Disney +, Netflix, and Salto … platforms to conquer new audiences

Mickey will forever miss Pat Hippolyur, his enemy. His new neighbor, Hostile Alien, the famous alien monster from the cinematic saga, has just put his bags on Disney +. A year after its launch, the studio’s subscription video platform with big ears is seeking to expand its audience, which was already large but until then was mainly focused on kids and young teens.

With the arrival of the Star, a brand new addition to Disney and Pixar animated films, Marvel superheroes and intergalactic epics star WarsThe service relies on a huge group of the parent company to open up to the genres its subscribers are not used to: the evolving excitement (black Swan), Series Lost And the Jailbreak), Political satire (Borate)Animated series (American Dad And the Griffin) Or horror (the hills Have Eyes).

→ Large format. The World According to Disney

Hence, Disney + wants you to become a generalist, even if that means making a big difference. “ It is chasing the territory of its rival Netflix, the leader in this market, by striving to offer the same catalog depth, same display diversity, and the same ability to revamp it. », Analysis of Pascal Le Chevalier, president of WhatsApp Hot, a consulting firm specializing in new media.

« Think globally and act locally »

The small platform also reproduces Netflix recipes. ” Thinking globally and acting locally, this is the American “ soft power ” principle that platforms apply with some success. », Sums up the consultant. victory Thermos, Which according to the (unverifiable) Netflix forecast, seen by 70 million households in a single month, appears to attest to this.

Thus, Disney + launched ten European productions, including four French series, including a mini-story dedicated to the case of Malek Usikin, a student killed by the police during the 1986 Paris demonstrations. In doing so, the American giants also anticipated the long period – the transition required to direct media services. AVMS, which will specifically set quotas for French and European productions on the platforms.

Besides these giants, how can national platforms, in more modest means, exist? Salto, for example, doesn’t want to be public but multispécialiste According to Thomas Follin, general manager of this French-French service launched in October 2020 that allows viewing live and pending or preview France Télévisions, TF1 and M6 groups ‘programs,’ Be careful, the nuances are hidden …

« We bring the best of TV by adapting to new usesThomas Folin explains. But also the best of broadcasting, with more “ cutting edge ” series that didn’t necessarily have to find their place on the air, like Steve McQueen’s, Small axAbout Afro-Caribbean fights In London in the 1970s and 1980s. »

A mirror with larks

This proposal corresponds to the development of the sector. ” We have seen the emergence of “ niche ” offerings that invest in a small market segment “Louis Wiart, professor of communication at the Free University of Brussels, notes. There really is something for all tastes: Bunch, for the demanding of young audiences, Madeleine for those nostalgic for the rich hours of the small screen, Tink or Spice for documentary buffs, Moby, La Syntech, Universe, or Filmotv, for movie fans.

« Today, it’s easy to set up a video-on-demand platform, Referring to Pascal Le Chevalier. As in the heyday of DVD, the big players are generalists and the little ones position themselves in a tight spot. But it is a mirror with larks because it takes a lot of means to be visible. »

Other problems: The “prestige” is sometimes too narrow to attract enough audience, Lewis Weir notes, Especially since large platforms come to compete with them in these outlets Netflix has added Chaplin and New Wave classics, as well as Swedish silent films, but has also spawned David Fincher’s latest ambitious work (Mank) Or the Safdie brothers (Uncut gemstone).

To survive, Mubi found the solution: expanding its catalog and opening up to the international market. The English platform, which shows putting businesses in context by adding a rich monetary apparatus, is present in 195 countries and is now profitable.


An audience boosted by the health crisis

Netflix: 204 million users pay fees in 190 countries, including nearly 9 million in France, according to some estimates. The platform launched in 2007, and had an additional 37 million subscriptions last year.

Disney + : 94.9 million subscribers in 58 countries, of whom nearly 3 million are in France, according to some estimates. The site launched in November 2019, and exceeded the 2024 target site.

According to the Médiamétrie scale of video-on-demand subscription consumption, The first booking caused the number of daily users to increase to 2 million, and thus increased from 4 to 6 million within a few weeks. That number has since stabilized at around 5 million, with a new upward trend after the second incarceration.

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