19 April 2021 04:41

MediAvataar's News Desk

MediAvataar's News Desk

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

This month saw the premiere of much anticipated high-profile films and TV series such as The Falcon and the Winter Soldier, Zack Snyder’s Justice League, Godzilla vs. Kong, and more. Which titles were the most popular among 2 million Reelgood users in the United States? See the lists below to find out.

Top 10 Most-Watched Movies in March Across All Streaming Services

Zack Snyder’s Justice League
Coming 2 America
Another Round
Coming to America
Judas and the Black Messiah
I Care a Lot
Sound of Metal
Tom & Jerry
Boss Level

Top 10 Most-Watched TV Shows in March Across All Streaming Services

The Falcon and the Winter Soldier
The One
Superman & Lois
Ted Lasso
Behind Her Eyes
South Park
Ginny & Georgia


Written by Maria Santos, Marketing Strategist at Reelgood

Economic analysis shows Channel 4 generated £274m of GVA in the UK Nations & Regions and supports nearly 3,000 jobs outside London

A new independent report from EY, commissioned by Channel 4, has revealed that the broadcaster contributed nearly £1bn to the UK economy and supported more than 10,000 jobs across the UK in a single year.

The report, published in full today, shows that Channel 4 generates £274m of GVA (Gross Value Added) through its supply chain in the Nations and Regions – and supports nearly 3,000 jobs as a result of Channel 4’s activities in the Nations and Regions.

Overall, EY’s economic impact assessment finds that Channel 4 generates £992m* of GVA for the UK economy and supports just over 10,600** jobs in the UK.

All data is calculated based on Channel 4’s 2019 financial results – the most recently published by the organisation.

The EY report anticipates that Channel 4’s economic impact to the Nations and Regions is expected to increase further over time as a result of its 4 All The UK strategy.

Channel 4 CEO Alex Mahon said: “It’s heartening to see the impact Channel 4 has above and beyond our work and spend within the broadcast industry. It reinforces the important role Channel 4 can play in helping to level up regional inequalities of income and opportunity across the UK.

“Additionally, our commitment to the Nations and Regions through our 4 All The UK strategy will also help us achieve our vision to become even more representative of the UK.”

The 4 All The UK strategy saw the opening of three new regional centres across the UK, two of which only officially opened towards the end of 2019. Its national HQ in Leeds and a Creative Hub in Glasgow both opened in October 2019. A creative hub also officially launched in Bristol in January 2020.

At the heart of its 4 All The UK strategy is a commitment by Channel 4 to increase its main channel content spend in the Nations and Regions from its current quota of 35% to a new voluntary target of 50% by 2023, worth up to £250m in total.

Channel 4 also now has senior, creative decision makers at Channel 4’s offices across the UK as part of its 4 All The UK plan. When fully implemented there will be up to 300 Channel 4 jobs in the Nations and Regions.

The report also noted that Channel 4 makes a wider contribution to the British ecosystem through its support of emerging talent and diversity through a number of training initiatives and investments.

These activities supported opportunities for people and business across the UK’s Nations and Regions but also focused on supporting diversity more widely including people with disabilities, from BAME communities and from different socioeconomic backgrounds.

In addition to the economic analysis, the report explored some of the Channel 4’s initiatives in more detail including: the recently launched 4Skills training initiative; the Production Training Scheme; Growth Fund; Emerging Indie Fund; Creative Diversity Fund; and the Indie Accelerator.

Notes to Editors

Channel 4 commissioned EY to assess its economic, social and cultural contribution to the UK and its Nations and Regions.

To conduct this assessment, EY carried out quantitative economic analysis of Channel 4’s economic contribution to the UK and its Nations and Regions in terms of its contribution to the economy (measured as gross value added or GVA), and jobs; and case study analysis of Channel 4’s social, cultural and economic contribution to the UK and its Nations and Regions.

The analysis is based on a mixture of data and information provided by Channel 4, publicly available data and information, and interviews with relevant experts.

The analysis considered three types of economic impacts:

Direct impacts: EY analysed the economic impacts driven directly by Channel 4, such as Channel 4’s GVA (or contribution to the economy) and the number of employees hired by Channel 4. The direct impact consists mainly of the income received by Channel 4’s employees (including wages, benefits, employment taxes, national insurance and pensions) and profits made by Channel 4.

Indirect impacts: Channel 4 purchases goods and services from other companies in its supply chain, which in turn have their own suppliers. EY estimated the indirect economic impacts of Channel 4’s activities across its whole supply chain.

Induced impacts: Each entity involved in Channel 4’s supply chain pays compensation to its employees. Those employees spend part of their salaries on goods and services, driving additional economic impacts. These impacts are referred to as induced impacts.

*EY assessed Channel 4’s economic contribution to the UK and its Nations and Regions in terms of its contribution to the economy (gross value added or GVA) and jobs.

** Channel 4’s activities supported around 10,600 jobs in the UK economy in 2019. Of these jobs, 993[1] (9%) were people directly employed by Channel 4. A further 6,220 (59%) were supported indirectly through Channel 4’s supply chain. For example, this indirect employment includes jobs in the production sector, as well as agency staff that Channel 4 outsources certain functions to. The increased consumer spending as a result of Channel 4’s activities supported a further 3,403 (32%) jobs as induced effects.


CBS News and CBS Television Stations Integrated Into One Divisional and Leadership Structure

New Structure to Harness the Power of National, Local and Digital News Operations To Serve Audiences Across All Platforms

CBS announced today plans to combine the journalistic and business resources of CBS News and the CBS Television Stations into one divisional and leadership structure. Hearst Newspapers, Cable Networks & Digital Media Executive Neeraj Khemlani and former ABC Owned Television Stations Group President Wendy McMahon have been named presidents and co-heads of the newly formed division. The announcements were made today by George Cheeks, President & Chief Executive Officer of the CBS Entertainment Group, to whom McMahon and Khemlani will report.

The unified division will bring under one management structure the broadcast resources of CBS News, the 24/7 streaming news service CBSN, 10 CBSN Local platforms, cbsnews.com and 28 CBS-owned stations in 17 major U.S. markets. It will maximize the power of CBS’ newsgathering and production operations to serve audiences across all national, digital, local and global platforms.

Ms. McMahon and Mr. Khemlani, who will each assume their roles as presidents and co-heads of the new group early next month, will partner on managing all aspects of the division, bringing their wide range of broadcast, local and digital experience to their positions. This marks a homecoming to CBS for both executives – Khemlani as a producer on 60 MINUTES and “60 Minutes II” for eight years while McMahon served seven years at WBZ Boston and WCCO Minneapolis.

Susan Zirinsky will continue as President of CBS News until the new leadership has started and will assist with the transition. The Company is in discussions with Zirinsky for a significant role at a new CBS News Content Studio to be launched later this year.

“This is an opportunity to create a news and information structure that positions CBS for the future,” said Cheeks. “It speaks to our ability to scale newsgathering, production, technical and operational resources to serve both national and local, linear and digital, with the agility to deliver trusted information to every platform. Wendy and Neeraj have the leadership background and cross-platform accomplishments that cover all these important areas, and they share our commitment for supporting superior journalism, optimal delivery platforms and the strongest of organizational cultures.”

“I’m excited to return home to CBS and work with George and Neeraj to build out a unique and inspired structure that brings together the best in journalism, digital innovation and collaboration, to serve audiences at a time when trusted news and information – the hallmark of CBS – has never been more needed,” said McMahon. “Driven by the ingenuity, experience and dedication of the storytellers and teams at CBS News and our local stations, we are committed to reflecting the communities where we operate while cultivating a culture grounded in trust.”

“My time at 60 MINUTES and the values of CBS News were formative parts of my career, so the opportunity to return and partner with George and Wendy to lead this storied CBS brand is a privilege of the highest order,” said Khemlani. “I’m excited for us to embrace this transformative moment in journalism, culture and technology with a structure and product set that will amplify the importance of the original reporting and storytelling at CBS News and our local stations on all platforms, including the premiere global streaming news network. And I also want to acknowledge the journalistic force that is Susan Zirinsky for positioning the brand for great days ahead.”

“Z has an incredible legacy of making CBS News stronger in every role she served over almost five decades, including meaningful accomplishments as its president,” added Cheeks. “Z took the reins in March 2019 at a moment of turmoil in the division, creating stability and renewing passion for the brand internally and externally. She elevated the powerful journalism and competitiveness of our flagship broadcasts, led the important coverage of the pandemic and historic election in 2020, established our Race & Culture Unit and most recently created brand extensions for 60 MINUTES, 48 HOURS and CBS SUNDAY MORNING with Paramount +.”

Mr. Khemlani was most recently executive vice president and deputy group head at Hearst Newspapers, overseeing 3,000 employees who publish print and digital subscription products for 24 dailies and 52 weeklies in cities across the country. He has held senior positions since joining the company in 2009, including president and group head of Hearst Entertainment & Syndication, the operating group responsible for Hearst’s cable network partnerships at ESPN and A+E Networks, digital video entertainment and music streaming businesses. Previously, he led business, product and editorial efforts across News & Information verticals at Yahoo! Khemlani is also an award-winning journalist and has been honored with the Edward R. Murrow Award for Investigative Journalism and an Alfred I. duPont–Columbia University Award for coverage of the war in Bosnia. He began his career as a newspaper reporter, and after graduating from the Columbia University Graduate School of Journalism, transitioned into television, producing for the late Peter Jennings at ABC News from 1993-1996, and then for Dan Rather, the late Bob Simon and other correspondents at 60 MINUTES and “60 Minutes II” from 1998 to 2006.

Ms. McMahon was named president of the ABC Owned Stations in 2017, with direct responsibility for the Walt Disney Company’s eight broadcast stations, local newsrooms and streaming assets, as well as oversight of the 1,500 team members who collectively achieved their 12th consecutive year of local television news leadership in 2020. She had consistent success in driving audience growth via the introduction of innovative content initiatives, including the digital-first brand Localish; the creation of a Race and Culture team as well as the multi-cultural series, Our America; and a first-of-its kind data journalism unit that powered exclusive investigations across the network and stations. As senior vice president of ABC Digital, she led the pivot to streaming and launched the group’s first connected TV apps. Previously, she served as vice president of marketing at KABC in Los Angeles and as a creative services director at CBS-owned stations WBZ in Boston and WCCO in Minneapolis. She was named the 2019 Digital Leader of the Year (NAB), and throughout her career has received numerous Emmys as well as Promax, Telly and Broadcast Design awards.

Saturday, 17 April 2021 00:00

WARRIOR Season Three Comes To HBO Max

Drama Series Based On The Writings Of Martial Arts Legend Bruce Lee

The drama series WARRIOR will come to HBO Max for its third season, it was announced today by Casey Bloys, Chief Content Officer, HBO and HBO Max.

Logline: A gritty, action-packed crime drama set during the brutal Tong Wars of San Francisco’s Chinatown in the late 19th century, and based on the writings of martial arts legend Bruce Lee, the first two seasons, which premiered on Cinemax, are now streaming on HBO Max via HBO platforms.

WARRIOR was created by and is executive produced by Jonathan Tropper (“Banshee”) under Tropper Ink Productions, executive produced by Justin Lin (director of “Star Trek Beyond” and “Fast & Furious 9”) for Perfect Storm Entertainment, and executive produced by Shannon Lee for Bruce Lee Entertainment.

Season two cast included: Andrew Koji, Kieran Bew, Celine Buckens, Olivia Cheng, Dianne Doan, Dean Jagger, Langley Kirkwood, Maria-Elena Laas, Hoon Lee, Christian McKay, Dustin Nguyen (also directed episode 6), Miranda Raison, Chen Tang, Joe Taslim, Jason Tobin, Joanna Vanderham, Tom Weston-Jones and Perry Yung.

Casey Bloys, Chief Content Officer, HBO and HBO Max quote: “’WARRIOR’ introduced viewers to a distinct world from the past, executed with dynamic action and relevant storytelling, with a brilliant cast led by Andrew Koji. We can’t wait to see what Jonathan, Justin and Shannon will bring to the next chapter of this series on HBO Max.”

Shannon Lee, Executive Producer, Bruce Lee Entertainment quote: “Justin, Jonathan, and I were thrilled when Warrior was put on HBO platforms to be discovered by a whole new legion of fans. Now we are excited and grateful for the opportunity to do another season, and we applaud HBO Max for understanding the importance of telling this story and for continuing to support this level of representation in our industry. I just know that my father is grinning right now to see this show he dreamed of so long ago continuing to beat the odds. We have every intention of delivering the same high level of meaningful storytelling and Gung Fu action in season 3!”

The series returned for its ten-episode second season October 2, 2020 on Cinemax. Hailed as “the most underrated action series of the century” by Inverse, Vanity Fair called it a “handsome, adrenalized ride” that “breathes vivid life into aspects of America’s past,” and The Ringer highlighted it as a “supremely kick-ass” series with “impressively choreographed fight sequences.”

Credits: Season two of WARRIOR was produced for Cinemax by Perfect Storm Entertainment, Tropper Ink Productions and Bruce Lee Entertainment; created and executive produced by Jonathan Tropper. Justin Lin, Danielle Woodrow and Andrew Schneider executive produced on behalf of Perfect Storm Entertainment. Shannon Lee executive produced for Bruce Lee Entertainment. Executive produced by Brad Kane and Richard Sharkey. Co-executive produced by Kenneth Lin, Evan Endicott and Josh Stoddard.


Netflix has commissioned more Indian titles in Q1 2021 than in the whole of either 2019 or 2020, in a push to attract more subscribers in the country. In March 2021, it released a slate of new, original Indian content promising ‘’more variety and diversity’’ than ever before. The 18 original titles commissioned by Netflix in India in Q1 2021 already exceed the 12 titles commissioned for the country in both 2020 and 2019.

These recent commissions are in part a response to the launch of Disney+ Hotstar in April 2020, a rebranding of an already well-established local subscription streaming service. Disney+ Hotstar offers not only a sizeable library of original Indian content, a vital component of any successful service in the country, but also an array of high-profile US titles, typically Netflix’s unique selling point. By combining Disney+ and Hotstar the service is already the second largest SVoD platform in the country, with 27.8m subscribers at year end 2020. In comparison Netflix languishes in eighth position in this highly competitive market with 2.5m subscribers.

Preference for local content among VoD consumers in India was identified by Ampere’s November 2020 Content localisation report. Our analysis identified a significant gap in Netflix’s relatively small offer of original local content when compared to other key players. As of February 2021, content produced in India amounts to 730 titles, 10% of Netflix’s overall title catalogue in the country. The number of locally produced titles by Disney+ Hotstar, in comparison, stands at 6,178 representing 69.3% of their catalogue.

The recent spike in local Indian content commissioning by Netflix signifies the company’s awareness of the viewing preferences in the region. Original shows such as Aranyak, Mai and the star-studded Ray, all set to release later in 2021, may help give Netflix more of an edge. However, without a significant further boost in local content Netflix will struggle to establish itself as a key player in India, let alone a competitor to Disney+ Hotstar.

Source: Ampere Analysis

Page 1 of 1290


We use cookies to improve our website. By continuing to use this website, you are giving consent to cookies being used. More details…