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Ayan Roy

Ayan Roy

CEO & Co-Founder at CC Analytics, Inc.
11 Following10 Followers
  • Brilliant. CBS attracts what, 18M+ viewers with Big Bang Theory and each of their procedurals? I assume they command the highest price from advertisers among the broadcast networks, but how well do they really know their audience base if the shows are designed for mass appeal? Amazon's doubling down on genre fare with built in audiences i.e. the upcoming Jack Ryan and LOTR shows; they'll make a killing on conversions from targeted ads.

  • Curious, are there studies out there breaking down how much time startup CEOs, or CEOs in general, spend courting PR vs managing the business?Someone's gotta mine those AI assistant bots, analyze CEO schedules and determine the ratio that equates to fraud.

  • Isn't this true to some degree in most business verticals? Thanksgiving through year end is a dead period for getting any deals done, as are the first few weeks of the year when folks are getting back into the swing of things. Other verticals might not have 'awards season' and film festivals to deal with, but there'll be industry conferences to prepare for and set product rollouts around (i.e. CES). And at least in Hollywood, the festivals and whatnot double as vacation; the rest of us 'mortals

    Isn't this true to some degree in most business verticals? Thanksgiving through year end is a dead period for getting any deals done, as are the first few weeks of the year when folks are getting back into the swing of things. Other verticals might not have 'awards season' and film festivals to deal with, but there'll be industry conferences to prepare for and set product rollouts around (i.e. CES). And at least in Hollywood, the festivals and whatnot double as vacation; the rest of us 'mortals' are likely to take time off in the summer, which makes it tough to get deals done because key players can be missing any time for 3-4 months.

    We're all facing the same plague.

  • Ehh the article gives it a nice try, but it's only half right. Yes, more idiosyncratic films with small, passionate voter bases are getting nominated because of the expanded best picture lineup resulting in the 5% #1 vote standard. But, the reason the WINNERS are ending up with higher scores on average these days is because there's a weighted, preferential ballot in determining winners now, which benefits consensus favorites that'll inherently have high RT scores. Simple math.

    Also, even with their

    Ehh the article gives it a nice try, but it's only half right. Yes, more idiosyncratic films with small, passionate voter bases are getting nominated because of the expanded best picture lineup resulting in the 5% #1 vote standard. But, the reason the WINNERS are ending up with higher scores on average these days is because there's a weighted, preferential ballot in determining winners now, which benefits consensus favorites that'll inherently have high RT scores. Simple math.

    Also, even with their diversity push and a new wave of younger voters joining, the Acadmey still skews older, white and male - not exactly typical RT readers.

  • I agree this is pandering at its worst, but I don't think they're targeting women so much as the intellegensia class that'll debate the politics and buy Jane Walker as a novelty. If Diageo is serious about appealing to women, they need to do the research, and the case studies are already out there. Jameson, for instance, had close to a 30% share of the market as the go-to shot of choice at bars until Fireball introduced their line and stole 10% market share in a very short period of time. The reasons

    I agree this is pandering at its worst, but I don't think they're targeting women so much as the intellegensia class that'll debate the politics and buy Jane Walker as a novelty. If Diageo is serious about appealing to women, they need to do the research, and the case studies are already out there. Jameson, for instance, had close to a 30% share of the market as the go-to shot of choice at bars until Fireball introduced their line and stole 10% market share in a very short period of time. The reasons:

    1. 30% ABV vs 40% in Jameson

    2. Sweet, cinnamon flavor

    3. Drinkability

    4. Opened a new market (females that normally shy away from Jameson due to #1)

    5. Stole existing consumers of Jameson (typically men) due to doing a "shot with" the girl who took Fireball (you almost never order different shots when ordering - the stats on heard mentality in drinking habits are fascinating)

    Pernod/Jameson could have staved off a lot of those losses by getting insight early on and either A. introducing a line similar or B. coming up with a different strategy to combat. Diageo should focus on attribution and out of home consumption data instead of cheap PR stunts.

  • When I was at Sony Pictures, we looked into and passed on buying MoviePass data - this was before they adopted a loss-leader model. Our preferred sources at the time were loyalty programs run by Fandango, AMC and Regal, which have longstanding relationships with the studios. MoviePass was an outsider and hadn't really fleshed out what they were offering, a number of copycats were popping up, and the fact that users were watching the movies for 'free' after paying the monthly fee made us feel MoviePass

    When I was at Sony Pictures, we looked into and passed on buying MoviePass data - this was before they adopted a loss-leader model. Our preferred sources at the time were loyalty programs run by Fandango, AMC and Regal, which have longstanding relationships with the studios. MoviePass was an outsider and hadn't really fleshed out what they were offering, a number of copycats were popping up, and the fact that users were watching the movies for 'free' after paying the monthly fee made us feel MoviePass user behavior would have little relation to that of average theater-goers. When the Netflix guy was hired, everyone figured they'd slash prices and sell data to streaming services, which are spending a ridiculous amount on original content but not sure how to split distribution between theaters and at home. While those streaming services have infinite pockets, the haphazard way in which MoviePass structured its financing with Hellos & Matheson tells me they never figured out how much the data is worth before going on their blind grab for users. Maybe indie distributors will throw some marketing dollars to MoviePass to tap into their 3M users with ads to beef up opening weekend numbers, but the data itself remains next to worthless to the big guys. 

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