Key Takeaways
- The next massive blockbuster hit has no barriers or confinements! There are now 1000s of ‘Hollywoods’ throughout the world, with most countries deliberately investing in production hubs, all racing to emulate the success and traction of blockbusters such as “Squid Games”.
- Language is not a dilemma as content consumers are now, more than ever, enjoying immersing themselves in productions from all over the world to experience and perceive different walks of life.
- The variety of genres and stories represented in this year’s nominees is a testament to the power of great storytelling in all its forms. From dark comedies to action-packed thrillers to biopics, worldwide audiences turned out in droves to consume outstanding content
- Brands empowering creators/artists within communities they’ve aligned with will continue to inspire and build rapport among target consumers from said communities.
- With exponential growth in the creator economy, companies like YouTube continue to empower and motivate creators by monetizing different forms of content.
NETFLIX UNVEILS HOPES FOR THE NEXT ‘SQUID GAME’ WITH THE BIGGEST EVER KOREAN FILM & TV SLATE FEATURING ‘THE GLORY PART 2, ‘KILL BOKSOON’ & CRASH COURSE IN ROMANCE’
Netflix has unveiled hopes for its next Squid Game with the streamer’s largest-ever Korean TV and film slate. The 34-strong slate features a wealth of previously announced and new content in both the scripted and non-scripted space, featuring six Korean movies including sci-fi thriller “JUNG-E” and “Kill Boksoon”, which will have its premiere at the Berlin Film Festival. On the TV drama side, offerings include the likes of “Crash Course in Romance”, “Behind Your Touch”, and social commentary shows such as “Bloodhounds”. Part two of the revenge drama “The Glory”, which was last week’s most-watched non-Enlglish TV show on Netflix with more than 80M viewing hours, arrives later this year. READ MORE
NETFLIX DOUBLED SPANISH TV ORIGINALS IN 2022 & PREMIERED MORE FROM UK & JAPAN
Netflix doubled its Spanish TV originals last year and premiered more from the UK and Japan as U.S. content now represents less than half of its library, according to a report from media analyst Enders Analysis. Enders’ research, which found Netflix had 300 more hours of TV last year than in 2021, flagged how hours of Spanish content rose from 64 to 123, while Japan increased from 60 to 109 and the UK from 60 to 92. Content is global and audiences around the world are proving with their viewing that good storytelling has universal appeal. In the words of Bong Joon-Ho, “once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” READ MORE
Oscar 2023: Everything Everywhere All At Once Lead Nominations
Beijing-based “Everything Everywhere All at Once”, the action comedy starring Michelle Yeoh as an unsuspecting launderette owner who battles evil by connecting with different versions of herself in parallel universes, heads into this year’s Oscar race as the title to beat. As well as nods for Yeoh and her supporting co-stars Jamie Lee Curtis, Stephanie Hsu, and Ke Huy Quan, the film is up for Best Picture, director (for Daniel Kwan and Daniel Scheinert), costume design, editing, original song, original score, and original screenplay. Yeoh’s nomination makes the Malaysian star the first Academy Award best actress nominee to identify as Asian. The variety of genres and stories represented in this year’s nominees is a testament to the power of great storytelling in all its forms. From dark comedies to action-packed thrillers to biopics, worldwide audiences turned out in droves to consume outstanding content. READ MORE
MASTERCARD ANNOUNCED A WEB3 SPOTLIGHT PROGRAMTO DEVELOP & LAUNCH EMERGING MUSICAL ARTISTS IN THE DIGITAL ECONOMY
The Mastercard Artist Accelerator will connect select artists from around the world with notable mentors and a dynamic fanbase as they learn and create in Web3. Kicking off in spring 2023, the Mastercard Artist Accelerator will prepare five emerging artists with the tools, skills, and access to forge their own musical paths in the digital economy and provide them with exclusive access to special events, music releases, and more. The curriculum will teach the artists how to build (and own) their brand through Web3 experiences like minting NFTs, representing themselves in virtual worlds, and establishing an engaged community. The Mastercard Music Pass, a limited edition NFT, will give holders access to the exclusive Web3 x Music educational materials, unique resources through collaborations, and priceless experiences – in real life and the metaverse. With this token, fans can join the platform and learn alongside artists to sharpen their own tools and knowledge of the space. READ MORE
STARTING FEBRUARY 1, MUSIC RIGHTS HOLDERS AND CREATORS WILL BE ABLE TO RECEIVE A REVENUE SHARE FROM ADVERTISEMENTS ON YOUTUBE SHORTS.
YouTube Shorts is Alphabet’s answer to TikTok and became available in the US in March 2021. To attract more creators, YouTube launched a $100 million fund in May 2021, which was paid out in full to content creators over the course of 2021-2022. Creators who received the most engagement and views on Shorts were rewarded from the fund. Under the new model, YouTube will split the revenue from views on Shorts between the Creator Pool and music partners based on the number of tracks used. The music eligible for a revenue share includes actual music audio or tracks, music videos, or other music content such as artist interviews. If a creator uploads a Short with one track, half of the revenue from the views will be allocated to the Creator Pool, while the other half will cover the costs of music licensing. For Shorts featuring two songs, one-third of the revenue from views will be allocated to the Creator Pool and the other two-thirds will be used to cover music licensing costs. Regardless of whether music was used or not, monetizing creators get to keep 45% of their allocated revenue. READ MORE
