Netflix in talks to retain Marvel and Star Wars movies after 2019

Netflix is still in active talks with Marvel over potentially retaining streaming rights to Marvel and Star Wars movies after 2019, which is the date Disney has defined for when itll remove Disney and Pixar movies from the subscription service in favor of its own in-house Disney streaming offering.

We already knew the fate of Disneys Marvel co-production TV indicates, including Daredevil, The Punisher, Jessica Jones, Iron fist, Luke Cage and The Defenders was not subject to the new arranging Disney announced earlier this week. These ongoing talks around feature-length Marvel and Lucasfilm-made movies disclose those could also still have a future at Neftlix.

When the bargain was announced earlier the coming week by Disney CEO Bog Iger, the fate of the Marvel and Star Wars films wasnt yet fixed. Netflix told Reuters on Friday that active debates are going on right now to retain streaming rights beyond 2019, and it seems possible that this could end up being the result depending on Disneys aims with franchises housed under the Marvel and Star Wars brands.

While it sounds far away from something determined, it could be that Disneys own streaming service is focused more on entertainment for households and children, while the more mature reach of the Star Wars and Marvel films end up being better suited for a distribution platform with a broader audience. Its also very possible that Disneys still assessing how it would position Marvel and Star Wars dedicated subscription services, something its been rumored to have mulled in the past.

Whatever the outcome, Netflix isnt slacking on its alternative content alternatives: The company continues to invest in and make plenty of original content, and will only be ramping up those efforts in the near future.

Make sure to visit: CapGeneration.com

Netflix lands the Coen Brothers Western TV series

Netflix is going to be home to the first television indicate created by the Coen Friend, the directing duo thats behind The Big Lebowski, Fargo, True Grit and many more cinemas. The show is called The Ballad of Buster Scruggs, and is described as a Western anthology that will follow six stories about Americas Wild West. Joel and Ethan Coen will make, write and direct, and the anthology should premiere sometime next year.

The show has been characterized as more of a mini-series in previous descriptions of the project, which was considered for a feature-length movie but instead will be a multi-part indicate because of the scope. Each chapter will be its own unique tale; the casting includes Tim Blake Nelson as the titular character, Ryne Daley, James Franco, Zoe Kazan and others.

This should be a quite interesting project for Netflix, and also something the company is probably happy to be able to announce now that news is out that Disney is removing its movie catalog from its U.S. service in 2019 to create its own dedicated streaming service. Marquee content from other big-name sources that Netflix owns exclusive distribution rights to will be especially important in helping reassure investors and analysts that the streaming giant wont suffer much from loss of the Disney deal.

Make sure to visit: CapGeneration.com

David Letterman returns to TV with six-episode Netflix deal

David Letterman has signed a deal to host six episodes of a new program for Netflix.

The company hasnt released many details of the topics, format or guests, but it sounds like it wont just be a standard in-the-studio talk show Netflixs Chief Content Officer Ted Sarandos said in a statement, David Letterman is a true television icon, and I cant wait to see him out in the wild, out from behind the desk and interviewing the people he finds most interesting. Well have to see if he keeps the beard.

While Netflix has had its most high-profile successes with scripted shows like House of Cards and Stranger Things, its also home to Chelseaand Bill Nye Saves the World. Neither show seems like a big hit (its hard to say for sure, since the company doesnt release ratings information), but Netflix is still funding them it probably helps that theyre cheaper to produce than something like Sense8.

Letterman, meanwhile, has largely stayed out of the spotlight since leaving theLate Showon CBS in 2015. He did, however, appear in the climate change documentary programYears of Living Dangerouslyand he also reminded everyone how funny he can be in a recent, wide-ranging interview with New York magazine.

Lettermans new show is scheduled to premiere next year.

Heres what I have learned: If you retire to spend more time with your family, check with your family first, he said in the announcement. Thanks for watching. Drive safely.

Make sure to visit: CapGeneration.com

Netflix and Amazon on edge as Disney plans own streaming service

Studio will pull all titles from rivals and try to corner market in family-friendly fare from 2019

Disney is to pull its movies from Netflix and take on the streaming company with the launch of its own service from 2019, showing family-friendly fare such as the Toy Story films, Frozen and its forthcoming sequel, and The Lion King. The move is being seen as a potential major challenge to Netflix, whose shares fell 4% in after-hours trading on the back of the news, and to Amazon.

Disney said it had not yet made a decision on whether to include Marvel, home to the Avengers franchise and characters such as Iron Man and Captain America, and Lucasfilm, the company behind Indiana Jones and Star Wars, in the new service. The company has been identified as a potential buyer of Netflix, with which it has an exclusive film distribution deal in the US, with a market value of about $75bn.

Disney is launching its service in the US, but chief executive Bob Iger told analysts to think of it as a global service. The company is also launching a streaming service for ESPN, the sports network with rights to top flight-competitions including Major League Baseball and the NFL.

The launch of our direct-to-consumer services marks an entirely new strategy for the company, said Iger, one that takes advantage of the incredible opportunity that changing technology provides us to leverage the strength of our great brands.

The service will initially be family-focused, drawing on Pixar and Disney fare and including productions from the Disney Channel and Disney Junior.

Disney said it would become the exclusive home in the US for subscription video-on-demand viewing of the newest live action and animated movies from Disney and Pixar beginning with the 2019 theatrical slate. The media landscape is increasingly defined by direct relationships between content creators and consumers, said Iger.

In 2015, Disney began experimenting with its own streaming service in the UK, Disney Life, priced at 9.99 a month and specialising in kids and family content from Bambi and The Jungle Book to Pixars Toy Story franchise, as well as more modern blockbusters such as the Pirates of the Caribbean series.

Disney gained the capability to launch the new streaming service thanks to its purchase of a majority stake in BAMTech, a subsidiary of MLBAM, the internet arm of Major League Baseball. Disney already owned a stake, but is paying $1.58bn for an additional 42%.

Earlier this week, Netflix moved to reduce its reliance on licensing intellectual property from rivals by acquiring comic book company Millarworld. It hopes that the company whose properties Kick-Ass and Kingsman have already been turned into films that have been shown on the network will do for it what the acquisition of Marvel has done for Disney.

By owning its own franchises, Netflix is hoping to reduce its rapidly growing content budget. It has already committed to spending $16bn on the production and licensing of films and TV shows over the next five years.

Make sure to visit: CapGeneration.com

Iflix raises $133M for its Netflix-style service for emerging markets

Iflix, an Asia-based startup Netflix-like streaming services in emerging markets, has landed $133 million in fresh funding to accelerate its business.

The investment was led by U.S. media conglomerate Hearst, which counts BuzzFeed, Vice and Roku among its investment portfolio. The group was joined by anothernew backerEDBI the corporate investment arm of the Singapore Economic Development Board alongside undisclosed clients of Singapore-based DBS bank. Existing investors joining includedEvolution Media, UK broadcaster Sky, Malaysias Catcha Group, Liberty Global, Jungle Ventures and PLDT.

Iflix was started in May 2015, initially in selected Asian markets. Today its streaming service is priced around$ 3 per month and available in1 9 countries thanks to expansions into the Middle East and Africa. The business has raised close to $300 million from investors to date. It started off with a $30 million pre-launch round in 2015, before adding $45 million from Sky last year and completing a $90 million create in March of this year.

That most recent round valued the company at $500 million, but theres no term on what the valuation following this new financing is.( Were working on get that detail .)

Netflix is the most obvious rival to Iflix but, with over 100 million paying subscribers and 5. two million new additions in the last quarter alone, few can rival the U.S. media giant. In that respect, more regional competition includes Singapores HOOQ, which is backed by telecom firm Singtel, and PCCW Media-owned Vuclip, as well as local single-country streaming services are more valid comparisons.

Iflix said it had five million registered users back in March, but it isnt giving an update on that this time around. It instead hailed tremendous growth which it said includes a 3X increased number of subscriber numbers and 2X rise in user engagement over the past year. Revenue, it told, is up 230 percentage year-on-year, but it is keeping quiet on raw figures.

In an interview with TechCrunch, Iflix CEO Mark Britt played down inevitable comparings with Netflix, insisting that the services do not share the same target audience.

We very genuinely dont see Netflix as a competitor, we consider ourselves as a new service for the mass marketplaces, he said.

Britt has pointed out that Netflixs model targets the global elite, those with high-end devices like an iPhone, disposable income and a charge card for pay. Iflix, he claimed, is aimed at those with lower-end devices and poorer quality internet access, but a desire to always eat on mobile.

If Netflix is the iPhone of content streaming, our aspiration is to be the Android, Britt added. Wed love to be a secondary selection to the upper socials ifyou love Netflix you should probably get Iflix as an addition but for themass market, the majority of their consumption is on a mobile device.

Iflix chairman Patrick Grove at a promotional event in Bangkok, Thailand, earlier this year

Theres certainly plenty of tart to fight for. A recent report from Media Partner Asia forecast that online video intake in Asia alone could outshine $20 billion by 2020, although the above figures falls to $3.2 billion when China which is dominated by local players, and where Iflix is not present is removed.

Nonetheless, Iflix has taken steps that are similar to Netflix. This year it began broadcasting its own original programming bringing an underground comedy series from Malaysiato its platform earlier this year and that is expanding to a dozen countries. While in March it hired Sean Carey, who was formerly VP of global television for Netflix, as its own chief content officer. It has also moved into live sport, having captured the rights to Indonesias soccer league, and Britt said it is focusing on acquiring more local content, including first releases from cinema and local productions.

Weve realized the key for us is local content , not the Western content studios the majority of our top 10 content is regional or local, he told TechCrunch. Western content defines the bar for binge-watching, but in terms of reaching the mass marketplace, whats having a bigger impact is taking content from local cinema or distributors.

Thats where this new funding is likely to be put to work, growing that local collection with a focus on exclusives and first-runs. Britt said that Iflix may also look to enter new regions, too, with Latin America on the listing of possibilities entries thanks to its similarities with regions where Iflix already plays.

The opportunity is very real in emerging marketplaces globally, he added. TVhas run from stalling in the last few years to actual decline in most emerging markets. Our understanding of that is that it is actually yesterdays product[ since] themajority of the emerging classes worldwide are aged under 25.

Were the only platform talking with[ studios and producers] about what this new experience should look like for these 1.3 billion people[ in emerging markets] in the next few years, Britt said.

Make sure to visit: CapGeneration.com

Netflix to debut Disenchantment, a new animated series from The Simpsons creator Matt Groening, in 2018

The creator of the longest-running scripted primetime series ever, The Simpsons, is preparing to launching a new reveal for Netflix. The streaming service today announced it has ordered 20 episodes of an animated slapstick series called Disenchantment, from The SimpsonscreatorMatt Groening. The first episodes are set to debut in 2018, the company tells, and will be released ten at a time.

The series is being produced for Netflix byThe ULULU Company, and will see Matt Groening and Josh Weinstein( The Simpsons, Futurama) serving as executive producers. Animation is being to be undertaken by Rough Draft Studios the animation production company also used by Futurama.

The premise for the adult animated comedy series is one involving the disintegrating medieval kingdom of Dreamland, where characters will include a hard-drinking young princess Bean, her feisty elf companion Elfo, and her personal demon Luci, among other ogres, sprites, harpies, gremlins, trolls, walruses, and lots of human fools, says Netflix, in its announcement of the new series.

The show will also be voiced by several well-known names, including Broad Citys Abbi Jacobson, Nat Faxon, who had worked before on animated series The Cleveland Show, and has a role in Netflixs newer demonstrate Friends from College; along with Eric Andr, John DiMaggio, Billy West, Maurice LaMarche, Tress MacNeille, David Herman, Matt Berry, Jeny Batten, Rich Fulcher, Noel Fielding, and Lucy Montgomery.

Ultimately, told Matt Groening, Disenchantment will be about life and death, love and sexuality, and how to keep laugh in a world full of suffering and imbeciles, despite what the elders and wizards and other dorks tell you.

Cindy Holland, Netflix VP, Original Content , noted that the new series will bear Groenings trademark animation style and biting witticism, and added that we think its a perfect fit for our many Netflix animation fans.

News that Matt Groening and Netflix were teaming up on a new animated series had been reported back in January, 2016,though the details of their project was then being kept under wraps. All that was known at the time was that Groening would create and write the new depict. Plot details or a premiere date werent available.

The series will help to expand Netflixs portfolio of animated series with a high-profile name, and potential hit. The streaming service today has several other animated series, including BoJack Horseman, F is for Family, the forthcoming Dr. Seuss adaptation of Green Eggs& Ham, and the recently renewed video game-inspired Castlevania.

Make sure to visit: CapGeneration.com

Netflix was the top grossing app in Q2, with mobile revenue up 233% since last year

Netflixs booming subscriber growth, announced in the companys earnings last week, is also being felt on the App Store, where its app has again become the top earner in terms of revenue. According a recent report from app store analytics firm Sensor Tower, the app in Q2 assured 233 percent revenue growth year-over-year to $153 million in the most recent one-quarter. Thats up from the $46 million considered at this same hour last year, across both top app store platforms, and on the iOS App Store alone.

This level of growth sets Netflix far ahead of the average revenue growth across both app stores, which is currently at 56 percent. In other terms, Netflixs move up the revenue charts isnt merely tied the ongoing growth of the app ecosystem and its related app industries, but is attributable specifically to Netflixs ability to add new subscribers.

Last week, the streaming service reported it had added 5.2 million subscribers in the quarter, which was more than the 3.2 million it had expected. The majority, or 4 million-plus, of those subscribers came from international markets, which can also help to explain the App Store revenue increases. Often, new Netflix users are signing up for the streaming service via their telephones and then paying through in-app purchases.

Netflixs revenue in the second one-quarter was up by 32 percent, to $2.79 billion; in the prior one-quarter, it find 36 percentage revenue growth, to reach $2.48 billion. However, these figures take into account the revenue generated by subscribers across platforms including mobile, desktop computer, set-top boxes, and elsewhere.

With 233 percentage growth across the app stores, Sensor Towers report rightly points out that Netflixs mobile revenue is far more pronounced than non-respendable revenues being generated by non-mobile platforms.

Netflix is also outpacing its streaming rival Hulu, whose app store revenue grew by only 22 percent during the one-quarter, the report also noted.

One of the big depict for Netflix as the company said itself during its earnings its is slate of original content. This has been a huge investment for the company in recent years. Netflix said earlier that it plans to invest$ 6 billion in original content this year, including 40 feature film. The company has been willing to pay top dollar for movies, too, as with its $90 million+ investment in its first potential blockbuster, the Will Smith fantasy epic Bright orMartin Scorseses $ 100 million-plus mob movie The Irishman.

Netflix even issued a challenge of sorts to the Hollywood movie industry in its earning release , noting that it now plans to disrupt the movie business as it once interrupted TV.

just as we changed and reinvented the TV business by putting consumers first and making access to content more convenient, we believe internet TV can similarly reinvigorate the movie business, the statement read.

Beyond Netflix, a number of other subscription-based businesses made the top revenue charts during the course of its one-quarter, too. On the iOS App Store, Pandora clocked in at# 3 pointing to some gains for its premium subscriptions; Spotify was# 5; and YouTube, which offers subscriptions via YouTube Red, was# 6.

Across both the iOS App Store and Google Play combined, Pandora was# 4, Spotify# 7, YouTube was #10 and the other streaming service, HBO NOW, also popped up in the# 9 slot. The full report from Sensor Tower, which focused on non-game apps growth and revenue, is here.

Make sure to visit: CapGeneration.com

To the Bone confirms there are (almost) no good movies about anorexia

The Netflix drama, which stars Lily Collins, leans on some outdated tropes. But only a handful of fictions and films have elicited the reality of the illness, or explained why so many females turn their unhappiness on themselves

No talk about food. Its boring and its unhelpful, announces Keanu Reeves playing( hold on to your hat) a doctor specialising in eating disorder in To the Bone, the much-discussed upcoming movie about anorexia, starring Lily Collins and distributed by Netflix. And this is excellent advice, but it can be hard to see beyond the surface issues when you are dealing with someone who is literally starving themselves to demise: the shoulder blades protruding out like birds wings, the food hide under place mats, the legs so wasted you are able to circle them with your fingers. It is even harder if a part of you is turned on by skinny, self-destructive women, as the movies invariably are, and this one definitely is.

Its not easy to make a good movie about anorexia, which is why almost almost none exist. How to depict a mental illness that unlike, tell, schizophrenia or bipolar disorder has such a well-known and hard-to-fake physical show? To the Bones writer-director, Marti Noxon who based the movie on her own experiences with the illness got around this by get Collins, who has spoken about her own battles with eating disorder , to lose an astounding sum of weight so that she appears credibly anorexic on screen. Given how thin female actors now have to be merely to appear slim, your heart violates at the thought of how much weight she must have lost to look so painfully ill.

To the Bone has been wildly praised since it debuted at Sundance in January, and I can only assume this is because critics get weirdly overexcited when actors undergo physical transformations. The truth is To the Bone is not a good movie about anorexia. In fact, it is a bad one. We could talk the working day about the ethics of hiring a young woman who is known to be vulnerable to eating disorders, and then telling her to lose weight to appear anorexic, but lets give Collins the benefit of the doubt and tell she is an adult girl who is free to make her own career choices. Instead, lets talk about To the Bones real problem, which is that it is shallow, sexist and sick.

The only justification for making a movie like this is that it is going to provide some insight into a much-discussed if little understood problem, a requirement Netflixs earlier and similarly exploitative foray into self-destructive young lady, 13 Reasons Why , notably failed to meet. But from the very first scene it is obvious that To the Bone leans on some wearily outdated tropes. We first insure Ellen( Collins) in an in-patient division, in which she and her fellow anorexia patients are beautifully styled in the universally recognised signifiers of crazy-but-sexy young lady: heavy kohl eyeliner and mascara, Tank Girl-esque distressed dres and biker boots. We have gone from 1999 s Girl, Interrupted to 2017 s Meal, Interrupted.

Click here to watch the trailer for To the Bone.

From there on, the anorexia stereotypes are ticked off with the regularity of hospital mealtimes. The movie disregards its own advice almost immediately about not focusing on the food and does so with voyeuristic intensity, without ever asking why so many females feel so unhappy, and why they then turn this unhappiness on themselves. All the anorexia patients, with one male exception, are young, attractive, middle-class white females, when the illness affects a far broader demographic. Reeves, as Ellens psychiatrist, Dr Beckham, is a self-described unconventional doctor, who demonstrates his unconventionality by swearing occasionally and insisting his methods are totally different from anyone elses( theyre not: they rely on therapy and healthy eating, as almost all eating-disorder therapies do ). He also clearly enjoys his power over his mainly female both patients and a braver, less conventional film would have explored this more. Instead, To the Bone simply accepts the doctors version of himself as the brilliant, patriarchal medical professional who can fixing women.

I am going to show my cards here and say that I am undoubtedly biased on this issue, because I had a doctor similar in some regards to Beckham during my first three hospitalisations: Dr Peter Rowan, then based at the Priory in Roehampton. I was merely 14 when I first fulfilled him but even then it seemed to me that he revelled too much in his authority over a ward of vulnerable females, who in turn viewed him as god-like. In 2011, 18 years after we parted routes, he was struck off when it emerged he had what was described as a blurred and secretive relationship with a female patient, who left him more than 1m in her will.

Now, clearly, there are plenty of excellent male psychiatrists who work with eating disorder, and my experience was an outlier. But given that anorexia is often a kind of uprising against gender norms, with female and male sufferers rejecting, respectively, sexualised femininity and macho masculinity by starving themselves, it is ironic that a movie should re-enact such gender cliches. The doctor is a man, the nurse is a woman, the women in Ellens life( her mom, stepmother and her mothers girlfriend) are all self-obsessed and bitchy, her father is absent but hard-working. The one male anorexia patient is wise and selfless in a way none of the female patients are, and spoiler alerting he, along with the male doctor, helps to save Ellen. Many brilliant girls are now the leading lights in eating-disorder treatment , not least the woman who treated me through my last three hospital admissions, Professor Janet Treasure , now the director of the Eating Disorder Unit at the Institute of Psychiatry at Kings College, London. So the idea that all that these hysterical female anorexia patients require is a couple of calm humen to save them from themselves is, to set it mildly, grating. The cinema even tacks on a frankly ludicrous romantic subplot, and anyone who believes patients with eating disorder are making out with one another on hospital wards has clearly never bothered to Google what starvation does to a persons libido.

There is currently a petition online demanding that Netflix pulls the present for two reasons. The first, that it might trigger sufferers, is a point I feel sympathy for but cannot agree with. Legislating against anything that might trigger the mentally ill or vulnerable is an impossible game of Whack-a-Mole. But the petitions other grievance, that it glamorises anorexia, will be less easy for the film-makers to dismiss. Contrary to what the character of Ellen might indicate, anorexia is not all thigh gaps and eyeliner. By the time I was admitted to hospital for the first time when I was 14, the majority of members of my hair had fallen out, I could scarcely walk because I was so cold and my knuckles hemorrhaged constantly due to extremely dry and cracked scalp. Instagram-ready, I was not. There is a line between rendering a complex topic filmable and sexing-up a serious illness, and To the Bone crosses it from the first scene. And when all a movie about anorexia tells you is that people with anorexia have issues with food, and that this constructs them thin and unhappy, you have to wonder what the point of the movie is.

Anorexias physical manifestations distract even those of us who have suffered from it from grasping the internal matter. Indeed, that is the point of the starvation: we dont have to think about the unhappiness that led us to this phase. In one interview, Noxon used to say being around Collins and the other actors who were losing weight was difficult for her. I started to need to turn to the other female producers quite often and tell: Im going to need you to tell me that I dont need to lose weight, she said. When there is a part of you that still get turned on by not eating, you will not be able to discuss anorexia properly, because you are still preoccupied by the surface symptoms.

Lily
Lily Collins in Netflix drama To the Bone. Photograph: Gilles Mingasson/ Netflix/ Netflix

Even beyond the directors own issues, it feels nearly inevitable that anorexia should be glamorised in a movie made today. We have come a long way from 1983, when Karen Carpenter died of anorexia and people were shocked that someone could actually starve themselves to death, but despite the increased awareness, conversations about the illness still too often descend into voyeuristic fascination. Since the 90 s, when skinny became the female beauty criterion( a sharp diminution from the more Amazonian supermodels of the 80 s ), representations of anorexia in mass culture have come wrap in a weird mix of prurience, spectacle and aspiration. The Daily Mail has a regular, long-running and wildly irresponsible column by a woman writing about her anorexia. The glamorisation of anorexia online is notorious by now, with the rise of pro ana( pro anorexia) websites, which pass on tips-off about how to avoid eating, and thinspo( thin inspiration) images on Instagram; anorexia has been reduced to an aesthetic expression and To the Bone reflects that.

In terms of art, there is remarkably little that is much better. Poor Richey Edwards, the late guitarist from the Manic Street Preachers, wrote probably the most brutally evocative sung about it, 4st 7lbs( I eat too much to succumb/ And not enough to stay alive/ Im sitting in the middle waiting ). But he himself was so caught up in the illness he could only illustrates the immediate experience , not the larger overview. In books, there are plenty of anorexia memoirs now both celebrity and non most of which, to be honest, are little more than a mix of food diaries, pop-psychology and self-help.

By far, the best book on the subject is Jenefer Shutes astounding novel Life-Size, which captures the confusing early descent into the illness, the loneliness of it at its most extreme and the weirdness of hospitalisation better than anything I have ever seen or read. Noxon has responded to criticism of her movie by emphasising it is based on her indidvidual experience, but Life-Size reveals the laziness of this popular get-out clause. Everything is an individual experience, but if your re-telling of it strikes no general chord, the flaw is in your telling. Life-Size is a deeply personal story, about a twentysomething with anorexia called Josie. But in its wholly original, quasi-poetic prose style that changes between memory, the hospitalised present and Josies hallucinations, this is a book that eschews the cliches and, in doing so, touches a wider truth. No one thing can cure someone with anorexia and this book definitely didnt cure me. But it did help me get a fix on my own experience as I was finally starting to recover and, in that regard, changed my life.

There have been only two good movies about anorexia: both treat the subject virtually metaphorically and both were directed against Todd Haynes. Most patently, there is Superstar: The Karen Carpenter Story, Hayness film about the most famous anorexia sufferer of all, retold with modified Barbie dolls, which perfectly captures the artificially perfect world that many with anorexia feel they need to represent. Then there is his 1995 film Safe, about a woman who seals herself off away into an antiseptic world. While not explicitly about anorexia, Safe evokes the real experience of the illness: the self-imprisonment, the illogicality, the sense you are being feed up from within by forces you cannot control.

When I think back on my years of being ill, which went on long after I left hospital, I barely think about the food and the weight at all. Instead, I recollect the cold, the isolation, the institutionalisation, the time lost and all the things Hayness movies and Shutes book depict so well. Keanu was right: its not about the food. Thats only the boring stuff that confuses even those who should know better.

To the Bone streams on Netflix from Friday .

Make sure to visit: CapGeneration.com

comScore: cord cutters tend to have lower incomes than pay TV subscribers, watch less television

A new comScore surveyout today has taken a deeper look at the behavior of cord cutters here in the U.S ., in order better understand how this growing demographic differs from pay TV subscribers, as well as what factors may have influenced their decision to leave cable Tv behind. According to the report, cord cutters tend to be lower- to middle-income, and despite expending more time on streaming services than the average viewer they watch far less television than your typical pay TV customer.

Whats notable about the comScore study is that its based on behavioral data, rather than relying on peoples own self-reporting, like many of the cord cutter examines release prior to today. Simply put, that means this study measured what cord cutters actually did, rather than what they tell they did.

ComScore tells it came to its conclusions after analyzing over-the-top viewing data in the month of March, 2017 for around 870 cord-cutting homes in its 12,500+ household panel.

Some of the results are not all that surprising.

For example, cord cutters watch a lot more over-the-top content that is, streaming video thats available without a cable or satellite Tv subscription. In fact, comScore discovered they spend 79 hours per month( 2.5 hours per day) viewing over-the-top content, compared with the U.S. median of 49 hours per month. Thats 60 percentage more than average a figure that may result you to think that cord cutters are actually heavy consumers of TV and video.

But thats not actually the instance, as it turns out. Traditional TV viewers in the U.S. watched 225 hours of television during the month of March. Even with 79 hours of streaming video watched per month, todays cord cutters are watching much less total TV than the average viewer.

ComScore suggest that a decreased craving for television may have contributed to their decision to cut the cord in the first place. That would make sense, given that there are only so many hours in the day for people to spend on entertainment. And over the years, the rise of the internet with its social networking sites and video sharing networks along with the rise of mobile phones, with their numerous apps and games, have contributed to TVs declining viewership.

For example, back in September, 2015, analytics firm Flurry found that U.S. customers had begun to spend more time use apps than watching television. Meanwhile, a number of studies over the years have found that younger customers are generally less interested in watching TV, favoring online video services instead.

When cord cutters do want to watch TV or other over-the-top content, they turn to online services like Netflix, YouTube, Amazon Video and Hulu, tells comScore. And without pay Tv vying for their time, they spend more hours per month on these sites.

Cord cutters spend 41 percentage more period on Netflix, 47 percent more time on YouTube, 45 percentage more time on Amazon Video, and 13 percent more hour on Hulu, compared to the average over-the-top viewer.

Also not surprisingly, theyre more likely to own a streaming box or stick, which are in 71 percent of cord cutters homes, compared with only 59 percentage of all Wi-Fi homes where over-the-top viewing takes place. And theyre also slightly less likely to use connected Tv and gaming consoles than average, which hints that they seek out streaming-first devices when choosing to cut the cord says comScore.

One of the more interesting though not entirely shocking findings from comScores report touches on the household income for cord cutters. It finds that cord cutters are likely to be lower to middle income. Theyremore likely to have annual incomes of $75,000 or less, and the lower the income, the more likely they are to have cut the cord.

Those least likely to have cut the cord are homes with household incomes between $75,000 and $150,000. Meanwhile, homes with less than $40,000 in annual income are 20 percentage more likely to have cut the cord.

Or, another way of putting it is that people who dont watch cable TV as an unbearable expenditure are probably still paying for it.

But these figures do suggest that for now at the least cord cutting is about saving money just as much as it is about a cultural switching in how people want to watch Tv. That could signal a challenge ahead for the newer, live Tv services like Hulus live TV option, Sling TV, DirecTV Now, PlayStation Vue, and YouTube TV.

When you start looking at the higher tiers on these platforms the ones including all the add-ons like cloud DVRs or more simultaneous creeks, or larger channel lineups youll find that they expense as much as some pay TV subscriptions.

If cord cutters are looking for cost savings, then these services will need to better compete by having attractive packages at their lower end.( They can afterwards try to sucker upgrade customers to join their pricier, cable TV-like schemes .)

Make sure to visit: CapGeneration.com