterday.

Most of that leap comes from a five-year deal that Netflix previously announced with the Epix pay channel, which is thought to be in the $900 million to $1 billion range. But that number could jump again within the next year, when Netflix’s deal with the Starz pay channel expires.

The Starz deal gives Netflix access to Sony and Disney titles, so it’s crucial that Reed Hastings hangs on to it. And that will make a new Starz deal about as expensive as the Epix deal, says Barclays analyst Douglas Anmuth: He figures Netflix will have a total streaming commitment of $2 billion by the end of 2011.

The magic of the Netflix Web model, though, is that as people consume more on the Web, they cut back on discs –”You’re
replacing the postal cost with content cost,” in Hastings’s words.

For more details on Netlix’s streaming plans and costs, I highly recommend nerding out with this transcript from its Q3 earnings call (PDF). It’s a fascinating peek into a company on the leading edge of the digital transition.

Netflix (NFLX) wouldn’t release details about the pact, and hasn’t put out a press release announcing it, as it had with earlier deals with Time Warner’s (TWX) Warner Bros, GE’s (GE) Universal and News Corp.’s (NWS) 20th Century Fox.

But spokesman Steve Swasey confirmed that Netflix and Sony have reached another “28-day” arrangement, similar to the ones Netflix has reached with the other three studios.

Swasey wouldn’t release other details, but we can guess that the deal follows the pattern established with the precedent Netflix set in its January deal with Warner: Netflix agrees not to rent Sony’s (SNE) movies for the first 28 days after they go on sale. In return, it will pay the studio a reduced fee when it does rent the discs, and will get more movies to offer via its growing Web streaming service.

This seems like a win-win for the both sides: The studios get to wring every last penny out of their DVD business, and Netflix gets to build up the business it really cares about–delivering movies to your home via the Web.

But analyst Rich Greenfield, who wrote about the Sony deal in a note published Tuesday (registration required), says these deals have only been good for Netflix: Its costs have gone down, and its subscriber base has increased, but the studios have continued to see their DVD sales slip. “Clear victory for Netflix,” he writes.

His logic:

“* The studios have essentially played right into Netflix Founder and CEO Reed Hasting’s plan to reduce DVD costs to fund his company’s aggressive digital media rights acquisition plan.
* Netflix is rapidly bringing down its physical [cost of goods sold] by reaching delayed release window deals with studios and using fresher digital content to shift consumer behavior to streaming, reducing the number of DVDs utilized per customer per month (lowering its mailing costs).
* We suspect the Netflix window needed to be substantially longer than 28 days to justify the price reduction the studios have given Netflix – meaning a six month window might have impacted Netflix subscriber trends, whereas 28 days simply has not. Unfortunately studios were more focused on bolstering sell-through, which is largely complete within the first month of a DVD’s release, rather than damaging the long-term prospects of Netflix.
* Netflix continues to aggressively purchase digital movie rights having recently acquired rights to Relativity Media content and EPIX content, with Starz content increasingly important for Netflix to renew (at far higher costs) when their current agreement ends in 12 months.

“We think the rest of the studios will see the light and get on board pretty fast,” Steve Jobs said earlier this month of the TV studios wary of its new 99-cent iTunes TV rentals initiative. And while it’s never wise to bet against the Apple CEO, it’s beginning to look like “pretty fast” was an optimistic choice of words. Because in a flurry of public comments recently, a growing number of TV execs have decried the 99-cent rental model, which they say undervalues their content.

At the Goldman Sachs Communacopia conference last week, Viacom (VIA.B) CEO Philippe Dauman said of it, “The 99-cent rental is not a good price point. It doesn’t work for us. We value our content a lot. We don’t think Apple has it quite right yet.”

And during his appearance at the conference, NBC Universal CEO Jeff Zucker said pretty much the same thing. “We do not think 99 cents is the right price point for our content,” he argued. “We thought it would devalue our content.”

Then there was Warner Bros. Entertainment Chairman Barry Meyer, who trashed Apple’s (AAPL) effort at the
Bank of America/Merrill Lynch 2010 Media, Communications & Entertainment Conference. “We just don’t think the value proposition is a good one for us,” Meyer said, adding that he’d rather sell season passes to the studio’s TV series and $1.99 and $2.99 per-episode downloads than “open up a rental business in television at a low price.”

And now Time Warner (TWX) CEO Jeff Bewkes has come out against 99-cent iTunes TV rentals. Speaking at the Royal Television Conference in London, Bewkes echoed the comments of his colleagues, warning that the new model Apple’s pushing will threaten sales of TV shows to network television. “How can you justify renting your first-run TV shows individually for 99 cents an episode and thereby jeopardize the sale of the same shows as a series to branded networks that pay hundreds of millions of dollars and make those shows available to loyal viewers for free?” he asked. “These new entrants must meet a few criteria: They must provide consumers with a superior TV experience, and they must either support or improve the overall economics that funds and creates the programming in the first place.”

Early reviews suggest that Apple has met Bewkes’s first criteria, but given the statements above it’s looking like it may take a bit longer than expected to meet the second, or convince the studios that it has.

The Swedish site has been out all morning. TorrentFreak pins the outage on legal pressure from Hollywood studios, via an injunction granted by a German court against broadband provider CB3ROB, which had been routing the site’s traffic to the Web.

But if you’re looking to nab free music and movies via the site’s BitTorrent hub, you probably won’t have to wait long. As CNET points out, The Pirate Bay has lost bandwidth providers in the past and usually pops back up in fairly short order.

Meanwhile, if you want to grab your stuff via other means, there are plenty of options. LimeWire, for instance, which lost what appears to be a significant court case last week, is still up and running.

In the end, it seems the software that former RealNetworks CEO Robert Glaser described as a “compelling and very responsible product that gives consumers a way to do something they have always wanted to do” was neither.

“We are gratified by the successful conclusion of this important matter,” MPAA General Counsel Daniel Mandil said in a statement. “Judge Patel’s rulings and this settlement affirm what we have said from the very start of this litigation: It is illegal to bypass the copyright protections built into DVDs designed to protect movies against theft. We will continue to vigorously pursue companies that attempt to bring these illegal circumvention products and devices to market.”

Below, a copy of Patel’s order:

RealDVD CourtOrder –

PREVIOUSLY:

• Judge: RealDVD Antitrust Case Real Stupid
• RealNetworks Still Barred From the DVD Backup Business. Why Does RealNetworks Want to Be in the DVD Backup Business?
• RealDVD Launch Buffering…Buffering…
• Rent. Rip. Restraining Order.
• StealDVD? Well, You Were Asking for It…
• Sue. Rent. Rip. Return.
• Rent. Rip. Return.

Walmart (WMT) will be paying more than $100 million for the service, people familiar with the deal tell me. That’s much more than the $50 million I had previously heard Vudu was seeking and much more than industry observers thought it would get.

At this point I need to advise skepticism about reported sales prices, since they’re often inflated or include theoretical but seldom achieved “earnout” clauses. But my source tells me this will be a cash deal when it officially closes, which it hasn’t. No money has changed hands yet.

Vudu is an also-ran in the online movie business, which isn’t that much of a business to begin with. So why would the world’s biggest retailer pay a premium to get in?

Because Vudu’s management has convinced Walmart that its video-compression technology is something special, people familiar with the transaction tell me. Apparently, others think so, too: Vudu was able to attract multiple bidders. I’ve heard, but haven’t been able to confirm, that one of them was Cisco (CSCO).

Vudu has licensing deals with all the big movie studios as well, but that’s of secondary importance to Walmart, which has way more leverage with Hollywood than Apple, Netflix or Amazon (AMZN): The studios need Walmart’s physical reach much more than Walmart needs to get into the digital movie business.

Still, doesn’t hurt to make nice. Walmart and Vudu have been briefing the Hollywood studios today in advance of an official announcement, which could come later today.

Here’s some more background on the piece, from my January story:

After trying for two years to compete with Netflix’s DVD-by-mail business, Walmart gave up in 2005 and agreed to send its customers directly to Netflix (NFLX). In 2007, with the backing of all the big studios and tech help from Hewlett-Packard (HPQ), the retailer tried to launch a download service, a la Apple’s (AAPL) iTunes. But it abandoned that effort in less than a year.

Meanwhile, sources say Vudu has been seeking a buyer–in the form of either a big-box retailer or an electronics manufacturer–for some time without success. Internet executive Mark Jung ran the company for a year but left in November 2008; founder Alain Rossmann became interim CEO when Jung left and has kept the title since then.

Santa Clara, Calif.-based Vudu has raised at least $21 million from Benchmark Capital and Greylock Partners.

UPDATE: Walmart has officially announced the deal, noting that it is expected to close within a few weeks. No word on price except that it won’t be material.

Walmart Announces Acquisition of Digital Entertainment Provider, VUDU
Company takes next step to enhance home entertainment and information delivery options for consumers

BENTONVILLE, Ark., Feb. 22, 2010 — Walmart announced today a definitive agreement to acquire VUDU, Inc., a leading provider of digital technologies and services that enable the delivery of entertainment content directly to broadband high-definition TVs and Blu-ray players. The deal is expected to close within the next few weeks.

VUDU is a revolutionary service, built into a growing number of broadband-ready TVs and Blu-ray players, that delivers instant access to thousands of movies and TV shows directly through the television. Customers with broadband Internet access and an Internet-ready TV or Blu-ray player can rent or purchase movies, typically in high-definition, without needing a connected computer or cable/satellite service. New movies and features will be added continually, enabling customers to enjoy a product that continues to become more robust long after they have left the store.

“The real winner here is the customer,” said Eduardo Castro-Wright, vice chairman for Walmart. “Combining VUDU’s unique digital technology and service with Walmart’s retail expertise and scale will provide customers with unprecedented access to home entertainment options as they migrate to a digital environment.”

VUDU has licensing agreements with almost every major movie studio and dozens of independent and international distributors to offer approximately 16,000 movies, including the largest 1080p library of video on-demand movies available anywhere. Via their broadband Internet connection, users have the ability to rent or buy titles and begin viewing them instantly.

VUDU will continue developing entertainment and information delivery solutions such as VUDU Apps, a platform that delivers hundreds of streaming Internet applications and services to TVs and Blu-ray players with built-in Internet connectivity. VUDU has partnered with some of the leading names in Internet and media entertainment to offer applications on its platform including Facebook, Flickr, Twitter, The New York Times and The Associated Press.

“We are excited about the opportunity to take our company’s vision to the next level,” said Edward Lichty, VUDU executive vice president. “VUDU’s services and Apps platform will give Walmart a powerful new vehicle to offer customers the content they want in a way that expands the frontier of quality, value and convenience.”

VUDU, based in Santa Clara, Calif., will become a wholly-owned subsidiary of Walmart. The company is not disclosing financial terms of the agreement as the acquisition is not material to its first quarter earnings for fiscal year 2011.

The movie studios have worried that Redbox’s $1-a-day rental model, which now accounts for nearly one out every $5 spent on DVDs, undercut every other revenue stream they had. But several big studios–including Sony (SNE), Lionsgate (LGF), Disney (DIS) and Paramount, a unit of Viacom (VIA)–have figured out how to live the company.

Meanwhile, three others–Time Warner’s (TWX) Warner Bros., News Corp.’s (NWS) 20th Century Fox and GE’s (GE) NBC Universal–have been fighting Redbox in court.

Make that two others. Warner Bros. just announced a settlement with Redbox. And given Warner’s size and clout, you have to wonder how much longer the two other studios will need to keep fighting.

This settlement looks an awful lot like the one that Warner and Netflix agreed to earlier this year. Which is to say: Warner got pretty much what it wanted–protection of its 28-day DVD sales “window”–and the other side argues that it’s okay, really.

The theory is that by giving up the ability to get movies to consumers right away, Redbox saves money on the DVDs it does get and will have access to a wider selection. Redbox also says this will help the company if its wants to get into digital distribution. Though unlike Netflix (NFLX), Redbox is a long away from being a plausible player in digital.

But make no mistake. This is a costly window and one that Redbox wouldn’t agree to unless the studios had regained the upper hand. From Pali Research’s Rich Greenfield, via a clairvoyant note (title: “It’s Not Easy Being Redbox, with 2010 Set to Get Even More Challenging; Provides Hope For Movie Biz”):

While Redbox management declined to answer a question related to whether there business would be impacted by 10% from a 30-day window (that Redbox agreed to and stopped pursuing workarounds), we believe 10% is far too low. Redbox relies on the new-release business, if it did not, it would not be suing three studios. We suspect the impact is closer to 35-50% than 10% (albeit Redbox’s cost per DVD would come down), particularly as once a window is established the studios will spend heavily to hammer home to consumers that movies are available other places before Redbox (which generate higher gross profit dollars to the studio per transaction than via Redbox).

Release:

WARNER BROS. HOME ENTERTAINMENT AND REDBOX ANNOUNCE A MULTI-YEAR DISTRIBUTION AGREEMENT

Companies Agree to 28-Day Window for DVD and Blu-ray Titles

BURBANK, Calif. And OAKBROOK TERRACE, Ill, February 16, 2010 – Warner Bros. Home Entertainment Group and redbox today announced a new multi-year distribution agreement that will make Warner Bros. new release DVD and Blu-ray titles available to redbox customers after a 28-day window. The agreement also marks the end of the lawsuit that redbox filed against Warner Home Video in August 2009.

“We are very pleased to have had the opportunity to sit down with redbox and negotiate an arrangement that benefits both parties and allows us to continue making our films available to redbox customers,” said Kevin Tsujihara, president, Warner Bros. Home Entertainment Group. “The 28-day window enables us to get the most from the sales potential of our titles and maximize VOD usage.”

The new arrangement provides redbox with reduced product costs, sufficient quantities of product and optimal stock levels four weeks after street date as well as extends redbox’s access to Blu-ray titles, which redbox is currently testing in select markets. The agreement also provides Warner Bros. the opportunity to maximize the sales of new release titles as well as video on demand and other forms of digital distribution.

“This agreement enables redbox to fulfill our commitment to providing consumers affordable and convenient home entertainment,” said Mitch Lowe, president, redbox. “By agreeing to a delayed release date, redbox can now acquire Warner Home Video titles at a reduced product cost, preserving value for our consumers and increasing customer access to Warner titles at redbox locations nationwide.”

Warner Home Video and redbox will be implementing delayed availability during the month of March and will reach a four-week window by March 23 with the release of The Blind Side. The new agreement will run through January 31, 2012. Redbox has also agreed to destroy Warner Home Video content following its lifespan in kiosks.

“The 28-day window for redbox balances the economics of our relationship while continuing to offer great value to their customers,” said Ron Sanders, president, Warner Home Video. “This accord establishes a mutually beneficial relationship that will foster an ongoing and productive partnership.”

Warner Bros. is currently a leader in many home video categories including total video (DVD and Blu-ray combined), Theatrical Catalog video, TV on DVD, and Blu-ray and will ensure the DVD rental company access to sufficient quantities of Warner Home Video titles including The Time Traveler’s Wife, The Box, The Informant!, Where the Wild Things Are, The Blind Side, and Sherlock Holmes.

The deal to bring Eun on board was finalized last night, Armstrong told employees in an all-hands email (see below). It’s not a huge shock to see him leave–he’s done a lot of heavy lifting there already, and sources say that like many Google (GOOG) executives who have left recently, Eun felt he couldn’t move much higher in the company.

Eun used to have a role that paralleled Armstrong’s at Google: Make peace with traditional content companies. But instead of trying to sell them ads or negotiate search deals, Eun was supposed to hammer out deals to help get their content onto Google. Most recently, he was focused on getting TV networks and movie studios to put stuff on YouTube, which involved new ad-supported deals (see: Turner, ESPN, etc.) as well as the possibility of renting clips by the stream.

Wilson is a longtime AOL (AOL) guy who rose up the ranks and was pushing for the original content strategy that Armstrong embraced even before the last regime change. He seems to be leaving on better terms than other pre-Armstrong executives, as he’ll be staying with the company until May to manage the transition.

By leaving just as AOL has spun off on its own, Wilson is giving up a chance at some significant upside via low-priced stock options. But sources say Wilson doesn’t have another job lined up.

In an interview this afternoon, Armstrong says that Wilson approached him about leaving the company “several weeks ago”. When I asked him if Eun’s last role–developing partnerships with big media outlets–signaled a shift in AOL’s “roll your own–cheaply” strategy, he made a point of saying that’s not the case. Eun’s hire will simply “supercharge” AOL content plans, he said.

Nonetheless, Armstrong did allow that AOL has some significant content partnerships to announce in the coming months.

Here’s an interview I conducted with Eun late last year, focused on YouTube’s efforts to turn a profit and add new content:

And here’s Armstrong’s note to the troops:

As you know, content is at the core of our strategy and we have broad aspirations in this space. We’re focused on scaling our content platforms, production and partnerships to offer quality, original content that will engage consumers and bring them–and their friends–back to our properties time and again.

The fact that we have such a strong foundation in the content space is due to the determination and dedication of Bill Wilson. He saw the opportunity presented by audience fragmentation on the Web and positioned AOL’s content offerings in a number of key verticals. Early in the new year, Bill told me that although he remains committed to the vision and strategy of AOL, he’s ready for a break.

After nine years with the company and after the significant changes we made this year moving from licensing content to becoming a principle in content, he wants to take a step back. Bill built a strong management team and laid the groundwork for the content strategy that we’re now pursuing. While I’m disappointed by his decision, I respect his intent and have asked him to work with me, not only to find his replacement but also to transition with that person to ensure that, as a company, we don’t miss a beat on the execution of our content strategy.

Bill is a talented executive and great person, and I’ll be working with him closely and supporting his transition. Bill cares about AOL, he cares about the content and the products, and he has worked incredibly hard to keep AOL on the media map.

I’m pleased to announce that David Eun will be coming on board in March to head up our content business. Some of you may remember David from his tenure at Time Warner where he helped to oversee AOL as Vice President, Operations, for the Media & Communications Group reporting to Don Logan.

David, who joins us now from YouTube and Google, has had a long career in offline and online content and is the person responsible for managing Google and YouTube’s content partnerships. David brings an impressive breadth of media experience to AOL at an exciting juncture as AOL forges a new future as a high-scale producer and partner in the content space. He will be based in New York.

Bill will be staying on until May 1 to help ensure a smooth transition with David, who begins work March 1.

You may wonder why this topic wasn’t raised during yesterday’s Q4 employee call. My preference is always to share this type of news with you in person, but the facts are that there were elements of this announcement that were not finalized until last night. This drove us to announce this news this morning–to our employees first.

As we have discussed, AOL is now in a phase of transition from playing defense to playing offense. As I said on the employee earnings call yesterday, AOL’s back in the game and we’re playing to win. We have a lot of work to do, but we’re going to do it. Please join me in welcoming David back to AOL and in thanking Bill for his dedication and leadership at AOL – TA

And here’s the release:

AOL NAMES DAVID EUN PRESIDENT OF AOL MEDIA AND STUDIOS

Eun Will Oversee All AOL Content, SEED.com and Studio Operations

New York, NY, February 4, 2010 – AOL Inc. (NYSE: AOL) today announced that David Eun will join the company as President of AOL Media and Studios, effective March 1. As AOL’s chief content executive, Eun will be responsible for the company’s more than 80 content sites, its new SEED.com publishing platform, as well as the newly acquired StudioNow video platform and AOL’s NYC and LA studios.

Eun will report to AOL Chairman and CEO Tim Armstrong and will be based in New York. He succeeds Bill Wilson, President, AOL Media, who will transition out of the role after nine years with AOL.

Until 2006, Eun helped to oversee AOL as Vice President, Operations for the Media & Communications Group at Time Warner Inc. In that role, he helped provide operational oversight and develop new businesses, particularly in digital distribution and broadband content and services, for the company’s AOL, Time Warner Cable and Time, Inc. divisions. Eun joins AOL from Google, where as Vice President, Strategic Partnerships, he was responsible for managing global content partnerships with Google and YouTube.

“David brings an impressive breadth of media experience to AOL at an exciting juncture for the company as we focus on scaling our content platforms, production and partnerships to offer quality, original content that will engage consumers and bring them–and their friends–back to our properties time and again. I’m delighted to welcome him back to AOL as we continue to pursue our strategy and mission in digital content and journalism,” Armstrong said.

“Bill Wilson has been a driving force for content at AOL and under his leadership the quantity and quality of our premium branded and niche offerings have expanded significantly. On behalf of AOL, I want to thank Bill for the energy and dedication he has brought to the role. Bill has been an outstanding leader at AOL,” Armstrong added.

“AOL has a unique opportunity to bring together its core strengths in the key areas of content and journalism, distribution, and advertising to engage its users, partners and advertisers in a way very few companies can. These three elements will be fundamental to success as the media and technology industries evolve and converge,” Eun said. ”And after nearly 15 years of seeing this convergence approach, I couldn’t be more excited to be returning to AOL to help Tim and his team capture that great promise.”

AOL is one of the largest producers of original content on the Web, with more than 80 official AOL and custom-built sites including more than 20 which rank in the top five in their U.S. comScore Media Metrix category. Approximately 80 percent of AOL’s content is originally produced by a growing team of staff and freelance journalists, including nine Pulitzer Prize Winners. AOL also produces more than 50 original video productions a month at state-of-the-art studios in New York and Los Angeles as well as through a network of freelance video producers.

SEED.com, AOL’s premium content management system, assigns, buys and distributes work for all of AOL’s properties.  StudioNow, which AOL acquired in January, allows the company to integrate a fully functional video creation platform into SEED and leverage a national network of creative professionals to develop and produce quality video in a way that is rapid, efficient and scalable.

Before joining Time Warner, Eun was a partner at Arts Alliance, a venture capital firm focusing on digital media, information technology and business services. He started his career in media at NBC, where he led some of NBC’s first cross-media initiatives involving television programming, the Internet, and retail consumer products. He is a former management consultant with Bain & Co., and attended Harvard Law School and Harvard College, where he graduated magna cum laude in government.

]]> http://allthingsd.com/20100204/another-googler-goes-to-aol-youtube-boss-dave-eun-replaces-bill-wilson-as-content-boss/feed/ 0 http://allthingsd.com/20100201/watch-hollywood-crater-in-a-single-sentence/ http://allthingsd.com/20100201/watch-hollywood-crater-in-a-single-sentence/#comments Mon, 01 Feb 2010 19:57:03 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=15738 DVD sales are collapsing, nearly as quickly as music sales did over the last decade.

It’s important to remember this whenever you see stories about Hollywood’s resurgence, measured by box office receipts. Because box office receipts don’t do that much for Hollywood’s bottom line–that’s the role of DVDs.

It’s also important to remember this when you see stories about Hollywood’s conniption fit over “windowing” and the lawsuit/hardball deal combo the studios have used with Redbox and Netflix (NFLX). Because the studios’ desire to wring every last penny from DVDs is what’s driving those moves.

Ditto for Hollywood’s desire for a 3-D boom: The studios are in desperate need of a new revenue stream to replace the disappearing discs.

So here’s the one-sentence story I promised, which illustrates the collapse. It comes via Edward Jay Epstein’s dissection of MGM’s blowup, published on Defamer (nice get!):

In the US alone, MGM’s net receipts from DVDs fell from $140 million in its 2007 fiscal year (which ended March 31, 2008) to just $30.4 million by 2010.

That clarifies things, no?

Yes, you can add plenty of caveats if you’d like. For instance, MGM has been more or less dormant except for its Bond films the last couple years, and studios rely on new releases to juice DVD sales. And the DVD slump hasn’t hit all studios equally–Disney (DIS) and DreamWorks Animation (DWA) have done less poorly, because parents still need to buy stuff to occupy their kids.

But that’s still a staggering 78 percent drop in a couple years. So even if you’re running a studio whose DVD sales don’t look that bad, you’re looking at plummeting sales. Scary stuff.

]]> http://allthingsd.com/20100201/watch-hollywood-crater-in-a-single-sentence/feed/ 0 http://allthingsd.com/20100122/nbc-droops-but-doesnt-blame-its-woes-on-jay-or-conan/ http://allthingsd.com/20100122/nbc-droops-but-doesnt-blame-its-woes-on-jay-or-conan/#comments Fri, 22 Jan 2010 16:35:31 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=15441 Assuming that Washington cooperates, GE (GE) will be able to hand off NBC Universal to Comcast (CMCSA) in a year or so. Until then, though, it must briefly acknowledge NBCU in every earnings report, even though investors have no interest in it.

Especially with numbers like these: GE says NBCU’s Q4 revenue dropped four percent, to $4.3 billion, and operating profit declined 30 percent, to $602 million.

Were Jay Leno and Conan O’Brien’s ratings really that bad? Of course not.

NBC’s broadcast revenue was down 1.5 percent, but that was balanced by growth in the company’s cable properties, which were up eight percent. And not that I’m a Jeff Zucker apologist, but when pundits are castigating him for his late-night debacle, they really ought to point out that some parts of the company–the parts that Comcast wants, not coincidentally–have grown considerably during Zucker’s tenure.

In any case, GE blames this quarter’s decline on Hollywood: Its movie division has been low on box office hits, and its DVD group, like most other studios, has been sucking wind.

Here’s GE’s brief description of its business in charticle form (click to enlarge). Note the line about slow recovery in Web ads:

And here’s the best “screw you, NBC” clip I’ve seen from Conan this week. Which, as many Web commenters have noted, is not available on NBC’s Web site or via Hulu. But given that NBC has been fairly vigilant about pulling down unauthorized clips it doesn’t want on Google’s (GOOG) YouTube, the network can’t be that upset about this one, which you can find all over the site:

]]> http://allthingsd.com/20100122/nbc-droops-but-doesnt-blame-its-woes-on-jay-or-conan/feed/ 0 http://allthingsd.com/20100113/google-vs-china/ http://allthingsd.com/20100113/google-vs-china/#comments Wed, 13 Jan 2010 20:49:54 +0000 John Paczkowski http://digitaldaily.allthingsd.com/?p=32652

]]> http://allthingsd.com/20100113/google-vs-china/feed/ 0 http://allthingsd.com/20100112/is-wal-mart-ready-to-try-web-tv-again-with-vudus-help/ http://allthingsd.com/20100112/is-wal-mart-ready-to-try-web-tv-again-with-vudus-help/#comments Tue, 12 Jan 2010 11:00:10 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=14988 Walmart has tried twice to deliver movies and TV shows to its customers. Is it ready to try again?

Maybe. Sources tell me Web video start-up Vudu is in “meaningful” acquisition discussions, and industry executives believe Walmart is the likely buyer.

Vudu executives declined to comment. I’ve lobbed a call into the Walmart (WMT) press center but haven’t heard back.

It’s a deal that makes some sense on paper: Vudu is one of many services that give consumers a chance to rent or buy movies over the Web, but it hasn’t gotten much traction. “It’s a beautiful product and a really great service, in need of distribution,” says a person familiar with the company.

And Walmart has tried video delivery twice before but backed away each time. Acquiring a tech team at the right price could help it make a third effort.

After trying for two years to compete with Netflix’s DVD-by-mail business, Walmart gave up in 2005 and agreed to send its customers directly to Netflix (NFLX). In 2007, with the backing of all the big studios and tech help from Hewlett-Packard (HPQ), the retailer tried to launch a download service, a la Apple’s (AAPL) iTunes. But it abandoned that effort in less than a year.

Meanwhile, sources say Vudu has been seeking a buyer–in the form of either a big-box retailer or an electronics manufacturer–for some time without success. Internet executive Mark Jung ran the company for a year but left in November 2008; founder Alain Rossmann became interim CEO when Jung left and has kept the title since then.

Santa Clara, Calif.-based Vudu has raised at least $21 million from Benchmark Capital and Greylock Partners. I’m told that when the company was marketing itself last fall, it was looking for a sale price of $50 million or more. But it may not have much leverage to command a premium.

Vudu started out by marketing an Internet-connected box that consumers plugged into their TVs, but that offering seemed to underwhelm customers (as well as All Things D‘s Katie Boehret). It is now focused on building that technology directly into TVs and Blu-ray players and marketing itself as a Netflix-like service.

The company’s supposed strengths are a video compression technology that makes it feasible to stream movies in high definition and a peer-to-peer architecture that cuts down the cost of delivering large files. UPDATE: Vudu reps tell me they no longer use P2P for file delivery.

]]> http://allthingsd.com/20100112/is-wal-mart-ready-to-try-web-tv-again-with-vudus-help/feed/ 0 http://allthingsd.com/20100111/1000-aol-to-employees-go-the-way-of-dial-up/ http://allthingsd.com/20100111/1000-aol-to-employees-go-the-way-of-dial-up/#comments Mon, 11 Jan 2010 18:00:28 +0000 John Paczkowski http://digitaldaily.allthingsd.com/?p=32409

]]> http://allthingsd.com/20100111/1000-aol-to-employees-go-the-way-of-dial-up/feed/ 0 http://allthingsd.com/20091201/is-youtube-ready-for-prime-time-google-wants-to-stream-tv-for-a-fee/ http://allthingsd.com/20091201/is-youtube-ready-for-prime-time-google-wants-to-stream-tv-for-a-fee/#comments Tue, 01 Dec 2009 11:00:02 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=13379 YouTube, which is already trying out the movie rental business, wants to get into TV too.

Google’s video site has been trying to convince the TV industry to let it stream individual shows for a fee, multiple sources tell me.

YouTube already lets users watch a smattering of TV shows for free, with advertising. Now it envisions something similar to what Apple and Amazon already offer: First-run shows, without commercials, for $1.99 an episode, available the day after they air on broadcast or cable.

Sources say the site’s negotiations with the networks and studios that own the shows are preliminary. But both sides seem optimistic, since models for such deals already exist. No comment from YouTube.

The biggest stumbling block may be consumers. That’s because Google (GOOG) is talking about streaming the shows instead of letting consumers download them to their computers, as both Apple (AAPL) and Amazon (AMZN) do. But the networks and studios, which control pricing, will want to sell the streamed shows at the same price as downloads; they fear that offering them at a different price will force them to go back and rework their existing deals.

Executives at YouTube and TV insist that the disparity is simply a perception problem and cite studies showing that most people who download TV episodes only watch them once, anyway. But that’s a tough sell.

It’s also possible that YouTube may skirt the issue by launching a TV rental business without the big hits that Apple and Amazon offer. One possibility: The video site could start by moving immediately to long- and mid-“tail” shows and videos that aren’t available other places and don’t have to match existing prices.

No matter how it proceeds, YouTube is likely to be just one of several outlets trying to get consumers to pay for TV on the Web in 2010.

Among others: In addition to its a la carte offering, Apple is trying to create a monthly subscription service. Hulu, the free TV site co-owned by News Corp.’s (NWS) Fox, GE’s (GE) NBC Universal and Disney’s (DIS) ABC, is expected to launch a subscription service of its own. And cable operators like Comcast (CMCSA) will be launching different versions of “TV Everywhere” services, which give subscribers expanded access to online shows.

TV executives are generally enthusiastic about all of the above, since they are meant to create additional revenue streams without threatening the industry’s existing business. That is, they’re supposed to protect existing business from the digital disruption that has ravaged music, newspapers, etc.

But while Web users have an insatiable appetite for video, they’ve yet demonstrate much interest in paying for it. If any of this is going to work, that will have to change.

]]> http://allthingsd.com/20091201/is-youtube-ready-for-prime-time-google-wants-to-stream-tv-for-a-fee/feed/ 0 http://allthingsd.com/20091125/hulu-is-still-free-and-bigger-than-ever-next-year-though/ http://allthingsd.com/20091125/hulu-is-still-free-and-bigger-than-ever-next-year-though/#comments Wed, 25 Nov 2009 21:16:10 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=13307 Given that Hulu is about to start tinkering with paywalls and subscriptions, its viewership numbers matter a bit less than they used to. But for the record, the site–co-owned by News Corp.’s (NWS) Fox, GE’s (GE) NBC Universal and Disney’s (DIS) ABC–had a record October.

ComScore (SCOR) says Hulu generated 856 million video views during the month, second only to Google’s (GOOG) YouTube in the U.S. This makes sense given that Hulu is driven in large part by broadcast TV, which starts running new shows in the fall.

And if Hulu didn’t post record numbers after adding ABC’s shows to the mix, there would be some real head-scratching. But it will be very interesting to see what happens to these numbers next year if Hulu does move ahead with some sort of pay service.

As always, note the huge disparity between YouTube and everyone else. And it’s also worth noting that while Hulu generates more views than any of its non-YouTube competitors, its reach isn’t quite as deep:

All of which is less relevant than the joint venture’s performance, which is still the subject of much debate. People familiar with Hulu tell me it is “close to break-even,” but I worry about putting much stock in words like “close” (or “break-even,” for that matter) without seeing numbers.

And in any case, that’s only half the issue for its owners these days; just as important are the performance of its parent companies and whether all the free stuff on Hulu is helping or hindering their networks and studios.

But more on that after the holiday. For now, here’s wishing you and yours a happy and healthy Thanksgiving.

]]> http://allthingsd.com/20091125/hulu-is-still-free-and-bigger-than-ever-next-year-though/feed/ 0 http://allthingsd.com/20091004/the-new-yorker-takes-on-hollywood-power-blogger-nikki-finke/ http://allthingsd.com/20091004/the-new-yorker-takes-on-hollywood-power-blogger-nikki-finke/#comments Sun, 04 Oct 2009 20:39:45 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=11700

A treat for those of you who love reading about Hollywood’s inner workings: About 7,800 words in this week’s New Yorker dedicated to power blogger Nikki Finke and those who fear her and/or read her. Which pretty much includes everyone in Hollywood.

It’s a classic New Yorker profile, which means it’s thorough and a great read, though there’s not much in the way of news there. Writer Tad Friend mentions Jay Penske’s purchase of Finke’s services in passing, and there’s no update of Penske’s and Finke’s plans to expand the site.

For the record, in late June, Finke said she’d have a New York correspondent hired within three months; four weeks ago, Penske told me said correspondent was going to be signed within two weeks.

What’s the status now? “Not ready to comment right now,” Finke says via email. I’ve also asked Penske for an update.

Back to the story. There’s a lot of inside baseball about the symbiosis between the studios and the people who write about them, and some smart reporting about the tradecraft of reporting and how it has been altered by the rise of blogging.

I also detected at least a whiff of allusion to Janet Malcolm’s famous description of journalism, published in the New Yorker two decades ago:

Finke’s code is the Hollywood code. She is for hard work, big box-office, stars who remain loyal to their agents and publicists, and the little guy–until, that is, the big guy chats her up. Then she’s for that big guy until some other big guy calls to stick it to the first big guy. And this, too, is the Hollywood code: relationships are paramount but provisional. One executive observes that people who heed Finke’s call to snark about their competitors shouldn’t get too comfortable: “The idea is, The lion won’t eat me if I throw it another Christian. It works for a day, but you’re going back to the Colosseum soon.”

The bond between journalists and their sources is always complex–you’re friends with benefits, without being friends–but its contingent nature is particularly apparent in Hollywood. Finke’s sources can hear in her voice when she sounds low or unwell, and will ask if she needs anything. She’s grateful for the solicitude, but determined to maintain the barrier between her and those she calls “these people.” “A veterinarian treats animals–he’s not an animal,” she says.

What does Finke think? Glad you asked. She has an entire post dedicated to it, of course.

The gist:

As I expected, it’s an amusing caricature, only occasionally true but hardly insightful. Still, I’m relieved that The New Yorker didn’t lay a glove on me. I found Tad Friend, who covers Hollywood from Brooklyn, easy to manipulate, as was David Remnick [the magazine's Pulitzer Prize-winning editor in chief] , whom I enjoyed bitchslapping throughout but especially during the very slipshod factchecking process.

No comment from Friend or the New Yorker’s PR staff, which sent me a copy of the article this afternoon.

]]> http://allthingsd.com/20091004/the-new-yorker-takes-on-hollywood-power-blogger-nikki-finke/feed/ 0 http://allthingsd.com/20090814/youtube-dusts-off-ghostbusters-to-make-a-point-weve-got-movies/ http://allthingsd.com/20090814/youtube-dusts-off-ghostbusters-to-make-a-point-weve-got-movies/#comments Fri, 14 Aug 2009 10:00:26 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=9926 Got a couple hours to kill? Want to enjoy a pleasant blast from the past? Head over to YouTube and check out “Ghostbusters,” which is running at its full length on Google’s (GOOG) video site, and prominently displayed on its homepage.

YouTube says it’s highlighting the Bill Murray/Dan Akroyd/Sigourney Weaver classic because this summer is the movie’s 25th anniversary.

Which is true! But I’m pretty sure the site is also trying to remind both Hollywood studios and run-of-the-mill YouTube users that the site can and does run more than just short, home-brewed clips–it’s got a bunch of movies, TV shows, and other “premium content,” too.

Not nearly as much as Hulu, of course, but YouTube is still trying to figure out how to change that. One way is by simply creating special sections to highlight movies and TV shows, which is one of the reasons it got Sony’s (SNE) Crackle on board last spring. Another is to offer content owners special incentives to hand over their stuff to the world’s biggest video site.

If you do watch “Ghostbusters,” for instance, note that the traditional YouTube player has been replaced by one from Crackle. YouTube also recently agreed to let Disney’s ESPN.com (ESPN) use its own player as well.

On the other hand, there’s still plenty of other “premium content” on YouTube that doesn’t appear to be sanctioned by the contents’ owners and that doesn’t appear to be generating any revenue or other benefit for them, either. Like this grainy, but still excellent, “Ghostbusters” excerpt:

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