Subscription video startup Cheddar, which offers business news in a millennial voice, has inked a programming pact with TV channel Fusion, whereby Cheddar shows will air on the network weekdays between 11AM and 1PM. The deal will go into effect later this month, according to The Hollywood Reporter.
“Fusion TV reflects the diversity of voices and interests that young audiences are looking for,” Cheddar founder Jon Steinberg, a former top BuzzFeed executive, said in a statement. “They are also a network that shares our commitment to experimentation and outside-the-box thinking when it comes to creating and delivering content, making them a great partner for Cheddar as we continue to expand our reach.”
“Cheddar is taking a young, conversational approach to covering news, culture, finance, and technology live, every day, in unique, accessible and exciting ways,” added Fusion TV president and chief content officer Daniel Eilemberg.
Cheddar, which broadcasts live every day from from the floor of the New York Stock Exchange and says it reaches 1 million daily viewers, also operates a streaming pact with Twitter. Founded just last year, the company has raised a total of $32 million in venture funding thus far — including a $19 million round led by Raine Ventures last month. Cheddar is reportedly valued at $85 million.
In addition to Cheddar, Fusion has also inked programming deals with other notable digital channels, including The Young Turks.
Filed under: News by Geoff Weiss Comments Off on Cheddar Shows To Air Weekdays On Fusion In New Programming Pact
In recent days, Netflix gave the ax to a pair of its high-profile original series, The Get Down and Sense8. The former, a chronicle of the early days of hip-hop dancing, lasted just one season, while the latter, a sci-fi drama, held on for only two seasons.
Both The Get Down and Sense8 had big name creators attached to them (Baz Luhrmann and The Wachowskis, respecitvely), and both boasted significant budgets. The Get Down, believed to be Netflix’s costliest show, came in at a rumored $120 million, while the second season of Sense8reportedly featured a $9 million budget per episode, which would come out to a total of $99 million.
Given how much money Netflix spent producing these shows, and how short-lived their respective runs were, it is fair to wonder if the subscription video on demand platform’s once-unstoppable momentum is slowing in the original content department. With increased competition coming from the likes of Amazon and Hulu, is it becoming harder for Netflix to assemble a lineup of originals that stands out from the pack? Should consumers be worried about the status of Netflix’s revolutionary push into the programming world?
These questions were very much in play when Netflix CEO Reed Hastings sat down for an interview at Recode’s Code Conference on May 30th. When asked about the recent cancellation of The Get Down, Hastings provided an interesting answer that got a lot of play in the media. “You should have more things that don’t work out, you have to get more aggressive,” he said. “The drive toward conformity as you grow is more substantial. As a leader, you want to drive people to take more risks.”
On its surface, Hastings’ comment is a reasonable one. Netflix has succeeded many times over by taking singificant risks. Most notably, it moved its entire model from snail-mail DVD rentals to digital streaming, changing the face of the entertainment in the process.
For me, though, Hastings’ comments leave something to be desired. The model he discusses, in which innovative producers take a lot of risky bets in order to search for a few sleeper hits that become critical and commercial successes, is used to great effect by entertainment notables like Jason Blum. That strategy works best, however, when budgets are kept under control. Blum’s biggest win to date, Get Out, was made for just $4.5 million. Its resulting box office revenue has brought in enough money to make 50 more movies of that size. As the price per show goes up, producers need to start having a much higher ratio of hits to misses, and Netflix seems to be piling up an alarming number of misses among its highest-budget series.
Get Out is the sort of project that, had it failed, could have been chalked up as a side effect of innovation. The same could be said for Netflix’s Stranger Things or 13 Reasons Why, both of which came out of nowhere to become pop culture touchstones. Something like The Get Down is not that kind of show. Given the amount of research Netflix does when planning its originals, it is disingenuous to term a prestige series with a nine-figure budget as a mere experiment that runs a high risk of failure.
Right now, Netflix is still strong both in terms of subscriber gain and the amount of debt it is able to raise to fund new shows, so Hastings has room to write off the failures of The Get Down and Sense8 as part of his plan to stay innovative. At the same time, those shows are signs of an SVOD industry that is becoming more bloated. Budgets are going up, but in many cases, the quality of the resulting shows is not following the same upward trend. How long can Netflix keep handing out nine-figure chests to underwhelming programs before the cracks get too big to patch up with typical Silicon Valley rhetoric? Only Hastings and his inner circle know that, at least for now.
Filed under: Articles, Featured, Netflix, News by Sam Gutelle Comments Off on Netflix CEO Offers Eyebrow-Raising Justification As Cancellations Increase
[Editor’s Note: Tubefilter Charts is a weekly rankings column from Tubefilter with data provided by OpenSlate. It’s exactly what it sounds like; a top number ranking of YouTube channels based on statistics collected within a given time frame. Check out all of our Tubefilter Charts with new installments every week right here.]
Scroll down for this week’s Tubefilter Chart.
It’s another installment of the weeklyTubefilter Chartof theTop 50 Most Viewed U.S. YouTube Channelsand no one stateside can stop Ryan.
Chart Toppers
Ryan ToysReview held onto its first-place position on the U.S. chart for the 40th week in a row. The six-year-old’s eponymous YouTube destination comprised of toy unboxing videos and playtime footage dipped 19% in views to bottom out at nearly 174.6 million views on the week. Still in the #2 spot is Luis Fonsi. The Puerto Rican pop star’s view count dropped 24% to amass almost 140.2 million views throughout the week.
Next up in third place is Shakira. The international pop star’s music video for “Me Enamoré” is continuing to clock a lot of views, helping her channel to just about 109.9 million. Maintaining the #4 spot is Katy Perry. The other international pop star towards the top of the chart dipped 33% in her channel’s weekly view count to close out the week just behind Shakira and just shy of 109.9 million views.
And rounding out the Top 5 is still ToyScouter. The channel where adults dress up in Disney princess and Marvel superhero costumes and act out oddball scenarios was down 15%, but still racked up about almost 100.1 million views in the week.
Top Gainers
The honor of one of our Top Gainers this week goes to Dude Perfect.
In a week where all the top channel stateside seemed to have at least a modest dip in their weekly view counts, Dude Perfect’s three-figure week-over-week increase in views reigns supreme (in the world and) in the U.S. Videos like the Kingsford-sponsored “Real Life Trick Shots” helped the family-friendly, athletically-oriented fivesome’s channel to a 136% week-over-week increase in views, more than 47.5 million views on the week, and the #45 spot on the worldwide chart.
Channel Distribution
The top 50 most viewed U.S. YouTube channels this week amassed a total of 2,581,823,342 views. Here’s the distribution of a few of those channels by multi-channel network:
VEVO: 16 channels in the U.S. Top 50, with Luis Fonsi the top-ranked channel of the network at #2.
Studio71: 3 channels in the Top 50, with FamilyFunPack at #13.
BuzzFeed, CBS, Maker Studios, WMG: 2 channels each in the Top 50, with BuzzFeed’s BuzzFeed Video at #26, CBS’ The Late Late Show with James Corden at #37, Maker’s FGTeeV at #21, and WMG’s Fueled By Ramen at #31.
OpenSlate is a video content analytics platform that tracks more than 800,000 YouTube video channels and measures their ability to attract, engage and influence an audience. By providing one consistent measure of quality – the SlateScore™ – OpenSlate helps marketers, producers and agencies hone their online video marketing strategy.
[Editor’s Note: Tubefilter Charts is a weekly rankings column from Tubefilter with data provided by OpenSlate. It’s exactly what it sounds like; a top number ranking of YouTube channels based on statistics collected within a given time frame. Check out all of our Tubefilter Charts with new installments every week right here.]
Scroll down for this week’s Tubefilter Chart.
It’s another installment of the weekly Tubefilter Chart of the Top 50 Most Viewed YouTube Channels Worldwide and you can’t stop, won’t stop Indian entertainment online.
Chart Toppers
T-Series‘held onto its #1 spot on the top of the charts for the 12th week in a row. India’s self-described largest music label and movie studio’s destination on the world’s largest video sharing site took a 37% hit in its weekly view count, but still managed to amass almost 202.3 million views. Still way far behind in second place is Ryan ToysReview. Ryan’s eponymous destination for all your unboxing videos dipped 19% to bottom out at just about 174.6 million views.
Up to the #3 spot isis SET India. The YouTube home of Sony Entertainment Television’s Indian iteration closed out the week with more than 140.4 million views. Puerto Rican musician Luis Fonsi is very close behind in fourth place, clocking in just shy of 140.2 million views.
And rounding out the Top 5 is Canal KondZilla. Your home for all your Brazilian pop music video hits scored more than 136.9 million views throughout the week.
Top Gainers
The honor of one of the Top Gainers on the chart this week goes to Dude Perfect.
In a week where the vast majority of channels on the chart saw decreases in their week-over-week view counts, the family friendly fivesome of Coby Cotton, Cory Cotton, Garrett Hilbert, Cody Jones, and Tyler Toney had one of the best gains on YouTube. The Kingsford-sponsored “Real Life Trick Shots” easily racked up an eight-figure view count, thanks to its everyday, summertime, and BBQ-inspired stunts. The upload also helped the Dude Perfect channel to a 136% week-over-week increase in views, more than 47.5 million views on the week, and the #45 spot on the worldwide chart.
Channel Distribution
The top 50 most viewed YouTube channels worldwide this week amassed a total of 5,401,711,439 views. Here’s the distribution of a few of those channels by multi-channel network:
VEVO: 8 channels in the U.S. Top 50, with Luis Fonsi the highest-ranked channel of the network at #4.
ONErpm, XMediaDigital: 2 channels each in the Top 50, with ONErpm’s Canal KondZilla at #5 and XMediaDigital’s Get Movies at #27.
And here’s the distribution of the this week’s Top 50 YouTube channels by country of origin:
United States: 21 channels in the Top 50.
India: 8 channels in the Top 50.
Great Britain: 6 channels in the Top 50.
Brazil: 3 channels in the Top 50.
Philippines, Russia, South Korea, Thailand: 2 channels each in the Top 50.
Argentina, Jordan, Puerto Rico, Turkey: 1 channel each in the Top 50.
OpenSlate is a video content analytics platform that tracks more than 800,000 YouTube video channels and measures their ability to attract, engage and influence an audience. By providing one consistent measure of quality – the SlateScore™ – OpenSlate helps marketers, producers and agencies hone their online video marketing strategy.
One Love Manchester, a benefit concert to be headlined by Ariana Grande this Sunday to commemorate the victims of a bombing that occurred during one of her tour stops earlier this month — and to raise money for affected families — will be streamed live on YouTube, Facebook, and Twitter.
The concert will also feature performances from Justin Bieber, Coldplay, Miley Cyrus, Niall Horan, Little Mix, Katy Perry, Usher, Pharrell Williams, and others. In addition to being broadcast on ABC in the U.S. and on BBC One in the U.K., the sold-out concert will be available on Twitter’s homepage, as well as on Grande’s YouTube channel (where she counts 16.8 million subscribers) and Facebook page (32.8 million followers), Variety reports. The show kicks off at 3 pm ET.
The streaming deals between were led by Grande’s manager, Scooter Braun, per Variety, and additional digital and TV distribution partners are expected to be announced in coming days.
One Love Manchester will take place at the Old Trafford Cricket Ground — a stone’s throw from where a terrorist killed 22 concertgoers at the Manchester Arena during Grande’s Dangerous Woman Tour on May 22. One of the victims, an 18-year-old YouTube superfan named Georgina ‘Gina’ Callander, was commemorated by some of her favorite creators via a GoFundMe campaign that has raised roughly $16,000 for her family thus far.
Filed under: Facebook, Twitter, YouTube by Geoff Weiss Comments Off on Ariana Grande’s ‘One Love Manchester’ Concert To Be Streamed Live On YouTube, Facebook, And Twitter
Earlier this month, as part of a promotion for the Baywatchmovie, influencer Logan Paul teamed up with Dwayne ‘The Rock’ Johnson for a web series on Johnson’s YouTube channel. In the series, called The Rock And Logan Paul’s Summer Saga, Paul attempts to join the Baywatch squad with help from Johnson, but ultimately ends up falling in love with his co-star, Alexandra Daddario.
The series culminates with a music video called The Song Of The Summer, which has clocked nearly 5 million views thus far on Johnson’s channel, Seven Bucks Digital Studios. The song features appearances from rapper Desiigner and Baywatch veteran David Hasselhoff. In the hilariously surreal and psychedelic clip, Paul finds the girl of his dreams — only to have her stolen away by Desiigner and Hasselhoff. The Song Of The Summer was written and produced by Jean-Baptiste and Ryan ‘DJ Replay’ Buendia, who have also worked with Rihanna and The Black Eyed Peas.
Check it out below:
And now, given the viral success of Song Of The Summer, Johnson and Paul have released today a brand new radio edit and accompanying lyric video, Billboard reports. They’re also pushing the song out to streaming services and other digital platforms, including Spotify and iTunes.
“For a movie like Baywatch, we knew we had to do something epic on the channel,” Johnson told Billboard. “Without hesitation, our team took on the ambitious project of writing and producing an original song. The result is a loud, irreverent, and badass tune our audience can enjoy all summer long.”
Adds Dany Garcia, an executive producer on the series and music video, and the co-founder of Seven Bucks Digital Studios: “We set out to get our hands dirty, push the envelope, and entertain our audience in a way that only we at Seven Bucks know how. Our digital channel has allowed us to do just that.”
Filed under: Uncategorized by Geoff Weiss Comments Off on The Rock And Logan Paul’s Viral ‘Song Of The Summer’ Hits Streaming Services
Insights is a weekly series featuring entertainment industry veteran David Bloom. It represents an experiment of sorts in digital-age journalism and audience engagement with a focus on the intersection of entertainment and technology, an area that David has written about and thought about and been part of in various career incarnations for much of the past 25 years. David welcomes your thoughts, perspectives, calumnies, and kudos at david@tubefilter.com, or on Twitter @DavidBloom.
One of the happy consequences of the many new entertainment technologies and distribution platforms is a concomitant explosion in new ways to tell stories that use those technologies and platforms.
Yes, humans have been telling stories at least since they were painting animals on the Lascaux cave walls 20,000 years ago. And we’ve been talking about telling stories since at least the ancient Greeks. But I don’t think we’ve seen as much interesting exploration of the form and potential of storytelling in quite a long time, if ever.
To begin with, virtual/augmented/mixed reality is forcing new kinds of storytelling approaches that are both bracing and vexing for creators. A year ago, I moderated a panel featuring the director Randal Kleiser (Grease, Honey, I Blew Up the Kid) and key members of the team behind his Defrost: The Virtual Series.
The tale was adapted into an episodic VR series from a short-film script Kleiser wrote while at USC almost 50 years ago, he said. But Kleiser realized the script’s construct – a woman has been in suspended animation for 30 years and is “defrosted,” but left unable to talk and walk, as friends and family come to her – could be adapted fairly easily to virtual reality. Kleiser called in chits from long-time collaborators such as actors Carl Weathers and Bruce Davison, and tapped his recent experience in directing a play – which relies on cues from lighting, sound and movement to direct the audience’s eye to the relevant place on the virtual “stage.”
Kleiser likened VR to directing for theater in the round, but in an inverted form. Instead of the audience surrounding the performance, the performance surrounds the audience. And that changes everything about how you tell a story.
I ran into Kleiser again this week, freshly returned from the Cannes Film Festival, where he was looking for distribution deals so he could finish more episodes of Defrost. We reconnected at the premiere for the first episode of Crowe: The Drowned Armory, which its creators carefully call a “cinematic virtual reality game experience.”
That odd description signals their ambition to build something that’s more story and narrative than quick-twitch game, but, “we’re making it a game because we’re selling it on game channels” such as Steam, Oculus, and the Sony PS VR store, said Pete Blumel, CEO of the Rogue Initiative.
Expectations of buyers on those platforms helped shape Crowe‘s game-related aspects, Blumel said, including the imminent rollout of an arcade mode. But Blumel said the company plans to debut new episodes of Crowe every few months, as well as a “passive” mode for story-minded types who care less about gameplay. Blumel and co-founder Cathy Twigg, the chief content and production officer, freely admitted their project is an experiment.
“We’ll see how it grabs people,” Blumel said. “This is meant to go out there and see what catches on.”
Perhaps unsurprisingly, given the project’s hybrid nature, the Crowe event was itself an intersection of traditional Hollywood and pieces of its future. Not only was film veteran Kleiser there, so was Steve Schklair, a Defrost investors and the past 12 years, a leading proponent of 3D cinema technologies.
These days, Schklair’s 3eality company is mostly selling 3D experiences into China, where Yi “Eva” Qian, his company’s Asia Pacific VP of business development, was born and has strong ties. They told me that 3D, increasingly marginalized in Hollywood, is going strong in China. The country has a seemingly inexhaustible appetite for 3D movie experiences as it continues to build new theaters at an astonishing pace.
I never thought that 3D technologies changed Hollywood storytelling, certainly not the way VR proponents hope to do.
But 3D’s most significant artistic achievement, Jim Cameron’s 2009 Oscar winner Avatar, continues to be an influence. Crowe is an obvious example, a story set on a lush planet where advanced technologies are uncovered by a shipwrecked alien people who had returned to a primitive lifestyle.
“If there was a VR world for Avatar, people would love it,” Blumel said.
We’re almost certainly going to find out. Fox has planned four Avatar film sequels plus much else, from theme-park rides on. It’s hard to imagine Cameron and his collaborators won’t be creating a lot of VR projects, just as Ridley Scott’s team has been doing around Alien: Covenant and last year’s The Martian.
And expect Blumel’s company to be right there too, with Crowe and a live-action episodic VR story, Agent Emerson, coming at the end of the summer. “I think VR is going to be a great storytelling medium,” Blumel said. “To me it’s very experiential. VR is one way of creating an experience you can be in.”
Rogue, which partnered with Michael Bay on VR projects last year, bills itself as “a 360 full-spectrum entertainment studio generating content powered cinematic Intellectual Properties” focused on a “NEW GENERATION OF STORYTELLING” (their caps, not mine).
We’re seeing other companies straddle formats and platforms in interesting ways too.
The company Seriously, which made its name with two Best Fiends mobile games, has launched its first animated short, built in the same world. The idea, said CEO Andrew Stalbow (like many of his colleagues a studio veteran), is to let fans explore the world suggested by the games on a different platform in a more immersive way.
“We’re focusing really hard on trying to build an entertainment brand focused on mobile devices,” Stalbow said. “We saw an opportunity where people were moving from incumbent platforms to mobile and tablets. We feel the next generation of great brands will be built there.”
Mobile (including tablets) creates different opportunities for creators to build a big entertainment property.
Where traditional Hollywood depended on scarcity, driven by exclusive distribution windows owned by other companies, mobile allows a company to build a direct relationship with customers, and shape its properties based on all the deep data that relationship can create, Stalbow said.
“We feel like if the content is really good, they can really help each other,” Stalbow said. ‘Ultimately, the nice thing about building a brand is that it can work in many places.”
The first animated short, Best Fiends Boot Camp, was created to “show the potential of the brand,” Stalbow said. “We wanted to really show off what could be created for the world. Once you build out the world, you can create all kinds of things.” It already has over 1.5 million viewers in its first week.
The company expects to release two shorts this year, and release a couple of more per year thereafter. The company is considering making the shorts available on an existing subscription video-on-demand platform, and even was approached about a feature-length film but, Stalbow said, “We’re not sure that’s the right approach for us.”
Even small players are trying new things. Beyond Books is an iPhone app that sells what might be called post-modern illuminated texts. Mostly original text-based stories are melded with music, animation, still images and voiceovers to create new kinds of short stories.
And as Stalbow mentioned, even the big traditional players are trying new models, including Universal, SkyDance and Fox.
“I think you’re going to see more and more studios looking to own that relationship with their audience,” Stalbow said. “Second, I think there’s going to be a whole load of innovation that we haven’t even thought about yet.”
Rooster Teeth Games has announced the hire of gaming industry veteran David Eddings. Eddings, who has been named head of game publishing, previously served as VP of business development and licensing at Gearbox Software, which is the creator of beloved franchises like Borderlands, Brothers In Arms, and Duke Nukem.
Rooster Teeth Games launched in January to help indie developers market and distribute their titles to the Austin-based entertainment collective’s legions of fans — including 35 million subscribers on YouTube and 5 million unique monthly visitors on RoosterTeeth.com. Michael Hadwin serves as director of Rooster Teeth Games. In his new role, Eddings will be responsible for forging additional relationships within the indie game developer community — with the aim of adding innovative titles to the company’s roster.
Rooster Teeth Games’ first releases include RWBY: Grimm Eclipse, based on its hit anime series, as well as Battlesloths 2025: The Great Pizza Wars, which was developed by Invisible Collective and is slated to hit digital distribution platform Steam on June 6.
“As a studio, RT’s already a juggernaut in online entertainment,” Eddings said in a statement, “and creating a game publishing arm is a logical next step. We have a few spots to fill in our lineup and are actively looking for innovative, independent developers.” Hadwin and Eddings will also be scouting out the scene at E3, and are accepting submissions at RTgames.publishing@roosterteeth.com.
Eddings started his twenty-year career in gaming as director of marketing at Gathering Of Developers — another Texas publisher that was subsequently sold to Take-Two Interactive — where he worked on titles like Age Of Wonders, Railroad Tycoon II, and Serious Sam.
Filed under: Rooster Teeth by Geoff Weiss Comments Off on Rooster Teeth Games Names Former Gearbox Executive Head Of Publishing
Just as it launched the #voteIRL campaign ahead of the U.S. election in order to encourage young people to storm the polls, YouTube has announced a comparable site-wide initiative in the U.K. dubbed #PowerToDecide ahead of the general election there on June 8, where conservative candidate Theresa May will face off against Labour Party head Jeremy Corbyn. The election takes places less than one year after the stunningly consequential Brexit vote, in which the U.K. opted to depart the European Union.
“Tons of you are watching the election debates, chewing over the issues, and thinking about who to vote for,” wrote YouTube public policy exec Alina Dimofte in a blog post. “And we encourage people — especially young people — to use their #PowerToDecide and make themselves heard in Westminster next week.”
Check out a video created by YouTube to announce the initiative — featuring appearances by Russell Brand, Devin Super Tramp, Musical Bethan, Tom Daley, and more — right here:
In addition to YouTube’s own efforts, bold-faced U.K. creators like Humza Arshad, Suli Breaks, FunForLouis, and the Mandeville Sisters will take to their personal channels to create videos in support of the #PowerToDecide campaign in coming days.
Filed under: YouTube by Geoff Weiss Comments Off on YouTube Spearheads #PowerToDecide Campaign Ahead Of U.K. General Election
Major changes are afoot for Fullscreen’s social media strategy, announced CEO George Strompolos in an Instagram post this week.
Strompolos, who left his job at YouTube six years ago to launch Fullscreen, said that his mission has always been to empower creators, and now his company will harness its social media channels to do just that. “Instead of promoting our shows and our app all the time, we’re going to start creating some original video, art, photography, and written pieces about the things that affect your life,” he wrote.
Each month, Stromopolos explained, the company will focus on an overarching theme, with works that explore that theme from different angles. Additionally, Fullscreen will be putting the call out to fans to make their own contributions in order to “help shape the conversation.”
We’re going to explore the idea of nonconformity in the coming weeks, and we want you to come along for the ride. pic.twitter.com/0GZ4SrymhH
The first theme that the company will pursue is the concept of ‘non-conformity’. Across Instagram, Twitter, and Facebook, the company has shared a post stating that, “Being yourself is celebrated in mainstream culture now more than ever…And yet, there still seem to be rules around what is normal and what is weird.” Fans are invited to share 500 words about what non-conformity means to them. Submissions are being accepted at submit@fullscreen.com through June 9 — though it is unclear what will ultimately become of them.
Fullscreen has also taken a breezy and unapologetic political stance with recent posts following Strompolos’ announcement, with content addressing free speech and the First Amendment, the consequences of pulling out of the Paris Climate Accord, and public safety concerns in the wake of the Manchester bombing.
Pulling out is not an effective form of Earth control. #ActOnClimate — Fullscreen (@Fullscreen) June 1, 2017
Filed under: Fullscreen by Geoff Weiss Comments Off on Fullscreen’s Social Media Strategy To Shift From Promoting Shows To Highlighting Important Issues
In each of the past two years, the annual Streamy Awards, which Tubefilter produces alongside Dick Clark Productions, have honored exceptional influencer campaigns that target hot-button issues by handing out the Social Good Award to big-hearted winners. In 2017, the Social Good category will be spun out into its own show. Tubefilter has partnered with veteran cause marketing and social impact pioneer Lou Raiola and his agency Force Multiply to launch the Purpose Awards, which will honor creators, companies, and brands that champion important causes during a ceremony that will take place during the week leading up to the Streamys.
The Purpose Awards will expand the Streamys’ celebration of Social Good into six categories, which will honor exceptional creators, brands, nonprofits, and NGOs that spread just messages through social media. Ad Council, which facilitates influencer-led PSAs through its Creators For Good program, will serve as a strategic partner for the event.
“The creator community celebrated by the Streamy Awards has a remarkable sense of obligation to social causes—and the unique interactive nature of their relationships with their communities has created a tremendous opportunity to make meaningful impact, at scale,” said Tubefilter CEO and Streamy Awards founder Drew Baldwin in a press release. “We’re honored to partner with Force Multiply to give this generation a new platform to amplify its efforts to make the world a better place.”
Submissionsin the six Purpose Awards categories will close at 11:59 pm PT on Friday, June 9, 2017, with nominees announced over the summer. The show itself will take place right before this year’s Streamys, which will honor the best creators the online video community has to offer when it is streamed live on Twitter on September 26.
Full disclosure: The Streamy Awards are co-produced by Drew Baldwin and Joshua Cohen, who are also the co-founders of Tubefilter.
Filed under: Articles, Featured, News, The Streamy Awards by Sam Gutelle Comments Off on This Year’s Streamys Will Celebrate Campaigns For Social Good With The Purpose Awards
Tongal, a platform that crowdsources creative campaigns from beginning to end, has worked with a long list of partners that ranges from DirecTV to the rock band Kiss. For its latest project, Tongal is joining forces with Amazon to promote The Tick, an upcoming original series that will premiere on August 25.
The Tick, which satirizes comic book tropes through its off-kilter title character, has been regarded as a cult classic. Initially published in the 80s, it gained considerable acclaim thanks to an animated series based off it, which first premiered in 1994. Amazon’s take on the superhero is a live-action show first shown as a pilot in July 2016 and picked up for a full season two months later.
With its #TickSaveMyCity campaign, Tongal will engage with Tick aficionados on social media. Contributors are invited to come up with problems in their cities that can be solved by Amazon’s big, blue superhero. Three winners will earn $5,000 each, and the grand prize winner will team up with The Tick to take down the issue outlined in his or her pitch.
If you think you have an idea that works for #TickSaveMyCity, submissions for the campaign (limited to 90 seconds max) are open between June 1 and June 22. Official rules for the campaign can be found via the Tongal website.
Filed under: Articles, Featured, News by Sam Gutelle Comments Off on Tongal’s Latest Crowdsourcing Project Promotes Upcoming Amazon Original ‘The Tick’
