Spherex

Spherex Classification Tool Now Approved for Home Entertainment Content in Australia

Fri, 11 Oct 2024 20:54:15 GMT

The Albanese Government has updated the Spherex Classification Tool approval to include ratings for theatrical releases, home entertainment, and streaming content in Australia. Spherex was previously approved to classify online films.

The update underscores the Australian Classification Board’s confidence in Spherex as a tool to help Australian viewers make informed choices about the content they consume. This means Australians can now access a range of new films sooner than they might across all formats and windows.

Spherex has a longstanding relationship with the Australian Classification Board. Since 2020, Spherex has collaborated closely with the Australian Government to ensure its technology reliably generates classification decisions that meet Australian standards and viewers' expectations.

As the world’s only commercial provider of local age ratings, Spherex has successfully produced classification decisions for high volumes of online content in over 100 countries. Since 2018, Spherex has issued over one million age ratings for digital content, including films, TV shows, and trailers, distributed by its clients worldwide.

Spherex customers, including Umbrella Entertainment, Madman Entertainment, and Sugoi Co., rely on its AI-based platform to obtain local age ratings in Australia and significantly improve efficiency, cost reduction, and market reach.

Discover how Spherex's cutting-edge AI-based platform can streamline your content classification process and enhance your market reach while reducing costs.

Visit spherex.com today and see how we can support your content distribution needs.

nScreenNoise – Interview Spherex: Avoiding the cultural dead zone

Wed, 02 Oct 2024 21:01:20 GMT

One of the conundrums of streaming is that although a service can deliver content globally, it is not guaranteed to be acceptable in a particular local market. Netflix found this out when it announced global availability in 2016 at CES and was quickly banned in markets like Indonesia , where some of the content was deemed too violent or sexual. In 2016, without boots on the ground in a local market, it wasn’t easy to assess whether a show or movie would be culturally acceptable.

Today, global media companies are acutely aware of the importance of their content’s cultural fit. Moreover, they have a company like Spherex to help them prepare their content to ensure it fits with any country of interest. I interviewed Teresa Phillips, the Co-Founder and CEO of Spherex, at the recent OTT.X Summit in Los Angeles. She explained how the company is leveraging AI and its massive cultural profiling database to help companies prepare content for target markets. She also explained how, in the near future, AI would aid the company in measuring a movie or show’s cultural distance from a regional market and help it avoid falling into the failure zone between cultural fit and novelty interest.

Listen to the full interview here .

Spherex Featured in the DPP’s IBC 2024: Demand versus Supply Report

Wed, 02 Oct 2024 20:43:21 GMT

Spherex was featured in the DPP’s IBC 2024: Demand versus Supply Report, a comprehensive look at how the M&E industry is meeting key customer demands. The report focuses on the topics of empowering creators, understanding audiences, engaging users, and innovating the newsroom. It also highlights many of the technical innovations seen at the recent IBC Show.

An article by Spherex’s CEO Teresa Phillips titled "Navigating Cultural Resonance in Global Media: The Art and Science of Culture Mixing" was featured in the report, exploring how Spherex is pioneering the future of culturally informed content.

Teresa shares how cultural mixing has become a critical strategy for creating content that appeals to diverse audiences in today's global media landscape. This phenomenon involves blending elements from different cultures to craft films and television shows that resonate globally while adhering to local regulations.

However, the process of culture mixing is fraught with risks. Superficial or stereotypical representations can lead to accusations of cultural appropriation or insensitivity, alienating audiences and damaging a company's reputation. For example, imposing Western concepts on Eastern content without proper context can feel inauthentic and jarring to local viewers. These missteps highlight the need for a nuanced understanding of cultural elements to ensure that content is respectful and engaging.

To address these challenges, M&E companies are increasingly turning to data-driven solutions. Platforms like SpherexAI utilize artificial intelligence to analyze visual, audio, and textual elements, providing insights into how well content aligns with cultural and regulatory standards across over 200 countries and territories. This approach helps media companies understand the "cultural distance" between a title's origin and its target market, enabling them to make informed decisions about global distribution.

By leveraging these advanced tools, M&E companies can go beyond traditional content localization. They can create media that actively engages and resonates with diverse audiences. As the industry continues to evolve, those companies that embrace culturally informed, data-driven approaches will be better positioned to succeed, fostering cross-cultural understanding and trust while delivering globally appealing content.

Download the report here .

Spherex CEO Teresa Phillips Discusses AI's Transformative Role at the OTT.X Summit

Thu, 26 Sep 2024 20:49:44 GMT

Spherex’s Co-Founder & CEO, Teresa Phillips, spoke at the recent OTT.X Summit in an insightful fireside chat titled "Unlocking AI: Driving Growth in Global Media Distribution" with Colin Dixon, Founder & Chief Analyst at nScreenMedia. The conversation provided a deep dive into how Spherex is leveraging AI to revolutionize media distribution on a global scale.

Teresa began by highlighting Spherex’s core mission of helping media companies navigate the complex landscape of compliance and global regulatory acceptance. She detailed how Spherex works with clients to ensure their content adheres to regional regulations and cultural norms, enabling seamless distribution across different markets.

Introduction to SpherexAI

The conversation turned to SpherexAI, our cutting-edge AI platform for generating age ratings and ensuring video content complies with local regulations and cultural norms. Teresa explained how SpherexAI provides analysis of visual, audio, and textual elements in content to enable smarter global distribution decisions by evaluating how well a title aligns with the cultural and regulatory standards of over 200 countries and territories.

AI's Limitations and Future Potential

Teresa and Colin also addressed the limitations of current AI models, particularly their Western-centric training data. Spherex is at the forefront of developing training AI models to understand and interpret cultural norms from various perspectives, ensuring a more inclusive approach to content distribution.

Cultural Distance

Another exciting aspect of the chat was discussing Spherex's patented approach to measuring the "cultural distance" between a title's origin and its target market to help media companies anticipate potential challenges and opportunities. Teresa explained how these metrics, which include the tags materialistic, symbolic, and sacred, predict content appeal across different regions. This innovative approach helps media companies tailor their content to specific cultural contexts, enhancing global reach and engagement.

Future Capabilities

Looking ahead, Teresa shared Spherex's vision of integrating cultural norms into AI models to better predict content success and advise on necessary adaptations. The balance between global and regional content was also discussed, emphasizing the need for a nuanced approach to media distribution in the future landscape.

The fireside chat at the OTT.X Summit highlighted the transformative potential of AI in media distribution, with Spherex leading the charge. By leveraging advanced AI technology and a deep understanding of cultural norms, Spherex is paving the way for a more inclusive and globally resonant media landscape.

SpherexAI Wins Best of Show Award at IBC2024

Mon, 16 Sep 2024 16:39:33 GMT

We are thrilled to announce that TV Tech honored SpherexAI with the prestigious Best of Show award at IBC2024.

The awards recognize the best media and broadcast technology products and solutions on display at IBC2024, with hundreds of products and solutions considered. A panel of industry experts and editors at the RAI reviewed all entries. Factors considered include how diverse and comprehensive our product's features are, how easy it is to use and integrate with other products, how well it solves a problem for the user, and how innovative and unique it is within the market.

The awards' editorial team stated that "IBC2024 has been busier than ever this year, with over 1,300 companies showcasing their latest innovations. Our awards followed suit with this popularity and had more entries than ever before." They continued to say "judging and winner selections were extremely difficult this year, feedback from our judges confirmed that the standard across the board was incredible. To all those companies who have won, you can be truly proud of your companies' achievements in standing out among the crowd at IBC2024."

In the coming weeks, you can read more about SpherexAI on the TV Tech website , in their regular newsletter, and through other promotional channels from the brand.

Experience SpherexAI at IBC2024

Fri, 23 Aug 2024 20:30:18 GMT

IBC2024 opens September 13 at the Amsterdam RAI, and Spherex will demonstrate its groundbreaking content compliance and analysis platform, SpherexAI, at stand 5.F78 in Hall 5. This first-of-its-kind platform provides the most comprehensive solution for generating age ratings and ensuring video content complies with local regulations and cultural norms for any global market.

Preparing content for global distribution is complex, requiring significant time and resources. SpherexAI automates this process, providing a cost-effective, efficient solution that analyzes content for global compliance in minutes. SpherexAI delivers unparalleled accuracy, depth, and speed in assessing film, television, social video, and advertising content for worldwide distribution.

“SpherexAI is redefining global video compliance, empowering media and entertainment companies to expand their audience, maximize revenue, and protect their brand as they navigate the complexities of global content distribution,” said Teresa Phillips, CEO and co-founder of Spherex. “Our technology addresses the industry’s need for cost-effective solutions that boost workforce productivity and deepen content understanding, driving smart and accelerated growth.”

SpherexAI provides a range of services tailored to meet the needs and budgets of media and entertainment companies, including content creators, distributors, service providers, broadcasters, and streamers. These services include Age Ratings, Video Compliance, Content Descriptors, and Edit Decision Lists (EDL).

SpherexAI’s APIs allow seamless integration into existing workflows, enhancing efficiency without disrupting established processes.

IBC 2024 attendees can experience SpherexAI at Spherex’s stand 5.F78. To book a meeting at IBC, please use the IBC app or visit the Spherex IBC Booking page . Need an exhibit pass? Need an exhibit pass? Click here and use code IBC10553 to get one for free!

IFCO’s New Film Classification Guidelines

Fri, 02 Aug 2024 18:37:08 GMT

The Irish Film Classification Office (IFCO) has recently released new draft guidelines for film classification for public consultation. These guidelines reflect contemporary social values while balancing the need to protect children and young people from harmful content and upholding adults' freedom to choose what to view.

Critical aspects of the draft guidelines include:

1. Context and Tone: The classification considers the context in which the material is presented. For example, content in a fantasy or comic context may be rated less strictly compared to realistic presentations of the same content.

2. Consumer Advice: Detailed consumer advice will accompany classifications to help parents and guardians make informed decisions about the suitability of films for their children.

3. Parental Responsibility: The guidelines emphasize the importance of parental responsibility and encourage parents to use the classification system and consumer advice to guide their viewing choices.

The guidelines are a part of IFCO's ongoing efforts to adapt to societal changes and gather feedback from the public and stakeholders to ensure that film classifications remain relevant and practical.

The film industry's response to the new draft guidelines has been positive. The updated guidelines, which emphasize context and tone in classification decisions, are welcome for their modern approach and flexibility. Industry stakeholders appreciate the focus on providing detailed consumer advice to help parents make informed viewing choices for their children.

One notable collaboration arising from the new guidelines is between IFCO and the Advertising Standards Authority (ASA). This partnership aims to streamline handling complaints about cinema advertising and ensure that advertising content adheres to high standards. Both organizations are committed to protecting consumers and maintaining trust in advertising, highlighting a shared commitment to safeguarding audiences from inappropriate or harmful content.

Overall, the industry's response reflects support for the guidelines' efforts to balance protecting young audiences with respecting adults' viewing choices and the emphasis on parental responsibility and public engagement.

Visit the IFCO website for more detailed information on the guidelines.

Embracing AI for Media and Entertainment: A Journey Beyond Automation

Fri, 28 Jun 2024 17:25:05 GMT

Source: M+E Journal

StreamTV 2024 Recap

Fri, 28 Jun 2024 17:23:14 GMT

The StreamTV Show 2024, held this past week at the Westin Westminster Hotel, just north of Denver, offered a comprehensive overview of the latest trends and innovations in the streaming television industry. The conference focused on five key areas shaping the future of streaming: Advertising, FAST channels, Monetization, Product and UX, and Technology.

Advertising discussions highlighted the evolving landscape of targeted marketing in the streaming era. Panelists explored the shift from traditional demographic-based advertising to more sophisticated contextual targeting. They examined the integration of AI in ad tech, discussing how machine learning enhances ad effectiveness and delivery. Speakers also highlighted innovative formats like branded content and virtual product placement as promising avenues for engaging viewers in the ad-saturated streaming environment.

FAST (Free Ad-Supported Television) channels emerged as a major focus of the conference. Industry leaders debated whether FAST represents the new cable or broadcast model and explored strategies for growing successful FAST networks. They delved into the potential of niche FAST channels, the role of sports content on these platforms, and effective methods for user acquisition and retention.

Experts thoroughly examined monetization strategies beyond advertising. They discussed the pros and cons of various pricing models, including ad-supported tiers, premium subscriptions, and hybrid approaches. Analysts explored the growing trend of bundling and "super bundling" services as a potential solution to combat subscriber churn and maximize revenue.

Product and UX (User Experience) received significant attention, with leaders emphasizing the critical role of intuitive interfaces and personalized content discovery in retaining viewers. Speakers explored the balance between data-driven personalization, maintaining user privacy, and innovative features that drive engagement across different platforms.

Technology discussions underpinned many of the conference's themes. Presenters repeatedly highlighted artificial intelligence, exploring its applications from content recommendation algorithms to optimizing CDN performance. They also examined the integration of neuroscience and psychology in content creation and delivery as a cutting-edge approach to enhancing viewer engagement.

The StreamTV Show 2024 provided attendees with valuable insights into the current state of streaming TV and offered a glimpse into its future direction, emphasizing the interconnected nature of advertising, content delivery, user experience, and technology in shaping the industry's landscape. Spherex is proud to have been an exhibitor and participant at this year’s conference.

2024 was the last year StreamTV will be held at the Westin Westminster, having outgrown the property’s capacity. Next year’s event will be held June 11-13 at the Gaylord Rockies Resort & Convention Center in Denver.

5 Q’s for Teresa Phillips, CEO and Co-Founder of Spherex

Thu, 27 Jun 2024 19:37:47 GMT

The Center for Data Innovation spoke with Teresa Phillips, chief executive officer and co-founder of Spherex , a global entertainment technology and data company that addresses cultural gaps in film and TV for international audiences. Phillips spoke about the importance of cultural relevance, a new multimodal analysis tool called Spherex AI, and why the entertainment industry needs to embrace data driven solutions.

Ayesha Bhatti: How is Spherex using data and AI to support the entertainment industry?

Teresa Phillips : We work with the world’s largest media companies, movie studios, TV networks, distributors, and streamers to address the gap in understanding how international audiences perceive film and TV series. We enable media and entertainment (M&E) companies to expand their global reach and increase engagement while protecting their brands. With the rapid growth of streaming video and the expansion of global markets, it’s more critical than ever for content to be culturally relevant and compliant with local regulations. By leveraging our expertise and technologies, M&E companies can navigate these complexities to build larger audiences, drive more video views, and generate higher revenue. Spherex uses advanced AI to analyze and classify video content for regulatory compliance and cultural nuances. Our technology generates deep metadata and actionable insights, helping media companies adapt their content for diverse markets. This ensures content meets local standards, avoids legal risks, and resonates with global audiences, expanding reach and engagement.

Bhatti: Why is culture such an important aspect of the entertainment industry?

Phillips: Media is a global industry; and therefore, considering culture in filmmaking is essential to ensure content resonates with diverse audiences and is compliant with local regulations. By incorporating cultural sensitivity, filmmakers create authentic, engaging stories that promote cross-cultural understanding, contributing to a more harmonious world. This approach enhances the appeal and success of content in various markets globally by building trust and loyalty among viewers, making them more likely to engage with and support the content.

Bhatti: Why is it important for the entertainment industry to embrace data-driven solutions?

Phillips: William Goldman famously said, “Nobody knows anything…Every time out, it’s a guess and, if you’re lucky, an educated one.” Data-driven solutions provide precise, timely insights into regulatory compliance and audience preferences, enabling content creation with cross-cultural appeal and promoting distribution efficiency. These solutions ensure consistent, repeatable outcomes and scalability, helping companies stay ahead of trends and maximize viewer engagement. Without data-driven strategies, companies risk inefficiencies and missed opportunities, ultimately hindering growth and profitability in a highly competitive market.

Bhatti: How is Spherex different from its competitors?

Phillips: We have developed a first-of-its-kind platform called Spherex AI , which offers global video compliance and cultural intelligence in one solution. Unlike other platforms, Spherex AI integrates multimodal analysis combining visual, audio, and text data—to ensure thorough and accurate content evaluation and understanding. Our AI detects thousands of cultural events, interprets context, and classifies every scene by territory and business objective. With its unique geographic dimension, SpherexAI predicts how content will be received in over 200 countries and territories, providing unparalleled accuracy and relevance to expand audience reach and engagement, boost revenue, and ensure brand safety. No one else does what we do.

Bhatti: Can you provide some case studies of where Spherex is supporting the industry?

Phillips: Spherex has demonstrated its effectiveness across various sectors in the entertainment industry. We helped a leading streaming platform expand its international reach using Spherex AI . The platform broadened its audience by ensuring content met global regulatory standards and cultural expectations, which increased subscriber engagement. Similarly, a major film studio significantly reduced costs and increased efficiency by automating content analysis for compliance checks and cultural sensitivity. This allowed the studio to focus more on creative production. Finally, a major TV network improved viewer engagement by adapting content to be culturally sensitive and relevant, fostering a positive viewing experience for international audiences. These examples illustrate how Spherex streamlines processes, reduces costs and guarantees compliance, making it a powerful tool for global content distribution and audience engagement.

Looking to the future, we hope Spherex will become the global standard for video compliance and cultural intelligence in the next five years. Our AI technology will be adopted by local regulators to classify content, ensuring consistency and compliance worldwide. We’ll expand our services to include short-form video and advertising, enabling creators to reach broader audiences across all media. By staying ahead of evolving regulations and cultural trends, Spherex will shape the future of global content distribution, fostering cross-cultural understanding and enhancing viewer engagement. We will be an essential partner for media companies seeking to maximize their global impact, drive revenue growth, and protect their brands.

SpherexAI™ Named To Streaming Media's Trendsetting Products and Services of 2024

Wed, 12 Jun 2024 00:01:44 GMT

Streaming Media has selected Spherex AI ™ as one of its Trendsetting Products and Services of 2024. This annual list showcases innovative products and services that streamline workflows, introduce new approaches, and advance the streaming industry, resonating with streaming professionals.

According to Steve Nathans-Kelly, editor-in-chief of Streaming Media:

“These products and services make and define the industry trends and signal true innovation… each and every one of Streaming Media’s Trendsetting Products and Services of 2024 meet those criteria and elevates the streaming ecosystem.”

This prestigious recognition not only underscores the innovative impact Spherex AI ™ is making but also highlights the tangible benefits it brings. By significantly reducing the time and resources required for video content localization, Spherex AI ™ not only mitigates the risk of cultural insensitivity or non-compliance but also enables creators to accelerate their expansion and reach the right audience faster, cost-effectively, and without brand risk.

Read the full article here .

The Nine-Dash Line's Influence on Film & TV Show Censorship

Mon, 03 Jun 2024 17:29:46 GMT

The geopolitical tensions surrounding the South China Sea have spilled over into the entertainment world in recent years. The “nine-dash line,” a disputed maritime border claimed by China, has become a contentious issue, leading to the censorship and banning of movies and TV shows in several Southeast Asian countries.

What Is the Nine-Dash Line?

The nine-dash line is a demarcation line that China uses to assert its territorial claims over almost the entire South China Sea. By overlapping the exclusive economic zones of five Southeast Asian nations—namely the Philippines, Vietnam, Malaysia, Indonesia, and Brunei—China’s nine-dash line has caused significant diplomatic friction. The international community, including an international tribunal in 2016, has rejected China’s claims, but the issue remains unresolved.

Movies Caught in the Crossfire

Several Hollywood films and TV shows have faced censorship or outright bans due to their depiction of the nine-dash line:

“Barbie” (2023): Warner Bros.’s summer blockbuster, featuring Margot Robbie as Barbie, was banned in Vietnam because it displayed a map including the nine-dash line. The controversy highlights the sensitivity of the issue in Southeast Asia.

“Uncharted” (2022): Sony’s action-adventure film was banned in Vietnam and the Philippines for briefly depicting the contentious nine-dash line.

“Abominable” (2019): DreamWorks’ animated movie faced bans in the Philippines and Malaysia after producers declined to remove a scene showing the nine-dash line. The film was pulled from cinemas in Vietnam and fined after being out for just over a week.

“Crazy Rich Asians” (2018): A brief clip featuring a designer handbag with a map showing the South China Sea’s islands under China’s control was cut from screenings in Vietnam.

“Pine Gap” (2021): Netflix series faced demands from the Philippines and Vietnam to remove episodes containing the nine-dash line, raising questions about Hollywood’s relationship with China.

Hollywood and China: A Delicate Balance

Hollywood studios often seek to appease China’s stringent censors because of the country’s massive market of 1.4 billion people. China’s influence on global box office success has led to cautious handling of sensitive topics, including territorial disputes like the nine-dash line. Balancing artistic freedom with commercial interests remains a challenge for filmmakers and studios.

The nine-dash line controversy continues to impact the entertainment industry, prompting filmmakers to practice care when portraying sensitive geopolitical issues. As audiences worldwide consume movies and TV shows, the delicate balance between artistic expression and political realities remains a critical consideration. Adding Spherex AI ™ to your production and localization workflows allows you to identify and address cultural or regulatory concerns such as this long before any video is submitted for regulatory approval or sent to distribution. Contact Spherex today to learn more.

AI was Dominant at NAB 2024

Fri, 03 May 2024 15:24:41 GMT

As predicted in our blog post , the 2024 NAB show focused on Artificial Intelligence (AI) technologies and their impact on the Media and Entertainment (M&E) industry. The event showcased the transformative potential of AI across various aspects of content creation, production, and distribution.

Focus on Content

Over 130 companies exhibited AI products and services, while 80 panels and workshops explored AI's role in the M&E sector. These sessions demonstrated how AI revolutionizes workflows, enhances creativity, and enables stunning visual effects and ultra-high-resolution graphics. Attendees gained valuable insights into integrating AI across the entire content pipeline, from scriptwriting and video editing to post-production and distribution.

AI in Multilingual Content Production

Another key focus was the role of AI in facilitating multilingual content production on a global scale. Workshops and panels explored how AI is automating and refining transcription, translation, and re-voicing processes, ensuring accurate and localized content delivery to diverse audiences worldwide. Experts also shared their experiences and best practices in leveraging AI for content creation and programming, discussing the balance between harnessing AI's potential and maintaining human oversight to address ethical concerns.

AI's Impact on Content Policy

Panels also delved into the critical policy issues related to AI adoption. For example, the future of AI-driven personalization in content delivery, the importance of responsible AI implementation in fostering diversity and inclusion, and the potential of generative AI to transform the media and entertainment landscape.

AI Expands into Business Operations

AI's reach in the industry increases daily and into products and services many people have not considered. For example, several AI-based back-office products were introduced that handle rights management, finance and royalties, market targeting and analytics, and advisory services. AI-based content management, security, and distribution systems ensure production assets are safe throughout the entire product chain; in-house AI development hardware reduces development and production costs; AI chips in consumer TV sets control screen pixels to eliminate glare and enhance image quality and enhance advertising and marketing tools to connected TVs are now coming to market. There can be no doubt that AI will, in some way, become part of every aspect of M&E for generations to come.

Here to Stay

Artificial Intelligence (AI) is becoming integral to the mindset of the media and entertainment industry. From AI-assisted scriptwriting and intelligent video editing tools to automated localization services and personalized content recommendations, the technology empowers companies to unleash their creative potential, streamline workflows, and connect with audiences on a deeper level. With a wide array of AI-powered solutions now available, such as Spherex AI ™, the industry is poised to drive innovation, efficiency, and growth, shaping the future of storytelling and delivering unparalleled experiences to viewers worldwide.

Looking Ahead to 2030: Thriving in the Localization Landscape

Tue, 16 Apr 2024 18:33:37 GMT

"The only way you can predict the future is to build it." - Alan Kay

The world of film and television is rapidly evolving, driven by continuous technological advancement and the insatiable global demand for content. As we look towards 2030, the localization industry stands at the forefront of this transformation, poised to redefine how audiences worldwide experience their favorite shows and movies. To thrive in this dynamic landscape, localization companies must adapt and innovate.

Embracing AI and Machine Translation

The media and entertainment (M&E) industry must fully embrace artificial intelligence (AI) and machine translation (MT) technologies to remain competitive. By 2030, these solutions will be sophisticated, enabling accurate, context-aware translations and event identification. However, human oversight will remain crucial for quality assurance and guaranteeing cultural nuances are correctly identified and cataloged. To be prepared, M&E companies must investigate and integrate cutting-edge AI/MT solutions into their workflows. At the same time, they should cultivate teams that can quickly assess AI/MT output to maintain the highest quality and preserve the story's integrity.

Delivering Personalized Experiences

The personalized, culturally specific localization trend will intensify as streamers and TV manufacturers develop smarter, AI-driven user-level content filters. These filters will enable parents to limit their children's access to content based on criteria beyond age restrictions. For instance, if a parent smokes and is comfortable with their children seeing adults smoking on television, they can adjust the filters to allow such content on their TV.

To accommodate this trend, companies must develop expertise, data, and workflows that can process content in ways that cater to device, individual, or familial preferences, regional dialects, and cultural contexts. By leveraging cultural knowledge, data analytics, and user profiling, valuable insights can be unlocked to create personalized experiences that resonate authentically with their target audiences.

Mastering Immersive Media Localization

As virtual reality (VR), augmented reality (AR), and mixed reality experiences become mainstream, fully localizing these immersive and interactive formats will be critical, requiring rethinking existing workflows. While the dimensions and fields of view for TV and theatrical screens have remained relatively unchanged for decades, VR and AR products, such as Meta's Quest and Apple's Vision Pro, expand the field of view to 110 and 120 degrees, respectively. Moreover, The Sphere in Las Vegas offers a stunning 360-degree field of view. As the production of large-format titles increases, there will be a significant increase in the amount of content that needs to be analyzed to ensure compliance with cultural norms and regulatory requirements.

Specialized techniques, tools, and expertise must be developed to guarantee that the content produced for these environments adheres to regulatory and cultural expectations while fostering audience engagement and story authenticity. Collaboration between content creators, localization professionals, and technology providers will be essential to success in this rapidly evolving landscape.

Prioritizing Accessibility and Inclusivity

By 2030, accessibility will become a non-negotiable requirement in many countries worldwide. Subtitles, audio descriptions, and accurate dubbing will be an even more integral part of content delivery to consumers. The first step is understanding how each market requires accessibility and inclusivity to be addressed. Localization providers must establish workflows to ensure that relevant standards are understood and processes are in place to guarantee that localized content meets all legal requirements. This proactive approach will help content creators and distributors stay compliant with regulations and demonstrate their commitment to creating an inclusive and accessible viewing experience for all audiences.

Building the Future

As the localization industry plays a vital role in shaping the future of global content distribution, Spherex's innovative Spherex AI ™ platform empowers localization companies to efficiently and effectively adapt content for diverse audiences worldwide. By leveraging Spherex's advanced AI, extensive cultural knowledge, and deep understanding of regulatory requirements, localization providers can streamline their workflows, ensure compliance with local norms, and preserve the integrity of the original content. Integrating Spherex AI ™ into their processes enables localization companies to deliver personalized, immersive, and inclusive content experiences that resonate with global audiences.

As the industry evolves, partnering with Spherex will be crucial for localization companies to build a future where they can successfully navigate the complexities of global content distribution and unlock the full potential of storytelling in the international marketplace.

The NAB Show 2024: Unveiling the Future of Media and Entertainment

Mon, 08 Apr 2024 22:48:17 GMT

Technology continues to drive change and opportunity.

In the fast-paced world of media and entertainment, the buzz around transformative technologies can shift in the blink of an eye. Just two short years ago, blockchain was the rage, with its promise of revolutionizing content rights management, royalty payments, and fan engagement. Fast forward to 2024, and the industry's gaze has turned to the inspiring potential of artificial intelligence (AI). From content creation to image generation to personalized recommendations, AI has swiftly become the new darling of the M&E sector, leaving blockchain as a mere footnote in people’s memories.

This year’s NAB Show 2024 has a clear focus on the transformative power of AI. One of the most significant trends to watch out for is the integration of AI across the entire content creation pipeline. From script generation to post-production, AI-powered tools, like Spherex AI ™, will streamline workflows and unlock new creative possibilities. Companies across the industry are encouraging media executives to embrace AI analysis and generative tools in their television and film productions. The challenge will be finding tools that provide direct project benefits without adding undue oversight or risk.

Another critical focus at NAB 2024 will be the continued shift towards IP and cloud-based solutions. Exhibitors will showcase cutting-edge products that leverage these technologies for remote production, playout, channel branding, and routing. The transition to IP-enabled infrastructures has been a long time coming. Still, the past year's events have accelerated the need for flexible, scalable, and location-agnostic workflows. As broadcasters and content creators adapt to the new normal, the cloud has become an indispensable ally in ensuring business continuity and fostering collaboration.

Of course, no discussion of the M&E landscape is complete without touching on the streaming revolution. With over-the-top (OTT) platforms now dominating video consumption, NAB 2024 will feature many products and panel discussions centered around streaming technologies. From content protection and video quality monitoring to ad insertion and personalization, exhibitors will showcase innovative solutions designed to help content owners and distributors thrive in the streaming era.

As we approach NAB 2024, it's clear that the media and entertainment industry stands at a crucial juncture. The rapid pace of technological change, coupled with shifting consumer behaviors, presents challenges and opportunities for broadcasters, streamers, content creators, and solution providers. While blockchain may have taken a backseat, the rise of AI, IP, cloud, and streaming technologies are profoundly reshaping the industry. The NAB Show 2024 offers a glimpse into this exciting future, and attendees can expect to be inspired, challenged, and empowered as they navigate the ever-evolving media and entertainment landscape.

If you are attending NAB this year, add Spherex to the Exhibitor Show Planner on your MyNABShow app. We are in the West Hall at booth W2217. If you or a colleague need an exhibition floor pass, follow this link and use code NS7763 to obtain one for free.

We look forward to seeing you in Las Vegas!

Spherex To Demo its AI-powered Video Compliance Solution at NAB 2024

Wed, 27 Mar 2024 21:03:34 GMT

Santa Clara, CA (March 27, 2024 ) — Spherex , a global technology and data company serving the Media and Entertainment industry, will showcase Spherex AI ™, its pioneering AI platform for video content compliance and analysis, at NAB 2024 in Las Vegas from April 13 to 17. The Spherex AI ™ platform empowers content owners to adapt their narratives for the broadest international audience while avoiding regulatory restrictions and censorship barriers. Spherex will be exhibiting at Booth W2217 in the West Hall of the Las Vegas Convention Center.

Spherex AI ™ drastically reduces the time and resources required for video content localization, mitigates the risk of cultural insensitivity or noncompliance, and enables creators to accelerate expansion and reach the right audience faster, cost-effectively, and without brand risk. The platform scans film, TV, or advertising content quickly and affordably, making it the ideal solution for verifying the suitability of any video content for any global market.

“Today, content providers and streaming platforms must navigate complex regulations and cultural norms to operate successfully in different markets,” said Teresa Phillips, Co-founder and CEO of Spherex. “By seamlessly integrating sophisticated AI with cultural and regulatory insights, Spherex helps content creators, studios, distributors, and platforms unlock new markets, broaden their audiences, and increase revenue.”

At the heart of Spherex AI ’s™ innovation is its proprietary AI technology, based on a decade of meticulous research and analysis of laws, regulations, and film/TV classifications in over 100 countries, as well as the screening of millions of film and TV clips for training and validation.

Unlike conventional methods that employ AI and Machine Learning (ML) to identify objectionable content in a scene, Spherex uses advanced techniques to interpret the cultural context surrounding classifiable elements such as drugs, violence, sexuality, and profanity. Understanding the context is crucial because it's not just about the events happening in a video or who is involved; it's about comprehending the setting, characters, impact, and consequences. These factors are essential in determining local age ratings and cultural suitability for worldwide markets.

To book a meeting with Spherex at NAB, contact Davinder Lu thra here .

About Spherex

Spherex is a global technology and data company transforming how media and entertainment enterprises create, adapt, and deliver film and television to audiences worldwide through AI and machine learning. With unmatched expertise in culture and regulatory compliance, Spherex works with the world's largest media companies, movie studios, networks, distributors, and streamers to build larger audiences, speed up content discovery, drive more video views, and generate higher revenue. Learn more at www.spherex.com .

Three Criteria to Consider When Adding Generative AI to Your Production Workflow

Tue, 05 Mar 2024 23:04:27 GMT

The rise of generative AI is transforming the film and television industry, promising to revolutionize everything from scriptwriting to animation. But before jumping on board the hype train, Media and Entertainment (M&E) companies need a clear vision of integrating generative AI into their workflows. Here are three critical criteria to help you decide if it's cut out for your production:

1. Accuracy & Transparency: Avoiding the AI Mirage.

Generative AI thrives on data, weaving narratives and visuals from its vast knowledge base. However, this can be a double-edged sword. Like a mirage, AI can sometimes generate convincing but factually inaccurate outputs. Imagine a news report relying on AI-generated footage or a documentary with fabricated historical figures. Trust is paramount in film and television, so M&E companies must prioritize solutions offering:

Transparency: Choose tools that provide clear information about the data sources used for generation. This allows for verification and ensures the outputs align with your brand's ethical and factual standards.
Control Mechanisms: Opt for solutions that allow you to guide the AI's output. This could involve providing specific keywords, stylistic preferences, or factual constraints to ensure the generated content adheres to your vision and avoids hallucinations.
Human-in-the-Loop: Remember, AI is a tool, not a replacement for human expertise. Integrate generative AI into your workflow with a human oversight layer, ensuring factual accuracy and preventing the spread of misinformation.

2. Time & Cost Efficiency: Cutting Corners, Not Quality.

Film and television production is notoriously time-consuming and expensive. Generative AI promises to reduce that by automating repetitive tasks and generating assets at scale. However, consider these points before adopting a specific tool:

Specific Needs Assessment: Identify the tasks within your workflow that are most time-consuming and repetitive. Consider if AI automation can truly streamline these areas without compromising quality.
Return on Investment (ROI) Calculation: Don't be swayed by hype alone. Quantify the expected time and cost savings that AI can bring. Compare this with the investment cost and ongoing maintenance needs to ensure a clear ROI.
Scalability & Flexibility: Choose solutions that can adapt to your specific project needs and scale up or down as required. Consider whether the AI can handle diverse project types and styles without significant adjustments.

3. Human Empowerment: Boosting Creativity, Not Replacing It.

Generative AI shouldn't replace the human touch in storytelling. Instead, it should empower your teams to be more creative and productive. Look for solutions that:

Enhance, not Replace: Choose tools that complement your team's skills by generating drafts, scripts, or visuals that can be further refined and personalized.
Spark New Ideas: Consider AI-powered brainstorming tools that can help teams explore diverse possibilities and overcome creative roadblocks.
Reduce Administrative Burdens: Opt for solutions that automate tedious tasks like script formatting, asset organization, or research, freeing your team's time for higher-level creative pursuits.

Remember, generative AI is a powerful tool but not a magic bullet. By carefully considering these three criteria, film and television production companies can make informed decisions about integrating AI into their workflows, achieving greater efficiency, accuracy, and creativity.

Additional Considerations:

Ethical Implications: Be mindful of the potential ethical implications of using AI in storytelling. Consider issues like bias, representation, and the potential for manipulation.
Data Security & Privacy: Ensure the chosen AI solution adheres to data security and privacy regulations, especially when dealing with sensitive information.
Continuous Learning & Adaptation: The field of generative AI is constantly evolving. Choose solutions with ongoing development and support to ensure you remain at the forefront of technological advancements.

By taking a thoughtful and strategic approach, M&E companies can harness the power of generative AI to create cutting-edge film and television experiences while staying true to their stories and values. Spherex AI ™ was built from the ground up with this objective in mind. We invite you to see how it can make preparing video content for global markets easier than ever at NAB 2024 in Las Vegas on April 13-17 at booth W2217. Click here and use code NS7763 to register and get into the exhibit halls for free care of Spherex.

Will generative AI become indispensable in your content creation workflows? With careful consideration, it could be a welcome addition to ensuring your next project is ready for prime time worldwide.

Countering Inappropriate Content with AI Innovation

Thu, 15 Feb 2024 19:40:54 GMT

In the digital age, the proliferation of inappropriate or objectionable content in social media, film, and TV has become a significant concern. This content, which can range from explicit material to hate speech, poses a threat to individual users and businesses that operate within these platforms. This issue becomes even more complex when we consider the global nature of these platforms and the need for content localization. The advent of Artificial Intelligence (AI) can play a pivotal role in addressing these challenges, including some of those it is expected to cause.

The Problem

The issue of inappropriate content is multifaceted. For one, it exposes users, particularly young ones, to material they are not developmentally ready for. It often happens that regulators for entire markets may find the content so objectionable that they prohibit or restrict how and where it can be shown. Furthermore, it can damage the reputation of businesses associated with these platforms, especially if their ads appear next to such content.

Content creators, distributors, or platforms are increasingly held responsible for objectionable content through laws such as COPPA in the U.S. and GDPR in Europe. Legislative bodies from around the globe are debating new laws or regulations to ensure only age-appropriate content is available to their citizens. All indications are the problem will get worse before it gets better.

The Impact on Film and TV Content Localization

Localization refers to adapting content to make it culturally and linguistically suitable for a specific target audience in a particular region or country. The presence of inappropriate content can significantly impact the decision-making process around content localization for global media markets and streaming platforms.

For instance, content creators must be aware of cultural sensitivities to avoid alienating their audience. They must consider the potential double meaning, unintended connotations, or offensive expressions in slogans, names, jokes, and idioms and find brand-secure alternatives. They must be aware of the types of imitable behavior some populations find objectionable. This is especially important when localizing content for different cultures.

Moreover, inappropriate content can affect simple things like trailers, visual aesthetics, and other critical elements of how content appears in an advertisement. It can also impact content placement and rankings as platforms use metadata to restrict objectionable content from appearing in search and language-compatible search engines.

Countering Inappropriate Content with AI Innovation

AI will play a transformative role in countering inappropriate content. AI algorithms can scan and analyze vast amounts of data, flagging potential compliance issues and violations. This helps professionals identify and address any non-compliant content more efficiently.

AI can also automate the monitoring and analysis of content, providing insights into the type of content and where ads can appear. This can help protect brands by ensuring their ads do not appear in the wrong places, such as airing adjacent to inappropriate content or extremist or fake news sites. Furthermore, AI can assist in content moderation. AI moderates user-generated content more efficiently and accurately. It can analyze text, images, and videos to identify inappropriate or offensive content, which can then be timestamped and flagged for review and further action.

In conclusion, the issue of inappropriate content is complex and requires a multi-faceted approach. By working together, media and entertainment companies, content creators, studios, and content distributors can create a safer and more respectful digital environment. The advent of AI technologies provides promising solutions to mitigate the problem of inappropriate content, ensuring content compliance, corporate responsibility, and brand safety. Spherex AI ™ is the premier platform for delivering AI/ML-based analysis of any form of video content for any market worldwide. If you have global distribution aspirations, adding Spherex AI ™ to your workflows is an intelligent way to ensure your content reaches its broadest audience quickly and safely. Contact Spherex today for a personal demonstration.

Reel Controversy: Creative Freedom vs. Compliance in Malaysia

Tue, 30 Jan 2024 19:24:42 GMT

Navigating international distribution is challenging and risky.

In the ever-evolving media and entertainment landscape, the intersection of legal constraints and cultural sensitivities is a pressing concern for creators and industry professionals. The recent controversy surrounding the film "Mentega Terbang" in Malaysia, highlighted in three insightful articles: Time , Free Malaysia Today , and South China Morning Post , shed light on the complex challenges of navigating legal and cultural issues.

Mohamad Khairianwar Jailani, the director and co-scriptwriter of "Mentega Terbang," and producer Tan Meng Kheng find themselves entangled in legal proceedings, facing charges related to violating laws safeguarding religious feelings. The backlash indicates the importance of understanding the country-level regulatory landscape of releasing content. Industry stakeholders must stay informed about content creation and distribution regulations, which is crucial, especially in culturally diverse regions like Malaysia.

One of the articles emphasizes the director's perspective that censorship is a significant hurdle to the growth of the film industry. This viewpoint underscores the delicate balance between artistic freedom and compliance. Executives must be aware of censorship challenges and work towards finding solutions that foster creativity while respecting cultural sensitivities and legal boundaries.

The threat of potential jail time for insulting religious feelings, as discussed in the South China Morning Post article, adds another layer of complexity to the situation. Such legal consequences have critical implications.

For those in media and entertainment, grasping the nuances of diverse cultures and respecting local sensitivities is a moral and strategic obligation.

The "Mentega Terbang" contention is one of many daily stories dominating global headlines, indicating that media and entertainment should proactively address legal and cultural challenges. To that point, ensuring they're ready for the market is essential. We've written about the best practices for preparing films and series for global distribution. No global video compliance platform can reduce these costs more accurately than Spherex AI . Contact us today to learn how we can help get your content to market faster during regular and challenging times.

By staying informed about the legal landscape, advocating for a balanced approach to censorship, and fostering cultural literacy within their teams, executives can lead the industry toward a future where creativity thrives without compromising cultural respect and legal compliance.

Which is More Regulated, Film or TV?

Tue, 12 Dec 2023 18:04:54 GMT

The answer is tricky.

Ask the average consumer if there's any difference between film and TV ratings, and they'll probably say “No." However, there are significant differences, as the above image from the MPA and TV Parental Guideline Monitoring Board indicates. From a content creator and distribution standpoint, preparing a title for television can require as much, if not more, content analysis and work to ensure it complies with local regulations.

The primary regulatory and market concerns of theatrical releases center on age ratings and compliance. TV distribution must also be concerned with the placement of commercial breaks, available run-time, watersheds, and more. Each impacts audience size and attractiveness to advertisers, affecting the bottom line.

Addressing these issues means understanding the story well enough to know where to break, what to bleep, blur, or cut, and when it will air. Given broadcast time constraints, changes can be easier to make than theatrical releases, but consumers expect the story to remain as true to the theatrical release as possible. That becomes trickier as one navigates international borders and encounters different age classifications, cultures, and languages.

Comparing Classifications

Most countries and territories have some form of film and TV classification system. Some are run by official government ministries, agencies, or the industry itself. Film classification boards have existed since the early 1900s. Ratings in those early days were considered moral guidelines without reference to age. These were implemented in a way many thought was overly restrictive and political and had “ the odious smell of censorship. ” Age-based classifications that were more acceptable to the global film industry have existed since the 1920s but were not widely adopted until 1968. Viewer age or maturity is the standard classification model used today.

The table below illustrates the differences between film and TV classifications for six countries. It indicates the complexity of content classifications across countries.

Countries may also require "consumer advice" or “advisories” appended to the age rating every time they appear, such as at the program's start and after each commercial break. Advice used in Australia, for example, includes the following:

A identifies stories or scenes with adult themes, medical procedures, or crude humor
V used for scenes depicting violence
L used for the use of coarse language
S used for scenes depicting simulated sex scenes and/or references
H used for scenes containing horror or supernatural themes
D used for scenes with drug references and/or use
N used for titles or scenes containing nudity

Regulators may also require indicators of intensity or frequency included with the advice, such as "mild" and "strong" or "some" and "frequent." Examples are "strong language," "intense fight scenes," or "disturbing visuals." Theatrical releases do not use these flags.

While movie and TV ratings may seem similar to the average consumer, a closer look reveals deep complexities. From navigating diverse international regulations to adhering to platform-specific restrictions, content creators and distributors face a delicate balancing act. This intricate dance between regulations, audience preferences, and commercial viability ensures that content reaches suitable viewers while staying true to its original form.

As technology and viewing habits evolve, so will the need for flexible and nuanced classification systems that cater to the ever-advancing entertainment landscape. The good news is that Spherex provides a suite of services to help you easily navigate this process. Contact us today to learn more.

The Complexity of Ad Placement Today

Mon, 20 Nov 2023 23:01:45 GMT

Where and when ads are placed is a big deal.

That Was Then

Not long ago, ad placement was simple. If it were a household product, the ad would air during programs catering to women, such as game shows or soap operas. Sporting events hawked alcohol. And Saturday morning cartoons were packed with promotions for toys and sugary cereals. There was rarely drama about ads and where they appeared.

This is Now

The complexity of ad placement today has risen because of never-before-advertised merchandise that is now regularly promoted. It is ordinary to see ads for CBD products, sexual dysfunction medications, gambling apps and casinos, prescription drugs, and, in the few countries that still permit it, tobacco ads.

That you can watch these ads on linear or streaming TV and D2C platforms indicates the evolution of industry and society. Products and businesses previously restricted or illegal, such as CBD and gambling, are no longer. Second, public acceptance of these products or services has influenced regulators to be more lenient in allowing promotion. Finally, while regulators now allow these ads, they strictly control where and when they air. Ignoring the rules can result in hefty fines .

Advertising is Regulated Content

The growth of streaming and DTC makes ad placement decisions more complicated than ever. With the vast array of media channels available, advertisers need to understand more than just demographics to reach the right audience while maintaining brand safety. Deciding whether, where, and when to place an ad requires a deep understanding of the target audience and the media landscape. Advertisers must pay greater attention to where classifiable elements such as violence, offensive language, and drug and alcohol use occur within a title, and adjacency so they can place their ads appropriately. Getting it wrong can have severe brand and economic consequences and may create a lot of bad press .

It's Not Simple

It would be one thing if it were as easy as ensuring the ad generally fits the audience. But it gets complicated quickly. Standards vary widely, and it is a mistake to think ad standards are the same as age standards. National and industry groups such as the Advertising Standards Agency ( ASA ) in the UK, the Federal Trade Commission ( FTC ) in the US, and the IAB have similar general guidelines. Still, enough differences exist, so an identical ad acceptable in France may not work in the UK.

Platforms and CTV providers can have their own ad placement and time criteria. Samsung, for example, has distinct ad standards that are sometimes more restrictive than the government or competitors. Samsung does not allow ads promoting alcohol use anywhere except in the US and Canada. Even then, those ads are time-restricted to 6 pm to 4 am. Moreover, product ads, including the portrayal of excessive or underage drinking, must be reviewed.

Roku's General Guidelines ban ads that include tobacco products, drug, or alcohol paraphernalia, and more. Any ad to be served by Roku requires a mandatory review.

Avoid Problems

Advertisers are under increasing pressure to ensure their ads are appropriate for the audience, the show, and the time of day. It is crucial to have regulatory market knowledge to ensure ads are compliant to avoid the risk of fines or impact on brand safety or reputation. Fortunately, Spherex offers a fully vetted and regulator-approved series of tools to eliminate all the guesswork and risk. If you're in the ad space and want to protect your clients and brands, If you're in the ad space and want to protect your clients and brands, contact us today.

Q3 2023 Most Censored Content

Wed, 11 Oct 2023 18:05:56 GMT

There is no immunity from Censorship.

Here we are at the end of another quarter, and dozens of movies and series were subjected to censorship threats, forced edits, or country bans. Regardless of whether a title is popular, where it originated, or where it's being shown, none of that was a defense against the censor's scrutiny.

One doesn’t have to look hard to find titles subjected to censorship in Q3. Here's a short list of the quarter's top releases and where they're edited or banned.

1. “Barbie” - Banned in Kuwait, Oman, Bahrain, Egypt, Qatar, Russia, Vietnam, Pakistan, and Algeria

2. “Oppenheimer” - Banned in Japan, edited in India, Indonesia, Pakistan, UAE, and Saudi Arabia

3. “Yellowstone” - Episodes heavily edited for US broadcast release

4. “Bluey” - Children's cartoon episodes banned or revised in the United States and United Kingdom

Plenty of other titles lesser known to Western audiences have run afoul of regulators and certification boards worldwide. APAC films and TV series such as "OMG 2," “Gadar 2,” and “The Kerala Story" are just a few examples. With regulators' increased focus on identifying and labeling objectionable content along with rising political pressure, it is safe to say there is no reason to believe standards will relax any time soon.

Different Content, Same Complaints

If regulators are anything, they are consistent. Regardless of the country or culture, complaints about a title’s subject matter are remarkably similar: sex, drugs, LGBTQ+, alcohol, violence, profanity, national sensibilities, and religion/blasphemy are hot-button issues everywhere.

“Barbie” experienced trouble in Muslim countries because regulators felt the film promoted an LGBTQ+ lifestyle by casting a trans actor as “Doctor Barbie.” Southern Pacific countries bordering Mainland China banned the movie for including a cartoon map they felt represented an intrusion into their sovereignty. A nude Florence Pugh was clothed in “Oppenheimer” with a CGI black dress . Numerous scenes, including sex, drug, violence, and profanity in “Yellowstone” were edited for its broadcast release, much to the dismay of series viewers. The Australian animated series “Bluey” removed discussions of neutering and images of dog poop, unicorns, and flatulence sounds.

How to Avoid Trouble

While censorship and bans didn’t impact Barbie’s $1.4B+ box office , they can and do influence lesser-known titles. Not everybody “gets it,” but regulators take seriously their mission to protect citizens from objectionable content. Anyone seeking to release content into their markets must consider its classification process—even the big titles. What’s the best way to prepare content for international distribution?

The only platform guaranteeing compliance with film or TV regulation is Spherex AI . The technology comprises a decade of content rating and analysis knowledge and experience. By submitting a single movie or a catalog of thousands of titles, content creators, directors, advertisers, distributors, or platforms can obtain appropriate age ratings for 200+ countries and territories, eliminating brand and market risk. To ensure your title reaches the broadest audience while maintaining story integrity, contact Spherex today.

The State of AI in Media and Entertainment

Wed, 04 Oct 2023 20:22:45 GMT

Insights from IBC2023

It’s hard to believe nearly a year has passed since Generative AI’s coming out party. The WGA and SAG-AFTRA strikes had AI at the center of their negotiations. Industry conferences, including the recently concluded IBC 2023, spent many hours discussing, publicizing, and revealing Generative and Predictive AI products. The investor community is intensely focused on it, investing a reported $91.9B in the industry last year. Academics and regulators try to understand and predict AI’s impact and influence on society, and critics wonder if Gen AI might be this year’s NFT. AI certainly has people’s attention.

Attention is one thing, but utility is another. The questions people need to ask are: how useful is it, and what are the risks? We’ve written before on AI in M&E here , here , and here , discussing many of these issues. AI was a significant topic of discussion at IBC, and here are a few observations on the state of AI in M&E in 2023.

The Promise of AI for M&E

John Footen, Managing Director for Media & Entertainment at Deloitte, was one of many IBC 2023 speakers to express the industry’s hopes for AI. “AI has possibilities in production/post-production and distribution. An AI that creates or adjusts content based upon who is in the room, the story, the culture, and the language has a future in the industry.” He said Generative AI “could” blur or remove blood from horror movies to allow it to show in markets where such content is prohibited. Thus, AI could simplify creating optimized releases for any market or platform and be built into smart TV operating systems.

Other AI applications are aiding the targeting of specific advertising based on who’s watching a show, analyzing data to make better content recommendations to consumers, translating languages in real-time, and generating new audio, video, and effects content creation on demand.

Some of these technologies are already coming to market. The new Ryoo Seung-wan film “Smugglers” uses Flawless’ Generative AI tools, referred to as “visual translation,” to graphically modify mouth movements to precisely sync the English dub onto the Korean actor’s faces; it is the first full-length film foreign-language application of the technology.

AI Limitations

Clint Eastwood’s iconic line from the film “Magnum Force” was, “A man’s got to know his limitations.” This admonition certainly applies to the adoption of AI technology, especially now. While products are being released that use AI, experts warn relying too heavily on new technologies presents risks that must be thoroughly understood before making a significant commitment.

Garrett Goodman from Papercup put it this way. “The barriers of entry (for AI) into localization are low,” he said, “because there are plenty of models available for simple language translation. But it’s more complicated than that. The source data used in training is an important factor because, with incomplete models, it’s easy for a machine to miss something a human would catch instantly.” He went on to say that even with their investment in developing smaller, specialized models using voice actors and experienced translators, when it comes to localization, “the human touch” remains a critical component of their product delivery.

The new WGA agreement establishes guidelines for the use of AI in the writing process and recognizes both its challenges and risks:

1. AI can’t write or rewrite literary material, and AI-generated material will not be considered source material.

2. A writer can use AI when performing writing services if the company consents and provides that the writer follows applicable company policies. Still, the company can’t require the writer to use AI software (e.g., ChatGPT) when performing writing services.

3. The company must disclose to the writer if any materials given to the writer have been generated by AI or incorporate AI-generated material.

4. The WGA reserves the right to assert that exploitation of writers’ material to train AI is prohibited by MBA or other law.

The Early Results Are In

AI has begun to transform our lives and our businesses. The extent to which AI impacts M&E has yet to be determined, but, as we have seen, content localization is one sector already acknowledging the benefits. As a provider to the industry of manual content analysis and age-rating services for years, Spherex recognized the promise AI/ML had in improving efficiency, expanding territories, and enhancing workflows. After three years of development, Spherex greenlight ™ was released in October 2021 and revolutionized how content is prepared for international distribution. Since then, the Spherex AI platform has won numerous industry awards and has been approved by regulators worldwide as the one public tool available to any content company seeking regulatory approval for any film or TV title.

If you want to learn how AI can help you distribute your content globally, please click here or email sales@spherex.com

Global Streaming: The Power of Foreign-Language Titles

Tue, 26 Sep 2023 16:37:57 GMT

25-35% of consumers watch international content.

When the summer box office hinted the movie business was returning to pre-pandemic normal, the WGA and SAG/AFTRA strikes halted productions , and studios once again needed a source of new content. Although some titles were completed, the strikes meant that until the parties reached an agreement, no union members were available to promote films or series. As has been reported at this year’s Toronto International Film Festival (TIFF), deals aren’t happening because all sales must conform to the final negotiated settlements, and studios are reluctant to spend money on deals until the terms are known.

Déjà vu All Over Again

The result is a situation that feels a lot like 2020. The COVID-19 pandemic halted film and TV productions worldwide, theaters closed, and revenues suffered significantly. Major movies scheduled for release were locked out of theaters. With massive financial losses staring them in the face, studios created the “ cross-platform ” distribution strategy to monetize content to recoup as much of the costs as possible. Sometimes the strategy worked , and sometimes it didn’t.

A Very Real Problem

Like now, studios were challenged in monetizing theatrical releases when the pandemic lasted longer than hoped, and with no new content in the pipeline, platforms had to find something to feed the public’s voracious viewing appetite. There were large libraries to pull from, but research shows that 67% of American consumers preferred watching first-run or recently released titles to something older. Of those, 50% said they will pay to watch new titles at home. Seventy-six percent of UK and US Gen Z/millennials watch foreign language films, even if they use subtitles . Given the economic situation, studios and platforms understood they had to find new content “somewhere,” and they found it overseas.

Past Success Predicts Future Behavior

Many of the most watched series and films released during the pandemic and since are foreign language productions: “ Squid Game ” (Korea), 2.1 billion minutes, “ Money Heist ” (Spain), 69 billion minutes, and “ All Quiet on the Western Front ” (Germany) was watched an estimated nine billion minutes. Each had subtitles and audio dubs and still garnered massive audiences.

Across its catalog, Netflix estimates that 60% of its 230 million subscribers have watched Korean titles. A Parrot Analytics analysis of viewer behavior in late 2022 found that 8 out of 10 top Netflix shows were foreign language titles. It found foreign title viewing also surged on Disney+ and AppleTV+ platforms.

Lessons Learned

Those successes taught studios some critical lessons. First, today’s audiences are more receptive to foreign titles and have overcome what “ Parasite ” director Bong Joon Ho called the subtitle “one-inch barrier.” Second, because many foreign films or series hadn’t aired outside their native countries, they were “new” content to international audiences. Third, foreign actors are less necessary for promoting it than for large-budget Hollywood titles. For example, not one actor in “Squid Game” promoted the series outside Korea during its release. Lastly, and more relevant to today’s situation, many foreign writers, directors, and actors are neither WGA nor SAG/AFTRA members. Thus, development, production, release, and promotion can continue during the strike with some limitations.

Foreign Titles to the Rescue

Foreign titles are again filling the content gaps at a time when production and post-production have come to a halt. In August alone, Netflix added 76 new titles to its catalog, and more than half (52.6%) were foreign language productions. Although that’s one example from one studio, that’s not uncommon these days, but it’s also not normal. That could very likely change.

As more international titles are released, ensuring they’re ready for the market is essential. We’ve written about the best practices for preparing films and series for international distribution. With uncertainty about production, release, and distribution schedules occurring more frequently, it’s wise to incorporate a process for ensuring your titles are correctly localized and compliant into your everyday workflow. No other global video compliance platform can reduce these costs more accurately than Spherex AI. Contact us today to learn how we can help get your content to market faster during regular and challenging times.

How Cross-Platform Release Windows Impact Localization & Local Age Ratings

Tue, 05 Sep 2023 15:27:56 GMT

In early 2020, the COVID pandemic forced studios to rethink how and when to release major motion pictures. The pandemic cut available theaters and release times by more than half, and the industry and revenues worldwide suffered significantly. With the public no longer able to watch films in person, a new strategy for releasing theatrical films was necessary, and the "Cross-Platform Release" strategy was born.

The concept is straightforward: release premium first-run titles in as many theaters as possible (if at all), then soon after on Transactional Video-on-Demand (TVOD), where consumers could buy or rent it. If a title was underperforming in certain markets, it could be released on Premium Video-on-Demand (PVOD) to help bolster awareness and revenue. Then, based on consumer response, release it on SVOD. Previously, a first-run film could be released domestically in over 4,300 theaters and run for months before it went to TVOD or SVOD.

Necessity is the Mother of Invention

A perfect example of this strategy is the Disney/Pixar animated film " Onward ." The film opened the weekend of 6 March 2020, in 4,310 theaters to $39.1M in revenue. Thirteen days later, it was still in 4,310 theaters, but COVID reduced daily audiences, and revenues fell to $33,296. With a budget of $175M, making $61.5M worldwide at a time when theaters were closing wasn't going to cut it. Pulled from theaters on 19 March 2020, the film was released on TVOD the next day. It was released to SVOD two weeks later. Using a combination of TVOD and SVOD, "Onward" went on to gross $142M worldwide when projections were it should have done much more.

Fast forward to today when people are back in theaters (" Barbie ," anyone?), and theatrical releases compete with big-budget, first-run streaming titles. Among the lessons learned from the pandemic were studios recognized some consumers prefer watching movies at home to physically going to theaters. Consumers, especially families, were willing to wait weeks to avoid crowds and risk their health.

The cross-platform release strategy allowed studios to use traditional distribution to release titles, meet consumers where they were, and extend the revenue life of films before they went to SVOD. The current movie " Meg 2: The Trench ," which, despite grossing $353M worldwide since its 4 August release, grossed just $74M in the U.S., prompting Warner Brothers to release it to TVOD 20 days later. The film was the "Top 10” TVOD title for the week ending 27 August.

It's the Same, Only Different

There has always been a form of the “cross-platform release strategy,” but not like today. In the “old days” of the 1980s through the late 2010s, a movie was released in the theater and then went to videotape or, later, DVD where it could be bought or rented. Streaming made wide distribution possible, and COVID accelerated consumer dependence on streaming because they had nowhere else to go for entertainment. Consumer behavior changed permanently as a result. While economics remains the critical factor, content creators and distributors that depend on international distribution to extend the financial life of their work make ensuring it is ready for global audiences imperative.

Streaming and Regulation Complicates Localization and Distribution

There is a lot to consider when preparing titles for cross-platform release. Not only is language translation a critical component of the process, but costs related to subtitling and audio dubbing, regulatory compliance and any required edits, multi-lingual marketing, and distribution can vary significantly across platforms.

For example, a title released theatrically likely has different age rating criteria than one heading for linear or streaming distribution in the same country. Those differences can impact age ratings, watershed, and even the types of platforms or channels where it can be released. The refusal to edit or change a film’s offensive language or action to earn a lower TV age rating could force it into late evening airtime, significantly reducing audience size and advertising revenue.

Navigating these obstacles requires expertise not typically available to everyone who owns or licenses content for non-native language markets. Here are some suggestions for making the process go more smoothly.

First Things First

The first step in solving a problem is understanding it. Last year, we discussed the five key steps to preparing a global release title. In that post, we share the hows and whys for thinking about international releases early in the production process, learning as much as possible about your audience, and not being afraid to ask for help. These tips are as relevant today as they were a year ago.

Failing to Plan is Planning to Fail

The time required to prepare an original film or TV series for international release is substantial. While localization is the most time-consuming part of the process and can take months, other overlooked components exist. There can be fundamental differences between literal script translation and addressing cultural issues that will impact ratings. For example, how drugs are used or represented matters to audiences, and regulators in dozens of countries worldwide can be stringent in ensuring the audience doesn’t see something they shouldn’t. Failure to know those differences and plan accordingly is sure to impact its age rating, its audience, and your revenue.

Think Locally, Plan Regionally

Spherex is helping creators streamline the global distribution process by identifying cultural events within titles that are problematic for audiences and regulators. One of the things we’ve found is that while localization is “local,” there are regions where similar sensibilities exist. If you consider where films are being censored or banned for specific types of content, you’ll note many countries have similar cultures, religions, forms of government, and regulations. Using the Spherex AI platform, you can identify similar markets; and instead of creating separate versions for individual countries, you may be able to prepare a single release and distribute it regionally. This strategy expands your content’s markets and further monetizes it, reducing post-production localization and distribution expenses.

Cross-platform releases are here to stay. It results from the COVID-19 pandemic, such as the broader adoption of streaming as an entertainment source and a significant change in consumer behavior. After a title has run its theatrical course, there are plenty of opportunities to reach even larger audiences using this strategy. Spherex is the only AI platform with years of experience providing the intelligence and guidance creators and studios need to ensure their content reaches the largest audience with the lowest brand risk. The secret is knowing and planning. Click here to learn more about how Spherex can help your titles succeed.

Why is Everyone Watching TV with the Subtitles On?

Tue, 15 Aug 2023 12:29:32 GMT

Some of their reasons may surprise you!

If you’re older than a Millennial, there’s a good chance you’ve rarely watched TV with subtitles onscreen. When you did, it was probably sitting with someone hearing impaired or watching a foreign language film.

Subtitles or captions were initially called “ intertitles ” and were used to insert dialogue into a film between scenes to help tell the story. Intertitles were made obsolete as a primary component of storytelling when the industry adopted sound projection technologies. Even as “talkies” reduced their utility, intertitles evolved to take up less space onscreen and provided a method for foreign title language translation. Beginning in the 1970’s, captions andsubtitles were developed to expand access to hearing-impaired audiences and are now found on every video content platform.

Non-traditional Use of Traditional Subtitles

The wide availability of new viewing and distribution methods has allowed consumers to find uses for subtitles beyond their traditional purposes. Examples include:

Watch content without disturbing or disrespecting others
Enjoy content while being too far away from the screen to hear it
Follow the dialogue when the content’s background noise makes it difficult to hear
Help the audience understand accents or dialects
Follow conversation when actors speak quickly or over each other
Enjoy content in loud places, such as a gym or a bar

Surveys show consumers have discovered other ways to use subtitles in their daily lives:

Encourage children to learn to read
Make it easier to comprehend or learn song lyrics
Assist in learning a new language
Facilitate watching content on social media apps with the sound off, e.g., YouTube, TikTok, etc.

Consumers will continue to find new ways to watch and enjoy content. We’ve written about why localization is challenging, and these additional opportunities highlight the need for subtitles and captions to be accurate and complete.

Avoiding cultural missteps and ensuring quality is complicated by the realities of preparing titles for international release. Contact Spherex today to learn how our award-winning AI/ML platform can help you get to market faster, reach the largest global audience, and maintain brand safety.

Spherex IBC 2023 Preview

Mon, 31 Jul 2023 17:30:00 GMT

Experience Spherex AI September 15-18

Over the last two years, Spherex AI has been recognized by some of the Media and Entertainment (M&E) industry's top organizations and publications for AI leadership and technical excellence. This ground-breaking product automates reviewing titles for content compliance at a territory level. It identifies objectionable content based on local regulations and cultural sensitivities, from inappropriate language to nudity, violence, and more.

Spherex will demonstrate its award-winning AI/ML platform at IBC 2023 in Amsterdam on 15-18 September in Hall 5, Stand B89. We invite you to stop by to see how easy it is to prepare titles for global markets quickly and efficiently while eliminating brand risk.

Need an exhibit pass? Need an exhibit pass? Click here and use code IBC10553 to get one for free! This free pass is available only through 25 August, so don't delay! For a more personalized experience, schedule a meeting with us at IBC by clicking below.

How Are DEI Efforts Faring in 2023?

Wed, 19 Jul 2023 17:41:02 GMT

Consumers prefer to watch content that reflects their lives and culture.

In a world with thousands of cultures and languages, research shows audiences want diverse stories. Companies that provide those stories make more money. Do titles released in 2023 reflect audience preferences and expectations? Let’s see.

Diversity in Film

Using box office receipts as the metric, titles released in 2023 with diverse casts are doing well. Compared to last year’s top 10 titles, DEI in films is improving. UCLAs Hollywood Diversity Report for 2022 (HDR) indicated only one of the year’s top ten films (10%) had a cast or lead character, including persons of color. So far in 2023, those numbers have increased to six out of 10 (60%), an improvement of 500% over 2022.

Source : BoxOfficeMojo.com (as of 7/11/23) & UCLA Hollywood Diversity Report 2023

The HDR noted that while the lead characters were white, eight of the top ten films had casts with greater than 30 percent minority. This mirrors their findings from 2019 and 2020.

Will the Trend Continue?

It certainly looks that way. Titles released in the first six months of 2023 indicate studios and platforms are taking the research findings to heart and providing consumers with preferred content. For example, The Walt Disney Company announced they would release o ver 20 Asian titles by the end of this year. Their 2022 Corporate Social Responsibility Report revealed that 49.1% of its series and film casts were people of color, and 46.7% were women.

In its recent Environmental, Social Governance Report 2022, Netflix reported that it produced titles in more than 50 countries, in over 30 languages, with more than 55% of their casts having females as leads or co-leads, 47% of those being people of color.

Time will tell if this trend holds, but consumers in 2023 continue to respond positively to stories that reflect who they are and their cultures. Despite criticism for adapting or telling more inclusive stories, studios and platforms forge ahead in their development. If the first half of 2023 predicts the future, they can take that criticism to the bank.

Barbie Controversy: Why is it Banned in Some Countries?

Fri, 07 Jul 2023 19:05:03 GMT

It's not for the reason you think.

One of the most anticipated releases this summer is director Greta Gerwig’s “Barbie,” starring Margot Robbie and Ryan Gosling. Billed as a movie to see whether you love or hate Barbie, it brings to life the doll first introduced in 1959. Censors in Vietnam and possibly the Philippines have decided to ban its release not because of the action, characters, or dialogue but for including a map both countries say violates their sovereignty.

Why the Ban?

The above image highlights the source of the controversy: the dashed line to the right of a blue area labeled “Asia.” Known as the “nine-dash” or “cow’s tongue” line, it is used by the People’s Republic of China to indicate its territorial waters in the South China Sea. Vietnam, the Philippines, other countries which border the South China Sea, and the International Tribunal at The Hague say the line illegally extends into their territorial waters and threatens their sovereignty. These countries view any depiction of these lines being legitimate are sufficient grounds to ban any show or title, as many have done recently, including Sony’s “ Uncharted ” and DreamWorks “ Abominable .”

When Imagination and Cultural Sensitivities Collide

Despite the words “Real World Map” at the top, the map is not, nor was it intended to be, a real-world map. Warner Brothers Studios, the film’s distributor, said as much in a statement made to Variety. “The doodles depict Barbie’s make-believe journey from Barbie Land to the ‘real world.’ It was not intended to make any type of statement.” Lines of this sort are often used in movies to show the path of a journey from one place to another, such as in the original “Raiders of the Lost Ark” film that depicts Jones’ travels through the Middle East and Africa. The controversy could be a misunderstanding between the film’s creators and regulators.

While it may be difficult for those outside the region to understand the political and cultural sensitivities, care should be taken not to dismiss them as “unimportant” or “insignificant.” Territory matters as much to countries as their language, culture, and customs. Time will tell if other countries adopt the same interpretation and join the ban.

The best way to avoid regulatory and brand issues is to have Spherex assess your titles for potential problems. Contact us to learn how.

Spherex Monitoring to Support Vertical Transaction Video On-Demand Releases

Thu, 06 Jul 2023 20:18:49 GMT

Santa Clara, CA (July 7, 2023) – Spherex, a global technology company serving the Media & Entertainment industry, announced today that its proprietary title monitoring solution would support Vertical and the monetization of its high-profile releases across MVPD cable companies in the U.S. Spherex's solution applies leading-edge technology to provide accurate and holistic monitoring of global title availability.

As the only worldwide provider of title monitoring and local age ratings, Spherex will ensure Vertical’s premium Transaction Video On-Demand (TVOD) titles are available for rental and purchase for U.S. cable consumers.

"Vertical is a well-known and highly respected film distribution company with a long history of working with Tier-1 talent. We're pleased to support its U.S. MVPD release strategy and help expand audience engagement by providing accurate and timely reports and alerts on the non-availability of titles," said Teresa Phillips, Spherex CEO.

"We are excited to partner with Spherex and utilize its monitoring platform to help us distribute Vertical content to movie fans nationwide," said Jason Pecora, EVP of Distribution. "Spherex is a recognized leader in content monitoring, and we look forward to leveraging their technology to support our continued growth."

About Spherex:

Spherex is a global technology company transforming how media and entertainment enterprises create, adapt, and deliver film and television to audiences worldwide through expert-centered AI and machine learning. With unmatched expertise in culture and regulatory compliance, Spherex works with the world's largest media companies, movie studios, networks, distributors, and streamers to build larger audiences, speed up content discovery, drive more video views, and generate higher revenue. Learn more at www.spherex.com .

About Vertical

Founded in 2012, Vertical has become a leading global independent distributor releasing films across all mediums. Vertical's unique combination of full-service marketing and highly effective sales services provides collaborative solutions for filmmakers, as the company leverages creative and platform relationships to maximize revenue streams from all content providers. Learn more at www.Vert-Ent.com .

Generative AI Meets Multi-Modal AI for Video-Based Content Classification at Scale

Mon, 12 Jun 2023 20:29:39 GMT

Source: M+E Journal

Australia Expands Film Consumer Advice Per Citizen Feedback

Fri, 09 Jun 2023 19:30:00 GMT

In a 2022 government survey of 2,000 Australians, the Australian Classification Board (ACB) learned that consumers wanted more up-to-date classification information reflecting community standards and "specific warnings that content could be distressing to some people." Examples included scenes with "bullying, suicide or self-harm, as well as disturbing content related to horror, or blood and gore." Responding to the feedback, the ACB announced on 25 May 2023 that it would significantly expand consumer advice on all rated movies. The additional advice does not apply to TV shows or games.

The ACB disseminates guidance in two ways. First, it publishes consumer advice details on the movie's page on its website. Second, the film's rating and list of content warnings appear before the start of each movie, whether exhibited theatrically or online.

What the Expanded Consumer Advice Looks Like

One of the first titles to receive this additional consumer advice is the film " The Pope's Exorcist ." The ACB assigned it an "MA15+ Restricted rating," restricting audience attendees to those over age 15. The film label includes the previous standard of "strong horror themes and bloody violence." Before the new guidance went into effect, those five words were the extent of official notice. The consumer advice now includes additional details about the film:

Source: Australian Classification Board (ACB) rating for the 27 May 2023 theatrical release of "The Pope's Exorcist."

In announcing the newly expanded consumer advice, Australia's Minister for Communications, the Honorable Michelle Rowland, said, "The survey showed us that Australians value the classification scheme but want more information about what they watch. This updated advice will ensure there are no surprises and help adults make informed decisions about the content that they, and those in their care, consume.”

Consumers can find these new details on the ACB ’s or the theater's websites.

A studio or distributor wanting to release movies in Australia needs a detailed understanding of the elements that impact ACB age ratings to prepare for distribution accurately. Spherex is the only commercial provider of Australian government-approved age ratings with thorough contextual knowledge to help get it right the first time. Contact Spherex today to learn how Spherex ratings ™ enables you to achieve Australian compliance faster, for less cost, and without brand risk.

3 Key Trends That Will Shape M&E In The Next 5 Years

teresa.phillips@spherex.com (Teresa Phillips) — Thu, 08 Jun 2023 16:31:14 GMT

Source: EGA Reteller Magazine , Vol. 11, June 2023

MEASA Is Thriving in Media & Entertainment – CabSat 2023 Lessons

Wed, 31 May 2023 21:49:17 GMT

The best way to learn about other countries and cultures is to experience them. On 16-18 May 2023, Spherex attended CabSat in the Emirate of Dubai, a regional trade show similar in focus and content to the National Association of Broadcasters (NAB) show in the U.S. At CabSat, two things stood out among the technologies and topics discussed: the region's market size and its resolve to produce local film and television content.

The Media and Entertainment (M&E) market throughout MEASA is massive. The region covers 17 countries in the Middle East, Africa, and Southern Asia with a combined population of 3.9 billion. Sixty-four (64%) of consumers in the region, or 2.5 billion, have Internet access. The average age in the Middle East countries is 29 years old. In Africa, it's 19 years; in Southern Asia, it's 26 years. People increasingly live in urban areas, have high incomes, are family-oriented, and brand-conscious. Everything about this region indicates that MEASA is an ideal market for appropriate original content.

Increasing Demand for Homegrown Content

Like any audience, MEASA consumers prefer stories with which they can identify and that are relevant to their lives. Homegrown productions are one way to effectively feed the public’s appetite for relatable content. Except for titles from India and Nigeria, much of the content shown in the region is imported and localized from elsewhere, particularly the U.S. and Europe. These titles are often at odds with the region’s cultures or customs, resulting in censorship to comply with cultural norms or regulations, which can affect the story significantly.

World-class Production Facilities

These factors drive regional governments to invest in large, ultramodern local production facilities. Projects worldwide have used these locations and capabilities. Tom Cruise climbed the side of the world's tallest building, the Burj Khalifa in Dubai, for "Mission Impossible: Ghost Protocol" (2011). "Dune" (2021) was shot in Jordan and the UAE. According to IMDBPro, over 450 films are currently under production throughout the MEASA region.

As recently discussed , Dubai has invested billions of dollars in sound stages, media, and post-production facilities while offering tax incentives to attract outside film or TV productions. Many other countries in the region offer similar enticements, including Jordan, Israel, Malaysia, Morocco, New Zealand, Turkey, South Africa, and South Korea. These same countries are also very active in regulating or censoring content.

Censorship or Cultural Respect?

Regional governments have established production guidelines. For example, in Saudi Arabia, every script, regardless of the film genre, e.g., animated, drama, or horror, must obtain government script approval before pre-production can commence. Censors must also approve any script, location, or story changes made during production. The region's writers and directors understand the rules and adhere to them. It's not as challenging as non-locals believe.

A World of Opportunity

An insatiable international market exists for great stories, and the MEASA region is no exception. It is an attractive market for both producing and exhibiting content. The key to success lies in localization – culturally adapting the content to meet production guidelines set forth by local governments and making the content locally compliant and appealing.

Spherex is the only commercial company that accurately assesses titles for culturally objectionable content in any film or TV market. Contact us today to learn more about how Spherex ratings ™ and Spherex greenlight ™ AI technologies can make this critical part of your production and release workflow faster and easier.

Spherex Named Most Significant Technology – Content in the 19th Annual ITVT Awards for Leadership

Wed, 24 May 2023 18:29:57 GMT

ITVT Awards Recognizes the Most Innovative and Disruptive Content-Related Technologies in Interactive and Multiplatform Television

The 19th Annual ITVT Awards for Leadership , recognizing the most innovative and disruptive organizations in interactive and multiplatform television, awarded Spherex as the Most Innovative Technology – Content .

The awards will be presented to their winners at a ceremony at the TV of Tomorrow (TVOT) Show in San Francisco on May 24th. Winners in other categories include top media companies like Disney, Gracenote/Nielsen, Samsung TV Plus, and more.

"We're thrilled to receive this prestigious recognition, and it's a testament to our team's hard work and dedication to building an AI platform with purpose," said Spherex CEO and Co-Founder Teresa Phillips. "As the streaming industry continues to evolve and intersect with technologies, this award encourages us to continue pushing the boundaries of what's possible."

With unmatched expertise in culture and content regulation, Spherex works with the world's largest media companies, movie studios, networks, distributors, and streamers to build larger audiences, speed up content discovery, drive more video views and generate higher revenue. Learn more at www.spherex.com .

The Growing Influence of Middle East, African, and Southern Asian Markets

Wed, 24 May 2023 01:41:50 GMT

In recent years, the Middle East, African, and Southern Asian (MEASA) Media and Entertainment (M&E) markets have witnessed significant growth and transformation. Fueled by the expansion of streaming platforms into the region, the demand for original, regionally created content, and the desire for culturally relevant stories from their populations worldwide, these regions have actively invested in expanding and growing their content creation and distribution capabilities. This article delves into the changing dynamics of these markets and their impact on the global business community.

The Middle East, particularly Saudi Arabia, is a prominent player in the international media landscape. It has attracted international productions by hosting renowned celebrities and offering generous incentives to filmmakers, intending to enhance its reputation in global entertainment. Additionally, the country has made substantial investments in pop culture, including sports, video games, and, most notably, the film industry. The Red Sea International Film Festival in Jeddah exemplifies Saudi Arabia's commitment to becoming a cultural hub.

The United Arab Emirates (UAE) has also invested heavily in improving and promoting its M&E ambitions. The Emirates of Abu Dhabi and Dubai have developed significant film production and post-production facilities. Abu Dhabi's Image Nation studio won Academy and BAFTA "Best Documentary" awards and seven Emmys in 2019 for "Free Solo." Dubai's Media City , Dubai Production City , and Dubai Studio City offer tax-free, world-class production and editing facilities to filmmakers and other content creators looking to develop and release original content in and promote the MEASA region. Dubai production facilities have been used in "Mission Impossible," "Star Trek," "Jurassic World," and "Fast & Furious" film franchises.

Growth and Potential of African and Southern Asian Markets

Africa presents a vast and diverse consumer market with increasing media and entertainment content demand. Just as India has "Bollywood," Africa has "Nollywood." Located in Lagos, Nigeria, Nollywood produces a reported 50 titles per week and is Africa's largest and most prolific content producer. From a title-only standpoint, e.g., not box office revenue, Nollywood follows India as the second-most prolific source of video content. For example, the Lagos-based EbonyLife Studios co-produced the award-winning film "The Woman King," which won 28 film awards worldwide.

Southern Asia, encompassing countries like India, Bangladesh, and Pakistan, boasts a thriving film industry and a rich cultural heritage that appeals to domestic and global audiences. India is the most significant film and TV series-producing country, producing over 1,000 films annually. " RRR ," which was controversial for several reasons, won Best Original Song Oscar™ for " Naatu Naatu ." These markets are witnessing a shift toward localized content creation, emphasizing storytelling that resonates with regional audiences.

The development of MEASA production capabilities and quality output has not gone unnoticed by studios, distributors, and platforms. M&E companies actively explore establishing a presence in these regions through production partnerships, underwriting development, or other direct investment means.

The digital revolution has played a significant role in the rise of these markets. The widespread availability of smartphones and internet connectivity has opened up new avenues for content distribution and consumption. Streaming platforms, social media, and online marketplaces have become powerful tools for reaching audiences in these regions, allowing for a more personalized and targeted marketing and content delivery approach.

Contact Spherex today to learn how your business can tap into these flourishing markets and forge valuable connections.

New Content Challenges Face Media & Entertainment

Wed, 10 May 2023 19:01:17 GMT

Due to government-mandated regulations, exporting content to international markets poses a significant challenge for many in the Media and Entertainment (M&E) industry. These regulations can take different forms and are intended to guide the public on the age appropriateness of film or TV titles. From a creator and distributor perspective, keeping up with the changes and understanding their rationale requires skills and knowledge outside their core competency. Non-compliance can result in financial penalties and is complicated because regulations are subject to change, and no two countries implement rules similarly. This post explores three types of changing regulations globally: local content requirements, prohibitions on Diversity, Equity, and Inclusion (DEI) content, and revised age-rating criteria.

Local Content Requirements

As the streaming industry continues to grow, platforms are investing billions of dollars in attempts to produce original content. Stories that resonate with audiences are more likely to attract their attention. Regulators have noticed and are implementing new regulations to secure their share of the economic benefits and require investment in local productions.

Local content requirements exist in many countries, including Canada, France, Denmark, Australia, and India. Canada recently passed Bill C-11 , " the Online Streaming Act ," which brings streaming platforms under the Canadian Radio-television and Telecommunications Commission (CRTC) regulatory authority for the first time. The CRTC now requires content creators to prove that each piece of content meets Canadian standards, and streaming platforms ensure search algorithms prioritize Canadian content. Fines can be imposed for non-compliance.

Diversity, Equity, and Inclusion

Despite the M&E industry's support for DEI, many governments worldwide have continued restricting or prohibiting content depicting LGBTQ characters or storylines in film or TV shows. Successful films with diverse stories or leads, such as " Black Panther: Wakanda Forever " and " Strange World ," have been banned or require higher age ratings in countries such as Russia, Saudi Arabia, Singapore, Iran, and the UAE. Although recent studies indicate gains in Hollywood, others show DEI improvements in British Columbia and European productions have been slow to take hold.

In the U.S., some states, including Florida and Texas, have passed laws that limit how LGBTQ+ or race-related issues can be shown or discussed in educational institutions or venues. This includes prohibitions on public access to books, videos, or films mentioning aspects of LGBTQ+ life and the performance of plays or movies with diverse stories or leads.

Age-Rating Regulatory Changes

Content classification regulations are being revised in countries worldwide to expand the number of age groups they consider and to ensure content is more appropriately classified in order to meet the country's cultural and legal requirements.

Vietnam's Ministry of Culture, Sports and Tourism (MCST) announced it added two new age groups to the existing four: P (all ages), 13+, 16+, and 18+. The new categories are "K" for viewers under 13 and "C," indicating a film cannot be distributed. More specific classification criteria will accompany the new age groups on topics or content such as violence, nudity and sex, drug use, horror, offensive language, and dangerous imitable behavior. The rating criteria for nudity and sex have expanded to consider the age of the characters and their possible impact on the viewer.

In addition to the classification changes, all titles, except films rated "P," must now prominently display the classification level " during the dissemination process ," which means trailers, ads, posters, etc. The content shown on TV or streamed must now exhibit the classification label within three seconds of airing and then three times over the course of the showing if the title is longer than 20 minutes long. The new regulations are available here .

India's Union Cabinet has announced it will begin amending the 1952 Cinematograph Act to add three new sub-categories to the existing "UA" rating. The new sub-categories UA 7+, UA 13+, and UA 16+ provide more details to parents or guardians and take Indian culture and norms into account. The "UA" classification is analogous to the "Parental Guidance" or PG rating in the U.S. and provides guidance on whether a film is inappropriate for children under 12. The IT Rules of 2021 already require streaming services to use these age classifications with content descriptors, and the amendment would bring cinema ratings on par with streaming.

The Importance of Staying Current

Navigating the regulatory landscape is challenging for content creators, who must stay informed and adapt to changing regulations to succeed in global markets. Failing to comply with country regulations and policy changes can delay a title's release, increase post-production costs, adversely impact market acceptance and revenue, and damage a brand. Few content companies have the expertise or capacity to stay current on all changes affecting global M&E markets, but Spherex has you covered. Subscribe to World M&E News to have the latest international regulatory news delivered directly to your inbox.

If you have content you want to distribute globally, Spherex ratings ™ and Spherex greenlight ™ are the best tools available to prepare your titles to ensure audience acceptance and reduce brand risk.

Contact Spherex today to learn more.

Content Was King at NAB 2023

Tue, 25 Apr 2023 01:01:41 GMT

Content creation permeated everything in Las Vegas last week!

Last week, the 100th annual National Association of Broadcasters (NAB) Show occurred in Las Vegas and attracted 65,000+ attendees over its four-day run. The second in-person conference post-COVID had three main themes related to content creation: Create, Connect, and Capitalize.

Create Track : Content for producers, creators, makers, dreamers, and streamers. Topics focused on leveraging new tech, tools, and workflow solutions to elevate the art of storytelling. Sessions provided instruction on driving reach, harnessing power, crushing production workflows, and owning the future.

Connect Track : Content for engineers, technologists, implementers, coders, and geeks. These sessions focused on how to set standards, make decisions, drive reach, and attract excellent talent. Key topics included on-air, online, and on-the-go cloud computing and infrastructure, pushing the boundaries of engineering and delivery.

Capitalize Track : Content for broadcast executives, advertisers, marketers, analysts, executives, and bosses. Panels focused on the business of media, multiplatform solutions, and next-gen tech fueling the content economy. Participants learned how to adapt, identify value, spot trends, and become one with their clients.

Throughout all three tracks was the acknowledgment of Artificial Intelligence (AI) and Machine Learning (ML)'s impact on the industry and how significant they will become in creating, editing, producing, and delivering content to consumers.

To give you a sense of AI/ML's prevalence at NAB 2023 was:

discussed by 462 Exhibitors (38.2% of 1,208 exhibitors)
referred to in 387 Conference sessions (52.1% of 742 sessions)
featured as part of 562 products or services

Spherex exhibited at NAB 2023 again this year and received TV Tech's "Best of Show 2023" award for its newest AI/ML product, Spherex greenlight ™ platform release. Spherex was also pleased to co-sponsor MESA’s NAB Reception, which brought together MESA members from around the world to network, catch up with old friends and make new ones.

For Middle East and Asia readers, Spherex will be exhibiting at CabSat in Dubai, UAE, May 16-18 at the Dubai World Trade Centre. We invite you to stop by booth PD08 in Shk Saeed Hall 1 to learn about Spherex greenlight ™. Register to attend using this link .

TV Tech Announces Winners of Best of Show Awards at 2023 NAB Show

Wed, 19 Apr 2023 14:40:36 GMT

Awards recognize innovation and excellence in Media & Entertainment technology

TV Tech has announced its Best of Show Awards for the 2023 NAB Show, April 16-19 in Las Vegas. The awards are judged by a panel of industry experts on the criteria of innovation, feature set, cost efficiency and performance in serving the industry.

The winners will be featured in TV Tech magazine, read by thousands of broadcast professionals in the United States, around the world and online. In addition, all nominees will be featured in a Best of Show Program ebook.

The Best of Show Awards, from TV Tech and other brands at its parent company Future US, were chosen from companies that exhibited at the 2023 NAB Show and submitted nominations.

Here are this year's winners:

Alteon.io - Alteon.io

Amazon Web Services (AWS) - AWS Color in the Cloud

Apantac - Mi-16-NDI

Audio Design Desk - Audio Design Desk 2.0

Audio Design Desk - Makr.

BB&S Lighting - Reflect 4-Bank System

BirdDog - BirdDog X120

Bitcentral - Fusion Hybrid Storage

Blackbird plc - Blackbird

Blackmagic Design - Blackmagic Studio Camera 6K Pro

Blackmagic Design - ATEM Television Studio HD8

Bolin Technology - EX–Ultra

Bridge Technologies - VB330 with new SCTE 104/35 & visual recording functionality

Broadpeak - Advanced CDN

Canon - Canon Flex Zoom lenses - CN-E14-35mm T1.7 L S/SP wide-angle zoom lens and the CN-E31.5-95mm T1.7 L S/SP telephoto zoom lens

Clear-Com - Arcadia with HelixNet Integration

Digital Nirvana - MediaServicesIQ Version 2

Edgio - Uplynk

Evertz - DreamCatcher - BRAVO Studio Virtualized Production Suite

Harmonic - VOS360 Ad

IHSE USA - Draco G-Flex KVM Matrix

Interra Systems - ORION Content Monitoring Suite

JVC Professional Video - GY-HC500UN, NDI-enabled Handheld Broadcast Camera

LiveU - LiveU Studio

LiveU - LiveU Ingest

LTN - LTN Wave

LucidLink - FileSpaces

Matrox Video - Matrox ORIGIN

MultiDyne - HoneyBadger

Net Insight - Trust Boundary Appliance

Newsbridge - Newsbridge MXT-1 AI generative indexing technology

Nextologies - Control Panel (CP)

NPAW - Video Analytics

OWC - Jellyfish XT

Panasonic Connect - KAIROS

Planar - Planar Venue Pro VX Series

PlayBox Neo - Media Gateway for live media delivery and distribution

Quantum - Quantum Myriad

Ross Video - Carbonite Ultra 60

Sony - VENICE Extension System 2

Spherex - Spherex greenlight ™

SSIMWAVE, An IMAX Company - VOD Monitor

swXtch.io - cloudSwXtch Video Overlay Network

TAG Video Systems - Content Matching Technology

Telemetrics - OmniGlide Robotic Roving Platform

Telestream - PRISM MPP

Telestream - Content Manager

Telos Alliance - WorkflowCreator

Telos Alliance - Telos Infinity Virtual Intercom Platform (VIP) App

Triveni Digital - ATSC 3.0 Translator

TVU Networks - TVU RPS One

Varnish Software - Varnish Enterprise 6

Vela Research LP - AdStrategy

VoiceInteraction - Audimus.Media

VoiceInteraction - MMS

Yuvod - Yuvod’s Platform-as-a-Service Streaming Solution

Zixi - Zixi-as-a-Service (ZaaS)

Source: TV Technology

NAB 2023: Spherex to Demo First-of-Its-Kind AI Tool Spherexgreenlight

Fri, 14 Apr 2023 16:50:19 GMT

Spherex will demonstrate Spherex greenlight ™, its revolutionary expert-in-the-loop artificial intelligence and machine learning solution, at NAB Show in Las Vegas. The five-day event features 1,000+ broadcast, media, and entertainment exhibitors, educational panels, networking events, and special events.

Spherex greenlight ™ uses advanced AI and machine learning to identify, interpret, and classify cultural events of film and TV shows. The cutting-edge technology assesses the cultural fit of the media content in 200+ countries and territories to help producers, distributors and streaming platforms reach a greater global audience. The technology identifies scenes in movies or TV shows with the highest risk of censorship by country by analysing the dialogue, music, lighting, violence, sexuality, drug use, and many other components of a scene to help companies edit and distribute their content globally.

In today’s global Media & Entertainment industry, content providers and streaming platforms must navigate complex and ever-changing regulations and cultural norms to operate successfully in different markets. Spherex greenlight ™ takes the guesswork out of editing content for regulatory compliance and local audience appeal. It accelerates time-to-market, reduces cost, and expands audience reach – all while ensuring brand safety.

Spherex greenlight ™ has been named a nominee for both the Best in Show and Product of the Year awards at NAB, which honours innovation and acknowledges outstanding products and solutions in the technology and media industries. Winners will be announced during NAB Show on April 18th.

Where to find Spherex at NAB Show: Booth Number/Location: West Hall – W1371

Source: MESA Online

Changes to Classic Stories Are Not Always Welcome

Tue, 11 Apr 2023 18:45:10 GMT

The films have not been released, and the cultural critiques have already begun

Media is abuzz about the pending release of two films featuring characters children have known for generations. The first is about the doll, " Barbie ," and the second is a reimagining of Hans Christian Anderson's fairy tale, " The Little Mermaid ."

The lead characters of both films are beloved by young children, having inspired them for generations. "The Little Mermaid" debuted 186 years ago in 1837 . Barbie first hit store shelves 64 years ago in 1959.

These characters and the stories behind them share a common history that provides a lesson for anyone producing content for wide release: No matter how old, cherished, or well-intentioned a new version of a story may be, even minor tweaks can attract unwarranted or undeserved criticism that can impact audience reach, brand reputation, and revenue.

The Little Mermaid

In the original fairy tale, a young mermaid falls in love with a human prince and longs to live on land. She makes a deal with a sea witch to trade her voice for legs but must make the prince fall in love with her in three days, or she will turn back into a mermaid. Despite her sacrifices, the prince ultimately chooses another woman, and the little mermaid sacrifices herself to save him, turning into sea foam and an ethereal spirit. Disney's 1989 animated feature offers a much happier ending — the little mermaid becomes human and marries the prince, sailing into the sunset. People unaware of Anderson's original story tend to believe Disney's is the only telling of the tale and judge subsequent versions accordingly.

The live-action film version coming to theaters in May contains changes to the 1989 story causing some to question why. For example, the little mermaid in the 1989 animated version is depicted as a white girl and voiced by Caucasian actress Jodi Benson. The lead in the 2023 live-action version is Black actress Halle Bailey. Her casting has caused outrage in the minds of some viewers .

Lyrics for two songs , "Kiss the Girl" and "Poor Unfortunate Souls," were changed to "reflect modern audiences." In "Kiss the Girl," the lyrics were updated to encourage boys to be sure their affections are welcome, and they have consent. In "Poor Unfortunate Souls," warn girls that there can be negative consequences for not "speaking out of turn." Critics consider all of these changes as " woke ." None of these changes affects the overall story at all.

Barbie

Across decades of comic books , animated TV series, and movies , not much about Barbie's story has changed in 65 years. Yet, according to some, director Greta Gerwig's " Barbie " modern changes are not appreciated.

The film hits screens in July, and like "The Little Mermaid," the trailers have critics calling the unseen film " woke " and " gay " for several reasons. Barbies in the movie portray doctors, lawyers, the President, Nobel Prizes in Physics winners, mermaids, and diplomats, but not moms or wives. Like the toys, several multi-racial Barbies and Kens are in the film. Ken is "effeminate" and "emasculated." The fact that the director is "a girl," and the implication of " homosexuality ," a "cross-dresser," and slang like " beach you off " has triggered additional negative attention — the film unseen.

Trailer Criticism Can Impact the Story

Trailers can help gauge public response and whether to consider changes. For example, the "Top Gun: Maverick" trailer revealed 'That Maverick's jacket was missing the Taiwanese flag. The reaction was immediate, negative, and heard clearly. Filmmakers restored the flag in the released film, and China banned it.

It is unknown whether the advance criticisms of "The Little Mermaid" or "Barbie" will influence the films' final ratings or release. Attacking trailers on racial, cultural, identity, or character grounds is common for those who want to adversely impact a title's success or make some emotional or political point.

While studio projects can more easily address complaints and withstand pressure from special interests or regulators, smaller productions may not. That's where Spherex ratings ™ and Spherex greenlight ™ AI can help identify scenes within a final cut or trailer that may cause cultural or regulatory issues.

Contact Spherex today to learn more.

The Smartest Way To Prepare Content for International Distribution

Tue, 28 Mar 2023 20:28:38 GMT

Experience Spherex greenlight ™ at NAB 2023

The first version of Spherex greenlight ™ was and still is, the only artificial intelligence/machine learning technology available to analyze video content for cultural and regulatory compliance and provide accurate age ratings for original or catalog content worldwide. Before that, content intended for international release underwent a protracted, expensive trial-and-error investigation process to identify necessary edits to achieve regulatory and market compliance. Spherex greenlight ’s expert-in-the-loop AI/ML technology reduced that time to days at a fraction of the cost.

Since launching, Spherex has received broad industry and media recognition for Spherex greenlight ™, including OTT.X’s “Impact Award” and named one of Fast Company’s “Next Big Thing in AI & Data Tech.” Streaming Media magazine celebrated its capabilities and benefits to content post-production and localization. The Australian government recently approved its use for any Australian-bound content, stating it “would mean new programs could be accessed sooner” and ensuring “film content is always suitably classified.”

The platform uses artificial intelligence and machine learning to identify, interpret, and classify cultural events. It produces a fingerprint for each title that streaming platforms can leverage for improved personalization and content discovery in markets worldwide. The technology enables film content producers, distributors, and streaming platforms to quickly and easily identify and adapt their content to be fully compliant with regulators and appropriate for audiences in every market worldwide by:

• Identifying scenes with the highest censorship risk.

• Providing event timestamps that require editing.

• Determining appropriate age demographics worldwide.

• Comparing cultural sensitivities across countries and regions.

The best way to see the value of Spherex greenlight ™ is to witness it for yourself. For those attending NAB 2023 in Las Vegas April 15-19, we invite you to schedule a personal demonstration of Spherex greenlight ™ along with previews of the next generation of SpherexAI in person at booth   W1371   in the Convention Center’s West Hall. Click on the button below to schedule an appointment.

To receive a free NAB 2023 Exhibition Pass, use code LV44544 and click to here to register (available until 3/331/23). After 3/31, the pass is available for the discounted price of $50.

Why breakthrough tech founders need more true grit than ever

Thu, 16 Mar 2023 21:55:52 GMT

With interest rates up and VC money tightening, entrepreneurs working on breakthrough technologies may have to be tougher and more disciplined than ever.

That was a key takeaway from a recent panel at the Fast Company Grill at SXSW. The panel, titled “Breaking Down Breakthrough Tech,” featured Van Truskett, executive director of the Texas Innovation Center , the hub at the University of Texas for bringing engineering and science discoveries and technologies to the market; Jeff Cardenas, cofounder and CEO of Apptronik , founded in 2016 with the goal of bringing forth the next generation of human-centered robots; and Teresa Phillips, cofounder and CEO of Spherex , which adapts video assets for different cultures and languages.

Though their backgrounds diverge, all three panelists develop products that are considered “breakthrough tech,” or technologies that require foundational research and significant time and money to bring to market.

“Because of the nature of the technology that ends up getting commercialized, much of it will originate from R&D labs, many of them in the university sphere,” Truskett said, adding that her research hub at the University of Texas has worked on innovations, including plant-based meats, a compact particle accelerator, robotics, cybersecurity platforms, and 6G tech.

The nature of breakthrough technologies also may be changing. The world may be saturated with low-cost software-based products, such as photo apps and social networks, but the products of the future—virtual experiences, augmented reality glasses, new robots—could require more intense foundational technologies.

“I realized that the next great companies aren’t going to come out of my garage,” Cardenas said. “They’re probably going to come out of a research lab because a lot of this stuff has to have many years of funding for it to be ready to go from early stages out into the real world.”

A good example is the current spate of generative AI products now coming out of well-funded research labs. This development will likely further accelerate as AI becomes infused in technology for more aspects of life and work.

“I haven’t been this excited about new technology since mobile,” Phillips said. “So I think that with artificial intelligence, we can’t even conceive yet of the advances in the things we’re going be able to do.”

For many entrepreneurs in the next decade, the goal will be to apply the right foundational technologies—large language models, for example—to unmet needs out in the world.

Truskett said there’s no shortage of unmet needs, but finding the ones for which a solution would help a wide swath of people takes a lot of work.

“When I’m working with our startup companies, I’m essentially getting them to get out and talking to people of a variety of backgrounds, a variety of potential markets,” he said. “It means making a list, a very diverse list of people, companies, various contacts, and then you actually get on the phone and call them, don’t just email.”

However, Phillips points out that that approach doesn’t work in every situation. “Oftentimes, when you’re doing breakthrough technology, you can’t really ask your customers—they don’t know what they want,” she said. “So you really have to understand the jobs to be done . . . and what are your customers trying to do?”

Then there’s the people challenge. Shepherding new technologies from the depths of the lab out into the light of the free market requires a certain skill set, Truskett said.

“Going from someone who is like talking very technical about the science, which is beautiful,” she said, “to now I’m an academic entrepreneur, and I need to talk more about the marketplace of this technology and its value, and how it’s going to get adopted.” Such founders, who are often either university professors or grad students, need to learn how to make pitch decks and persuade potential investors that both technology and founder have what it takes.

In some cases, that skill set can be spread across two people: a technical genius and a good front person.

“You need someone who’s building it and someone who’s selling it,” Cardenas said. “So if you are the engineer and you are the inventor, you’re going to need someone who’s going to go out and actually get into the world and sell these things, or you’ll have to learn that skill yourself.” He added that having the whole package in one person who can speak both science and sales has its advantages.

The leader or leaders of companies that deal in breakthrough tech products also have to have the ability to make sure everyone is a True Believer in the technology, even when the outside world may not be.

Phillips pointed back to a famous Eisenhower quote about leadership: “He says leadership is getting somebody to do what you want them to do and they think it’s their idea.”

“So I really try to do that a lot with my team—really fire ’em up and help them believe in it as much as I do,” she continued. “And wherever one goes, we all go.”

Source: Fast Company

Four More Challenges Facing Content Distribution

Tue, 14 Mar 2023 20:33:48 GMT

The Media and Entertainment (M&E) industry is complex, and many factors can impact content's ability to find an audience. Writing and producing an engaging story are only two elements of a profitable title release.

Here are four more factors that affect the worldwide success of a title.

1. Competition and fragmentation: With more OTT video services entering the market and competing for subscribers, consumers have more choices and opportunities for confusion. Streaming services offer original content exclusively on their platforms or license it to competitors to increase market share. Sometimes they do both, leading to content fragmentation and consumer confusion. This is evident in the current dispute between Warner Brothers Discovery and Paramount Global over licensing the animated series "South Park," which is available on both HBOMax and Paramount+. Not only can fragmentation negatively impact platform revenues, but it also risks reducing consumer satisfaction and increasing churn rates.

2. Regulation and compliance: Video content crossing borders is subject to different legal and cultural norms. Providers must comply with various regulations regarding data privacy, content licensing, taxation, censorship, and consumer protection. For example, the implementation of new privacy laws in several states, such as Virginia, California, Colorado, Connecticut, and Utah, grants consumers more rights and control over their data and requires video content providers to comply with strict rules on data collection, processing, sharing, and security.

The enforcement of existing online platform regulations, such as Section 230 of the Communications Decency Act, which protects them from liability for user-generated content, encounters challenges and criticisms from lawmakers and advocates who want to hold platforms more accountable for harmful or illegal content. Emerging technologies and trends likely pose additional regulatory challenges or opportunities. Creators can protect their rights and interests by observing how these regulations are discussed or implemented.

3. Quality and cost: As consumer expectations for video quality increase, so do the challenges of delivering high-caliber content via different networks and devices. Who hasn’t switched channels because the title they’re watching isn't sharp and clear? Resolution matters. Video content providers should invest in technology and infrastructure supporting 4K, HDR, VR, and other formats while managing bandwidth costs and latency issues. Balancing the cost and quality of producing video content that works on any device, such as special effects, animation, or live-action, can be a challenge, especially for productions with limited budgets. Faced with trade-offs between additional spending to create high-quality content or reducing production costs, creators may be required to make changes or edits to obtain approval for releasing their content internationally.

4. Innovation and engagement: As video content evolves with new technologies such as AI, AR/VR, blockchain, interactivity, and filters, providers must keep pace with changing consumer preferences and behaviors. Consumers have demonstrated a willingness to try new ways of engaging with content, and it will become crucial for creators and platforms to innovate or risk falling behind. The challenge is offering technologies ready for mass consumption yet not posing a risk to the content or the brand.

For example, some streaming services allow viewers to interact directly with content and influence storylines. For several years, Netflix has provided interactive shows with mixed market results, but development continues. TikTok recently announced an AI-powered "beauty filter" called "Bold Glamour," which changes people's appearance in real-time, raising ethical and social concerns, even among the creative community . This filter is not unlike the services offered by Flawless , which uses facial recognition to create AI-generated, lip-synced visual dubs in videos. Flawless also raises similar security concerns .

Good stories are the heart of media and entertainment, and they rightfully deserve much care, attention, and professionalism. But other factors that can and do contribute to market success are often overlooked or downplayed. The coming months and years will tell which methods and tools help introduce stories to more extensive and diverse markets. Many strategies attract viewers, but care must be taken to ensure that the benefits outweigh the risks. Sometimes discretion is the better part of valor.

SXSW, AI, and Spherex

Tue, 28 Feb 2023 23:30:00 GMT

Cedar Door Bar & Grill, 201 Brazos Street, Austin, TX
March 10th, 11:20 AM

It’s nearly impossible to go to any media source without seeing someone discussing Artificial Intelligence (AI), particularly generative AI, and how good or bad it will be for the Media and Entertainment (M&E) industry.

TV news segments, business and tech magazines, newspaper columns, special reports, academic research papers, podcast discussions, and opinions covering every imaginable perspective all cheer or warn about AI. The cacophony of voices lends to hope, hype, mistrust, or optimism about what this new technology can and can’t do. What’s needed are more informed voices to help set the record straight.

That’s why Spherex is excited to participate in an in-person discussion of AI at this year’s Fast Company’s SXSW FastCo Grill panel, “Breaking Down Breakthrough Tech,” at SXSW on March 10th.

Spherex CEO Teresa Phillips will join Van N. Truskett, Executive Director of Texas Innovation Center at the University of Texas at Austin ; Jeff Cardenas, Co-Founder and CEO of Apptronik ; Dave Rogenmoser, CEO and Co-Founder of Jasper AI , and Jiajun Zhu, Co-Founder, and CEO, Nuro .

The panel will discuss the following —

“Advanced robotics, AI, and beyond have become so intertwined with our everyday lives—and innovate at such a rapid pace—that it’s hard to keep up with what’s in play and what’s at stake. Hear from entrepreneurs and thought leaders on the tech driving our world and where it’s taking us.”

Attendance is open to everyone and is free of charge. RSVP by clicking here .

The More Things Change...

Thu, 23 Feb 2023 16:30:00 GMT

The French writer Jean-Baptiste Alphonse Karr wrote in 1849 , "the more things change, the more they stay the same." Writing about the social changes occurring in France at the time, his point was that nothing changes without a fundamental shift in knowledge and thinking.

Here at Spherex, we closely monitor changes in new legislation, policies, or public sentiment in countries worldwide because it directly impacts a title's age rating , the potential for censorship or unfavorable press, and revenue opportunities. Awareness is the first step in avoiding legal or brand exposure. Since we last wrote on this subject six months ago , some changes have occurred, but much remains the same. Here are recent examples of what we mean.

The More Things Change – Malaysia

Malaysia's Film Censorship Board (LPF) announced new film and online content ratings in January 2023 that took effect on 1 February 2023. The ratings established five classifications, an addition of two from the previous three:

1. "U" for viewers of all ages

2. "P12" for viewers under 12 years old that required parental guidance (new)

3. "13" for audiences 13 years and older

4. "16" for viewers 16 years and older (new)

5. "18" for viewers 18 and above

The changes were a response to content creators expressing that the previous classification system made it impossible to include some scenes without compromising the story. Time will tell how the new system will affect the LPF's view of titles similar to those previously banned , e.g., "Thor: Love and Thunder" and "Lightyear." The first test may be the upcoming Malaysian film " Pulau ," which critics say contains many indecent scenes unsuitable for public viewing . The objectionable scenes include "sexualized kissing" and women wearing bikinis. Some Malaysian officials have already called for it to be banned . The film is scheduled for release next month.

The More They Stay the Same – Jordan

Netflix, which continues to invest in international content creation, must find a way for local stories to gain global appeal . The company's most-watched title for the past month in Jordan is " Al Hara (The Alleys)." As a locally produced title, the film, while popular with audiences, has been subjected to condemnation by members of the Jordanian Parliament for the inclusion of offensive words and profanity, despite having been approved by Jordan's Royal Film Commission (RFC). The Jordanian Media Authority removed all profanity and scenes that deviated from the values of Jordanian society from the movie before its theatrical release. Netflix’s version restored those scenes, which is the source of controversy.

Things Really Don't Change at All – United States

From religious beliefs to local traditions to family values to moral standards, ensuring content respects societal norms is a boundary local regulators or censors are keen to safeguard. Sometimes, countries choose to protect these boundaries through legislation when they perceive censorship is being used to compromise the country’s standing in the world or influence their film industry.

Last December, the U.S. Congress passed, and the President signed, the " National Defense Authorization Act for Fiscal Year 2023 ." The act prohibits any U.S. federal agency from knowingly supporting the production of any film, television, or other entertainment project explicitly edited to appease Chinese governmental censors. Specifically, Section 1257 of the law states:

"None of the funds authorized to be appropriated by this Act may be used to knowingly provide active and direct support to any film, television, or other entertainment project if the Secretary of Defense has demonstrable evidence that the project has complied or is likely to comply with a demand from the Government of the People's Republic of China or the Chinese Communist Party, or an entity under the direction of the People's Republic of China or the Chinese Communist Party, to censor the content of the project in a material manner to advance the national interest of the People's Republic of China."

This language was inserted into the law because some members of Congress wanted to codify their displeasure with China's practice of demanding edits of scenes it felt were critical of the country, such as its censorship of the film, " Top Gun: Maverick ," among others. The Media & Entertainment (M&E) industry attempted to remove the language from the bill because it included increased government editorial control over the script. The concern among studios is that this provision will make it more challenging to export titles, thus reducing revenue opportunities for US-produced films.

Censorship is happening around the globe, and the extent of its effect can vary widely. It can directly impact how, where, and when stories are told. For those unwilling or unable to make changes, failing to comply with requested or required edits, cuts, bleeps, or blurs will negatively impact the title’s bottom line, regardless of the method or platform. While no one likes changing their story to appease public or political concerns, knowing the issues and possible remedies is the best way to deal with them. Regardless of a title's production stage, Spherex has the cultural and regulatory expertise to assist content creators in navigating this ever-evolving landscape.

Useful AI Requires Tons of Data

Thu, 16 Feb 2023 00:27:35 GMT

To operate successfully in a country, content providers and streaming platforms must comply with local regulations and perceive cultural sensitivities. This entails everything from editing prohibited content and assigning correct age ratings to accurately portraying religions and sub-cultures. With nearly 200 countries worldwide, it's almost impossible for any content creator to know what is or is not prohibited in certain countries. Cultural competence is crucial, and that's where Spherex is unmatched. We know how to handle all these issues and get them right the first time to reduce cost, mitigate risk, and accelerate time-to-market.

An Ounce of Prevention is Worth a Pound of Cure

Before releasing a title in a market, it is better to be aware of regulatory and censorship red flags in the content. Doing so allows the creative teams to proactively decide how to handle concerns on their terms and make edits when production schedules and costs are the most manageable and economical. With the number of titles released annually growing exponentially, it's impossible for humans alone to accurately and consistently prepare each title for global distribution. State-of-the-art machine learning (ML) and artificial intelligence (AI) systems now significantly augment human capacity to analyze and process millions of hours of video content for localization and regulatory compliance worldwide. Spherex is at the forefront of using AI/ML to provide age rating and cultural and regulatory insights gleaned from the analysis of millions of titles to identify the explicit scenes that may be problematic across global markets.

The traditional way of addressing these concerns is in post-production localization. Script and action translation have been part of the post-production process for decades. Problems arise when reliance on language translation misses cultural references, thus creating opportunities for unacceptable content to be overlooked and released to audiences. Violence, sexuality, drug use, and other events within a title can be perceived differently — even in neighboring countries. Therefore, knowing those differences are critical during localization.

Machine Interpretation of Content

Human or machine "intelligence" is obtained through "learning." For humans, learning starts when we're born and proceeds throughout our lives. We see, hear, feel and observe and, using our brains, put the input together to form words, thoughts, actions, and feelings. Machines, on the other hand, cannot. At their most fundamental level, what they know is narrowed down to zeros and ones, off and on, yes or no. Anything beyond that requires the development of programs and rules that govern what they can or cannot "do" based almost entirely on "true" or "false." The more we want them to know or do, the more complicated it becomes.

We've progressed significantly since the first tic-tac-toe computer game in 1952. Atlas and Spot, the famous AI dancing robots , required years of research, programming, development, and trial and error to enable them to walk, jump and balance on one foot without falling. At every development phase, they were taught to recognize surroundings and navigate objects to perform even the most mundane movements. Machines that analyze video and audio content must be trained in much the same way to "see" and "hear" objects and events. Simple tasks humans take for granted require machines to learn at the most fundamental levels.

What Spherex greenlight ™ had to Learn

Consider Spherex greenlight ™ and other Spherex AI technologies. Not only did the tools have to learn how to examine video and listen to audio, but they also had to be able to identify people, places, and things appearing in the video and combine findings to analyze and interpret the scene. For example, is a knife used for peaceful or harmful purposes? How does music impact or influence scene interpretation? What emotions are visible? What are the cues to determine the mood of a scene? How do animated and live scenes differ? When is drug use good versus bad? Are all curse words equal? It quickly becomes complex.

Training the Spherex AI/ML platform took years of development. It required terabytes of descriptive data covering every aspect of digitized video content to build the core intelligence of the system. We mined thousands of policy manuals, historical literature, local film/TV classifications, current affairs, judiciary decisions on sensitive topics (e.g., LGBTQ, sexual violence, self-harm, blasphemy and religious practices, drug use, and more), and consumer grievances in 100+ countries, affording a deep, extensive library of data to facilitate curation accurately. We developed a comprehensive graph database, an enterprise system for screening and annotating content, and an ML-based rules engine to produce precise and consistent age ratings for every country and territory worldwide. Our systems detect and analyze approximately 1,000 attributes in video scenes that link to rules for one or more regions. Our culture graph embodies 8.3 million potential feature combinations.

Our dedication to the industry and regulators is found across the entire Spherex ratings platform. As with all AI products and services, Spherex AI systems can perform tasks because they are designed and trained well. System training doesn't occur once and then end; it requires the constant addition of new data and improvement in the video and audio analysis components to ensure the platform is as thorough and accurate as possible.

Content Creation During the Rise of AI

Wed, 08 Feb 2023 18:22:21 GMT

Hardly a day goes by without someone talking about Artificial Intelligence (AI), and apps like ChatGPT , DALL-E , Flawless , Midjourney , Google Bard , or other generative AI technologies are severe threats to original film and TV content creation. Every major news outlet has done stories on AI's potential detriment to the industry.

Pundits have written extensively on the topic, stoking fears that the beginning of the end of the market for human creativity is upon us. But AI does have its advantages.

Impressive Results

The fear is that films could be made without actors, sets, scripts, directors, locations, costumes, and musicians. Yet today, anyone can produce " emotional soundtracks " influenced by any song they upload or any mood or genre they choose by opening a computer program. The public can download phone apps that make any photo look like a famous painter created it. AI-generated special effects have appeared in film, TV, and video games for years , such as in the Marvel Cinematic Universe (MCU).

Alejandro Jodorowsky is an avant-garde filmmaker who incorporated very futuristic costumes and sets in his films. He famously wanted to make a feature adaptation of “Dune” but never did . An article in the New York Times titled " This Film Does Not Exist " describes how the Midjourney AI platform was used to create realistic-looking "production stills" from the fictitious film " Jodorowsky’s Tron .” The article discusses how AI was used to interpret the Jodorowsky style and imagine it in a Tron film and how close Canadian Director Johnny Darrell’s images came to being something Jodorowsky could have created himself. The result is impressive, but it also highlights AI’s primary weakness.

No Copy Is Original

The word “create” should be loosely used when referring to AI. None of the tool's ”creations” are genuinely original. Why? AI only knows what it has been taught or shown. By “taught,” we mean what examples or data were used to train it. DALL-E can create images “in the style of Monet,” and Midjourney can create costumes in the style of Jodorowsky, but neither can create anything new or unquestionably original. AI copies. It mimics. Could AI conceive an original story like “Avatar”? Could it envisage a painting style like Van Gogh or Picasso? Probably not.

To test this hypothesis, we challenged ChatGPT to “Make something up.” Its output:

Once upon a time, there was a magical land called Zogonia, where every object had a will of its own and talked to each other. The king of Zogonia was a wise old oak tree named King Oakley, and all the subjects respected and loved him. One day, a wicked sorcerer cast a spell on King Oakley, turning him into a tiny sapling. A brave young adventurer named Lily set out on a journey to find the sorcerer and break the spell. She met many talking objects along the way, each offering their assistance in their own unique way. Finally, after many trials and tribulations, Lily found the sorcerer's castle, defeated him in a duel, and broke the spell, restoring King Oakley to his former glory. The kingdom of Zogonia rejoiced, and Lily was hailed as a hero. From that day forward, she became known as the protector of Zogonia and its magical talking objects.

With no direction whatsoever, ChatGPT produced a children’s story about a mythical place with mythical characters, a protagonist, an antagonist, a heroine, and a happy ending. We then asked it to do it again five more times. Each of its responses was not much different from the first. Each followed the same formula of producing characters, plot, and either happy or open-ended outcomes.

The stories were familiar, more of the same outlines, and that’s the point. Humans must remain not only in the loop but in the lead. Without human input, AI is incapable of creating original, finished content.

AI can contribute to the creative process by taking ideas generated by human imagination and constructing images or text using that input. It can suggest how to fill storyline gaps or iterative costume design changes, but that’s a long way from story concept to finished film. This is especially true when titles travel across borders and cultures.

AI will not take the jobs of writers, directors, or other creatives anytime soon. It will enable those willing to evolve their processes to explore or expand their creative horizons. Humanity allows us to see variations, imagine alternatives, make mistakes, understand perspectives, and recognize the influence of culture and precedence in content creation. AI has none of those capabilities.

What it does have is what director Frank Pavich mentions in his New York Times piece: access to millions of digitized images from across human civilization that directors, concept artists, and film students can use to influence their imaginations and stories. How will that play out?

As Pavich says, “we’re about to find out.”

AI Content Detection In Practice: Spherexgreenlight™

Wed, 01 Feb 2023 20:45:54 GMT

Spherex's patented Spherex greenlight ™ AI/ML content analysis technology provides frame-level cultural feedback to content creators, distributors, and platforms so that titles can be adequately prepared for distribution to any country worldwide without regulatory or brand risk. Creators can use this technology at any stage of production to be alerted to events within the title that audiences or regulators may find objectionable. They can then decide how to address those issues before public release.

Spherex greenlight ™ is simple to use, its output easy to understand, and the technology behind it is truly extraordinary. This post describes what Spherex greenlight ™ looks for in video content (we call them events) and how it interprets events that could result in cultural, political, or regulatory issues.

Culture matters.

Analyzing scenes through a cultural lens is critical to determining content audience suitability for local markets. For film and television, the type, portrayal, and intensity of cultural events determine the familiarity and acceptance of foreign content. How a title is perceived by government regulators and the public directly impacts distribution opportunities, market reach, audience size, public relations, and revenue.

Events are the foundation.

Events are components of a scene that include dialogue, music, lighting, acts of violence, sexuality, and drug use, among others, that tell the story. Think of events as subjects plus action, surrounded by context. A gunfight is an event. A love scene is an event. An argument containing profanity is an event. As interpreted by each country's culture and rules, the frequency, intensity, and impact of events determine the respective age ratings for a title. Take drug use, for example. Images of someone using a drug prescribed by a doctor (like an antibiotic) versus one used recreationally (like nicotine or marijuana) or in an abusive manner (like methamphetamine) all uniquely contribute to the intensity or impact of an event. Illicit drug use that is implied, shown as occurring in the shadows, or results in negative consequences may be suitable for all age groups in some countries but only for teenagers and above in other countries. The magic is knowing how each event is interpreted culturally and then applying each country's respective laws and rules to determine the appropriate age rating.

Multiply that example across 200+ countries and territories, 7,151 known languages, and 3,800 distinct cultures, and you begin to see the value of Spherex greenlight ™. People interpret events differently based on their language, traditions, beliefs, and laws. There are hundreds of classifiable events to understand in preparing a title for international release.

Context is often the final arbiter.

Context is the circumstances that form the setting for a situation or event – and thoroughly explain it. Lighting, environment, era, consequences, character portrayal, colors, and more all contribute to describing the context of an event and are perceived differently by cultures worldwide. Contextual cues for age ratings may involve the environment, the character's prominence, the plot's importance, and whether an objectionable event is glamorized or encouraged. Context is critical to the arithmetic of computing an event. It will either be an aggravating or mitigating factor and, thus, raise or lower the formulated age rating.

Event exceptions introduce risk.

"Exceptions" are events that contain objectionable content according to a country's culture, politics, or laws. Exceptions cause regulators to restrict content to adults, require compliance edits before distribution, or entirely ban a title in some cases. Compliance edits can be bleeps or blurs that have little impact on the story. Or they could entail cutting scenes or reshoots, depending on the form and degree of objectionable content. Showing the Taiwanese flag on a jacket for a few seconds got Paramount Studio's " Top Gun: Maverick " banned in Mainland China but had no impact anywhere else. Two words in a single line of dialogue mentioning a same-sex girlfriend in Disney's " Onward " was enough to get the film banned in multiple countries. Even the cultural miscues in Netflix's "Squid Game" indicate how exceptions impact audience and media response to a title.

Ideally, potential exceptions are identified during the script or production stages to mitigate compliance-related delays and costs. Knowing the concerns allows the director to address potential issues to avoid regulator scrutiny and reach the broadest audience in every market while staying true to their vision and the story. The difference in audience size of a film released in Germany rated age 12 compared to one rated age 16 is three million people. If similar ratings have similar population differences in multiple countries, making compliance edits can expand audience reach by millions. Because reach and engagement are vital determinants of success, knowing where to make edits to reach broader audiences is invaluable information, especially before issues arise.

Making global distribution more successful.

Few issues are more crucial to content creators than maintaining creative control and distributing their work. As global demand for content increases, those creating it will come face-to-face with the realities of international distribution. The first roadblock they will encounter is content regulators. Only Spherex greenlight ™ provides the insights necessary to ensure story integrity and cultural compliance and does so in a way that makes global distribution more successful.

Contact Spherex today to schedule a live demonstration.

Localization is Key to Market Growth During a Recession

Wed, 25 Jan 2023 19:16:01 GMT

How to respond to budget cuts and better compete in the global marketplace

Despite governmental and economist statements to the contrary, a review of content-buying companies' Q4 earnings , news reports , think tank analyses , and layoffs suggest that many in the Media and Entertainment (M&E) industry believe a recession is already upon us. Amazon , AMC , Roku , DirecTV, Warner Brothers , and others have responded to the threat by announcing job, budget, and production cuts.

Given the increased competition between distribution platforms and the decline of theatrical distribution, how do companies stay competitive? How do they increase market share with fewer resources devoted to content? How do you cut and grow simultaneously?

We believe the answer lies in the localization of content developed for other markets.

Content Impacts

In the past, studios, television networks, and production companies responded to a recession in several ways:

1. Halt or decline funding of projects

2. Reduce the number of projects being green lit

3. Cancel shows with marginal audience shares/minutes watched

The above are all pure cost-cutting measures. They reduce a wide range of expenses related to the development, production, and distribution of content, which from an accounting perspective, may address the problem. It doesn't feed its subscriber's appetite for new content. That's a real challenge as cutting production expenses may appease executives; fewer shows to watch and lower subscriber numbers due to increased churn will not appease viewers or shareholders.

How Cutting Production Impacts Market Share

Market research indicates consumers want four things from their streaming service:

1. Competitive pricing

2. Access to popular shows/movies

3. An ad-free option, and

4. Original programming

The reduction of the production budget impacts each of these areas. Without a constant supply of popular or original content, ad revenue will be harder to attract, and competitive pricing may become irrelevant because consumers won't see the value in subscribing. Relying on reruns is not the answer because many series reruns are available on numerous linear, OTT, or FAST channels. This undermines the overall value proposition, leading to increased churn rates and declining revenues. Production budgets are trimmed to keep shows in production, but those cuts could manifest in lower story and production quality, neither desirable outcomes.

What Is the Best Option?

Not everyone has this ability, but importing or exporting new content from other countries or cultures is a good option. There are risks here, too, such as choosing the wrong titles, incompatible markets, or cutting corners in the localization process. Recognizing the importance of getting the story, language, and culture right can have big payoffs. Following the bru-ha-ha over the subs and dubs quality of "Squid Game," consumer expectations of accurate language translations, staying true to the original storyline, and cultural integrity are much higher than they used to be. As the last two Best Picture Oscar winners, " Parasite " and " Coda ," prove, audiences are more than willing to deal with subtitles and dubs.

Companies that create shows for non-US markets, such as Netflix , Disney , Amazon Prime , and others, have an advantage in this situation because those films or series are localized for other countries at a fraction of the cost of a new title. For example, in 2022, the cost per series episode ranged from $4M to $30M . The average price of translating a single episode of a 30-minute TV show can start at $10,000 per language and go up depending on the type of content, desired markets, age rating, and story or cultural complexity. It's a deal by comparison.

Then there's the benefit of single languages being spoken or understood in multiple countries. Localizing a title using subtitles, dubbing, or both allows a title to reach much broader audiences. The top five non-English languages include Chinese (1.3B), Spanish (471M), Hindi (342M), Arabic (315M), and Portuguese (232M). The total population across all these languages, including English, is 3 billion. Not all platforms have subscribers in each of these countries. Still, the point is that localization is a way to provide new content to voracious subscribers economically.

If you have titles you'd like to release outside of native markets, Spherex can help you understand the effort required to make that happen. Spherex greenlight ™ is an AI/ML platform that can provide cultural and regulatory insights for over 200+ countries and territories worldwide. Contact us to learn how we can help your title reach its full potential.

The Unsung Heroes of Awards Season

Fri, 13 Jan 2023 17:20:33 GMT

It is essential to look past the obvious to find what matters

Awards season is upon us, and no form of media is immune from the onslaught of hype intended to promote the nominees. From billboards and cab banners to newspapers and magazines to TV and radio to websites and social media ads, no stone is left unturned n an effort to sway consumers that a nominated film is worth watching. It leaves one wondering whether the effort is worth the expense. It clearly is for those who win, but one oft-overlooked aspect of awards season is how it highlights the breadth, complexity, and variety of creative people working behind the camera in an industry the world relies upon for entertainment every year.

These are the unsung heroes of modern content production.

Nominees

Consider who is eligible besides the finished title:

· Directors

· Writers

· Actors

· Cinematographers

· Musical score composers

· Sound editors

· Sound designers

· Visual effects

· Set designers

· Hair and makeup artists

· Writers of original or adapted screenplays

· Production designer

· Television shows

· Television series

· Feature films

· Short films

· International film

· Live-action

· Live-action short

· Documentaries

· Animation

· Lead roles

· Supporting roles and more

Unfortunately, those who localize titles to reach other cultures and audiences are missing from this list.

Awards Ceremonies are Everywhere

Now consider the number of award ceremonies. A partial list of those in Hollywood includes the Academy Awards, Golden Globes, Emmys, the Directors Guild (DGA), the Producers Guild (PGA), the Screen Actors Guild (SAG), the Writers Guild, and the Critics’ Choice Awards.

Internationally, the AACTA , AMAA , BAFTA , CSA , IDFA , IIFA , Cannes , Nolly , SAA , and dozens of other film festivals present awards to celebrate achievements in film and TV worldwide. Multiply those organizations by the list of categories, and hundreds of awards will be handed out over the next few weeks.

Is It Worth It?

It is, especially for platforms developing original content. For example, The Apple-produced film “ Coda ” won 2022’s Oscar for Best Picture, Best Performance by an Actor , and Best Adapted Screenplay . “Coda” went on to win 57 awards out of 139 nominations. As a direct result, Apple TV+ subscriptions increased by 25% .

After winning the Oscar for Best Picture in 2021, " Nomadland’s " VOD sales increased. The first foreign film to win Best Picture, " Parasite ," saw a significant box office and increased streaming viewing. Its director, Bong Joon Ho, famously called upon moviegoers to " overcome the 1-inch tall barrier of subtitles " to enjoy foreign films. Since then, audience interest in foreign titles has increased significantly .

Trade publishers like Variety , the Hollywood Reporter , Deadline , ScreenDaily , and Entertainment Weekly , along with newspapers like the New York Times , Times of India , and the Los Angeles Times , have dedicated, year-round awards sections in their publications.

One group unmoved by awards season is the regulators. "Nomadland" was directed by Chinese native Chloe Zhao, yet Chinese regulators banned the film because she criticized the Chinese government. This year’s Oscar entry for Pakistan, " Joyland ," won 12 awards out of 16 nominations, including the Queer Palm at Cannes, despite being banned by the Pakistan Ministry of Information and Broadcasting.

It's easy to view awards season as a cynical ploy to increase revenue. Still, it's important to acknowledge and celebrate the people behind the scenes who make stories come to life. Awards shows identify these creative professionals, and the opportunity allows all of us to recognize and appreciate their achievements.

CES 2023: Xperi, Dolby, NAGRA, Spherex Open the Show

Thu, 05 Jan 2023 19:42:14 GMT

Several MESA members opened the 2023 CES Show in Las Vegas with new announcements and partnerships.

Here’s a brief look at what they had to share:

Xperi

Xperi and its numerous subsidiaries kicked off CES in a big way, with hardware, software and partnership news.

Xperi-owned TiVo and Vestel, one of the top three European TV manufacturers, announced that as part of a multi-year, multi-country and multi-million-unit agreement, the first “Powered by TiVo” smart TVs are expected to ship as early as spring 2023 featuring chipsets from MediaTek, a global fabless semiconductor company that enables more than two billion connected devices a year. When released, consumers in the United Kingdom, France, Germany, Italy, Spain, and Turkey will be able to purchase “Powered by TiVo” smart TVs under brands including Vestel, Daewoo, Regal, Hitachi, Telefunken and JVC.

Xperi announced its new independent media platform at IFA 2022 and welcomed Vestel as its first original equipment manufacturer (OEM) partner. Vestel will be utilizing the new TiVo OS, a first-of-its-kind neutral platform, aimed at giving OEMs significantly more control over the user experience to drive brand awareness, engagement, and monetization at scale. Without the limitations of a closed system, the neutral platform returns control to consumers, empowering them to enjoy entertainment on their terms, for the ultimate home entertainment experience.

Vestel’s new line of TVs use “Powered by TiVo” OS, a streamlined smart TV platform with easy content discovery and personalized recommendations. It provides a simple set-up and intuitive user experience, enabling consumers the choice and the control to discover content across their favorite streaming apps.

Meanwhile, Sony Pictures Entertainment (SPE), Xperi’s DTS subsidiary and IMAX Corporation announced a significant expansion of the IMAX Enhanced ecosystem with SPE’s commitment to release multiple new titles in the IMAX Enhanced format during their respective home entertainment windows over the next few years.

IMAX Enhanced technology is the only way to experience IMAX’s signature picture, sound, and scale outside of a movie theater, combining exclusive, IMAX digitally remastered 4K HDR content and DTS:X premium audio delivered through high-end consumer electronics and streaming platforms.

The IMAX Enhanced program continues to advance its premium content footprint for consumers worldwide with new titles delivered in 4K HDR featuring IMAX proprietary digital remastering (DMR), exclusive expanded aspect ratio (select sequences) and IMAX Signature Sound by DTS, including Whitney Houston: I Wanna Dance with Somebody, A Man Called Otto, Madame Web, Gran Turismo, Spider-Man: Across the Spider-Verse and The Equalizer 3, among others.

This will include exclusive IMAX Enhanced and DTS:X UHD box sets (titles to be announced). IMAX Enhanced releases will remain available across Europe, North America and Asia Pacific regions.

Additionally, TiVo and Amlogic, a leading fabless semiconductor company, announced that they have pre-integrated TiVo OSonAmlogic T962D4 and T950D4 chipsets for the U.S. and European markets.

By choosing an Amlogic 4K or 2K smart TV chipset with TiVo OS pre-integrated, TV OEMs benefit from the combined scale and support of critical technology providers, hardware suppliers and advertisers. The cost-effective turnkey solution deploys the award-winning TiVo OS across their smart TV product lines with the global and local video content services consumers require.

Lastly, Xperi announced a partnership with LG Electronics to integrate DTS:X immersive audio technology into LG’s latest OLED and Premium LCD TVs. DTS, Inc., a wholly owned subsidiary of Xperi Inc., is dedicated to making the world sound better through its pioneering audio solutions for mobile, home, cinema and beyond. This announcement represents a significant milestone in DTS’s journey to embed DTS:X technology in more devices that create extraordinary experiences for consumers. It also demonstrates LG’s commitment to expand the availability of the DTS solution.

NAGRA

Content protection and media and entertainment solutions firm NAGRA announced a collaboration with CANAL+ TELECOM – a subsidiary of Canal+ Group operating in Guadeloupe, Saint Martin, Saint Barthelemy, Martinique, French Guiana and Reunion Island with 150,000 subscribers – and Otodo – a home automation company that provides telecom operators and service providers with a white label platform enabling smart home services.

To broaden CANAL+ TELECOM’s value-led service offering, NAGRA Scout, the intelligent connected lifestyle security solution, and Otodo’s home automation and control application are connecting to offer first-of-its-kind smart home automation with security aimed at increasing subscriber brand loyalty.

NAGRA Scout reliably identifies and classifies devices, giving consumers full visibility on everything connected in the home. This information is further used to validate new equipment connected to the network and assess its security level. Easy-to-follow security suggestions help consumers keep their devices and data safe. In addition to home network monitoring and content filtering, NAGRA Scout manages security alerts for illicit threats and delivers home network intelligence to service providers, like CANAL+ TELECOM, that can inform traffic shaping, improve customer service, and ensure optimal individualized experiences for consumers.

Telecom operators, like CANAL+ TELECOM, often support subscribers by providing the secure hub of the connected home. CANAL+ TELECOM’s home application, Ma Maison CANALBOX, developed in collaboration with Otodo, provides a value-added service that enables users to control any connected home device from a single application. Partnering with NAGRA Scout, the telco can offer differentiating new features combining security and automation to ensure an integrated and individual smart home experience.

Spherex

Global entertainment technology and data company Spherex is demonstrating its Spherexgreenlight at CES, which is its revolutionary expert-in-the-loop artificial intelligence (AI) and machine learning (ML) solution.

Spherexgreenlight opens borders for content. Using AI, the technology highlights culturally sensitive and objectionable scenes and predicts how a movie or TV show will be perceived by audiences worldwide. Spherexgreenlight ensures that studios, TV networks, and streamers reach the broadest audiences in each local market, comply with content regulations, and avoid censorship – all while protecting their brand reputations and identity – to maximize the value of content.

Led by CEO and co-founder Teresa Phillips, Spherex set out over a decade ago to develop the world’s first cultural playbook for Media & Entertainment. Through mining thousands of policy manuals, historical literature, local film/TV classifications, current affairs, judiciary decisions on sensitive topics (e.g., LGBTQ, sexual violence, self-harm, drug use, and more) in 100+ countries, Spherex has created an enterprise system for screening and annotating content.

While understanding content in video remains a high hurdle in AI, Spherex has implemented a multi-modal architecture that analyzes image/video, audio signals, and text as inputs to generate a unique fingerprint of a title. The content analysts at Spherex hand-curate these models based on specific pieces of content like subjects, objects, events, actions, sounds, words, tone, and more.

Spherex’s ML-based rules engine is the controller that determines how territory-specific rules are applied accurately to a given title’s cultural fingerprint. Blending AI and ML systems with a comprehensive understanding of the cultures and complexities present in the global regulatory environment, Spherex is future-proofing the media and entertainment industry while keeping up with the unprecedented international growth in video content, distribution, and consumption.

Dolby

Dolby announced it had partnered with multi-platinum, Grammy-winning band Imagine Dragons to present a private concert in Dolby Atmos at Dolby Live at Park MGM on Jan. 5 at 9 p.m. PT.

The concert will benefit Tyler Robinson Foundation (TRF), Imagine Dragons’ nonprofit organization dedicated to supporting families facing a pediatric cancer diagnosis, and over 35 local charities serving underserved communities in the Las Vegas area.

Imagine Dragons and Dolby are working with TRF to give away thousands of tickets to the team members, volunteers, and people these organizations serve so they can enjoy this special performance.

“Imagine Dragons’ special relationship with TRF moved us, which is why we wanted to find a way to give back to the community that welcomes us with open arms every year for CES, and that we now get to call home with Dolby Live,” said Todd Pendleton, SVP and CMO of Dolby Laboratories. “We can’t wait for guests to experience Imagine Dragons live in Dolby Atmos at Dolby Live for this special one-night show.”

Dolby and Park MGM will be surprising several fans on social media with free tickets to the show along with radio giveaways.

This marks Imagine Dragon’s first-ever, live performance in Dolby Atmos, which guests will be able to experience at one of the most technologically advanced performance installations in the world – Dolby Live at Park MGM.

Dolby Atmos is an immersive audio experience transforming how music is created and enjoyed. At Dolby Live at Park MGM, Dolby Atmos brings live performances to the next level by taking listeners inside the music to reveal details with unparalleled clarity and depth. Whether it’s hearing the layers of instruments move all around, catching the subtle breath a singer takes between lyrics, or being enveloped in a wave of melodies, nothing compares to hearing music live in Dolby Atmos.

Source: MESA M+E Daily

Who are the Big Winners of Q4?

Tue, 03 Jan 2023 19:45:00 GMT

Happy New Year! Everyone at Spherex wishes you and yours a healthy and prosperous 2023.

What’s that old saying, “Out with the old, in with the new”? Or maybe it’s, “What’s past is prologue” or “The more things change, the more they stay the same.” Whether your perspective is optimistic or pessimistic, the end of the old year and the start of a new one requires retrospection.

Content Censorship

Unsurprisingly, Q4 continued the trend of increased censorship of political, religious, culturally critical, and LGBTQ+ content over the first three quarters of 2022, all of 2021 and 2020. Here are a few examples, as reported in Spherex’s World M&E News .

Indian regulators question whether the color of a bathing suit insults religious sentiments
Myanmar’s censorship board must first approve all foreign film and TV content
Russia added a journalist portrayed in the documentary “Navalny” to its “Wanted” list
China’s cultural regulations are causing independent filmmakers to look for ways around them with mixed results
Pakistan terminates the independence of its Central Board of Film Censors (CBFC) and places it under the political control of the Ministry of Information and Broadcasting
The Turkish Culture Ministry demanded its investment back from the producers of an award-winning film after a campaign by conservative media claimed it was “ LGBT propaganda ”
Catholic groups in South Africa, Kenya, and Brazil boycotted Netflix over LGBTQ+ content
Countries and media companies announce rules or ban generative AI content, including China and Getty Images
New content regulations went into effect in Ireland , Singapore , and Jamaica
Disney films “Black Panther: Wakanda Forever” and “Black Adam” were banned in China due to the former film’s portrayal of an LGBTQ+ relationship and one of the latter’s lead actors, Pierce Brosnan, past comments regarding the Dalai Lama.

External to these actions impacting M&E is the increase of anti-LGBTQ+ rhetoric in the news media around the world, often echoing the opinions of political and religious leaders. From the US to South America to Europe to Africa to Asia and Australia , the increasingly threatening anti-LGBTQ+ commentary and laws will continue to pressure the M&E industry to avoid creating or distributing such content. Thankfully, 2022 was also the year some in the industry began to resist those pressures, some later than others. Even then, those efforts were met with a direct political response intended to punish their perceived non-compliance.

Now for the Good News

Q4 wasn’t all doom and gloom. The big winners of the quarter, in fact for the entire year, are foreign film and TV titles. During this quarter, they were not only recognized for their quality by being nominated or winning more industry awards than ever before but more were picked up for distribution in the coming year. Thanks to streaming, more were produced and released to international audiences than ever before. Top films from India , South Korea , and Europe have begun to prove audiences are finally overcoming that “1-inch subtitle barrier.”

Five foreign titles released in Q4 grossed over $1.06B in box office revenue, four of which were not in the domestic US market.
Trade publications worldwide, including the Hollywood Reporter , Variety , and The Guardian (UK), include foreign titles in their “Best of” lists for 2022.

A Year to DEI For (Diversity, Equity, and Inclusion)

Diversity, equity, and inclusion began to take hold in Hollywood and elsewhere heading into 2022, and there is hope that the trend will continue. Two studies released yesterday (2 Jan 2023) indicate while that trend may have stalled due to the economy, signs of progress and hope are also visible.

San Diego State’s study found a 1% decline in the total number of women and people of color (POC) in top creative roles in the 100 top-grossing titles in 2022, but it increased by 1% when looking at the top 250 titles. USC’s study found “ no change between 2021 and 2022.”

The optimism comes from the study’s finding that “Films with at least one woman director employed substantially more women in other key behind-the-scenes roles than films with exclusively male directors. On films with at least one woman director, women comprised 53% of writers, 39% of editors, 19% of cinematographers, and 18% of composers. On films with male directors, women accounted for 12% of writers, 19% of editors, 4% of cinematographers, and 6% of composers (top 250 films).”

Evidence of this optimism is reflected in the fact that several titles up for major film awards this season were directed by women of color. If you look at the cast and crew of Gina Prince-Bythewood’s “ The Woman King ,” Chinonye Chukwu’s “ Till ,” Jessica M. Thompson’s “ The Invitation ,” and Domee Shi’s animated Pixar film “ Turning Red ,” you’ll see a highly diverse team of professionals.

While censorship continues to be something M&E considers, it is essential not to lose sight of the increased tolerance and inclusion happening simultaneously. We anticipate this will continue to be encouraged, produced, and recognized in 2023.

Happy New Year, everyone! We’re looking forward to it!

Spherex showcases global age rating insights at Pepcom’s Digital Experience! at CES

Tue, 03 Jan 2023 15:34:58 GMT

Spherex , a global entertainment technology and data company, will demonstrate Spherex greenlight ™, which is its revolutionary expert-in-the-loop artificial intelligence (AI) and machine learning (ML) solution, at Pepcom’s Digital Experience! at CES.

Spherex greenlight ™ opens borders for content. Using AI, the technology highlights culturally sensitive and objectionable scenes and predicts how a movie or TV show will be perceived by audiences worldwide. Spherexgreenlight™ ensures that studios, TV networks, and streamers reach the broadest audiences in each local market, comply with content regulations, and avoid censorship – all while protecting their brand reputations and identity – to maximize the value of content.

Led by CEO/Co-Founder Teresa Phillips , Spherex set out over a decade ago to develop the world’s first cultural playbook for Media & Entertainment. Through mining thousands of policy manuals, historical literature, local film/TV classifications, current affairs, judiciary decisions on sensitive topics (e.g., LGBTQ, sexual violence, self-harm, drug use, and more) in 100+ countries, Spherex has created an enterprise system for screening and annotating content.

Where to find Spherex at CES 2023:

Pepcom
Wednesday, Jan. 4, 7:00 – 10:30 p.m.
Location: Caesars Palace

ABOUT SPHEREX

Spherex is a global entertainment technology and data company transforming how media and entertainment enterprises create, adapt and deliver film and television to audiences worldwide through expert-centered AI and machine learning. With unmatched expertise in cultural adaptation, ratings, metadata and title monitoring, Spherex works with the world’s largest media companies, movie studios, networks, distributors and streamers to build larger audiences, speed up content discovery, drive more video views and generate higher revenue. Learn more at www.spherex.com .

Source: Entertainment Globalization Association

DEG Q Looks Ahead to 2023

Thu, 22 Dec 2022 16:00:58 GMT

New developments driven by consumers, markets, and technology

Source: DEG Q

Spherex M&E Predictions for 2023

Wed, 21 Dec 2022 00:08:08 GMT

Legendary novelist and screenwriter William Goldman famously said , "In Hollywood, nobody knows anything." He was right in referencing Media and Entertainment's ability to predict what will happen. With that, we offer our predictions of the events that may impact M&E in 2023.

1. The Shift from Linear to Streaming Is Terminal

Just as " Video Killed the Radio Star ," consumer preference and their adoption of any number of the alphabet soup of VODs signals that linear television's demise is upon us. Industry leaders agree. Disney's Bob Iger said linear "is heading for the great precipice," and industry analyst MoffettNathanson, LLC has stated linear TV is " hanging by a thread ."

This past year, cord-cutting continued to devastate linear TV. The percentage of households watching pay TV declined from a high of 85% in 2007 to 55% today . In Q3 of 2022 alone, pay TV slipped 6.2%, and satellite services fell 12.9% YoY, with a combined total loss of 1.68M subscribers. At the same time, virtual TV providers (vMVPDs), such as Sling TV, Hulu+Live, and YouTube, added 898K subscribers (14.6%). For the first time, streaming overtook linear in August, reaching a 34.8% share compared to 21.6% for broadcast and 34.4% for cable.

Hidden within those numbers are the changes in age preferences and indicators of the long-term viability of linear TV. For example, in the UK, people aged 16-24 years watch seven times less broadcast TV than their over-65 counterparts. In the US, four-in-ten teens reveal that their household doesn't have a pay TV subscription.

Advertisers are noticing these changes, too, and those changes are impacting their spending decisions. Local TV advertising is forecast to decline by 15% in 2023, and a third of its advertisers " will not resume linear TV spending anytime soon ." These changes present real challenges for networks looking to keep audience numbers while maintaining revenue and deciding what content in which to invest.

A recent story in the New York Times describes AMC's challenges as it tries to generate enough profit from streaming to make up for its traditional linear business, and this problem is not unique to the industry. Industry-wide, layoffs, restructuring, and changes in content priorities away from linear TV in favor of streaming are commonplace across the industry.

Paraphrasing, "2023 may not be the end of the (linear TV) Earth, but you can see it from here."

2. Generative AI Makes Itself Known

If you don't know what Generative Artificial Intelligence (AI) is, you will find out in 2023.

Generative AI tools generate new content, e.g., images, audio, text, or computer code, through an unsupervised and autonomous process of data collection gained from direct user interaction. It learns about the user and the task and improves on the fly.

Compare this to Discriminative AI, which requires teaching the task using static data. While Imagen , ChatGPT , and Latitude are all Generative AI tools with direct M&E applications, Spherexgreenlight™ is an example of Discriminative AI.

For example, using Imagen , a photographer can edit individual or batches of photographs to match a specific style. Suppose they're editing photos for a sci-fi movie, and all the images are required to look like they were shot on Mars. After defining the appropriate lighting in Adobe Lightroom Classic, Imagen automatically changes an entire catalog of shots " at less than ½ second per photo ."

ChatGPT is a "research preview app" intended to "converse" with people and generate automated responses. The app can answer questions, have a conversation, make decisions, or write the following sentence for this post. To demonstrate its capabilities, we asked it to "describe its expected benefits to the film and TV industry."

"ChatGPT's expected benefits to film and TV content creators, directors, and distributors include increased efficiency and productivity through the use of AI-powered tools for scriptwriting, casting, and scheduling."

Latitude is a platform for creating new user experiences in online gaming. It removes the constraints programmed into traditional games by allowing users to create their own stories within the game universe and let them play those stories out. Its first released product, AI Dungeon , is a game influenced by the classic Dungeons & Dragons game and answers the question of whether AI can be a Dungeon Master . Players can add to the story by describing what they want in simple terms, and the platform generates it in real-time and inserts the objects or actions into the game.

These are just a few companies creating Generative AI products for M&E. We believe 2023 will be the year people begin to fully recognize the value they add to content creation, production, and distribution.

3. Foreign Language Content Becomes an Industry Staple

As consumers make streaming their entertainment delivery platform of choice, content quality and diversity will be recognized as critical factors when selecting their platform. Increasingly, the content created by women and people of color includes characters in non-traditional roles or relationships and originates outside Hollywood.

Foreign language content is breaking geographic and language barriers everywhere. Many of the top series across the major streaming platforms in 2022 were foreign titles. Extraordinary Attorney Woo (South Korea), Little Women (South Korea), Suzhal: The Vortex (India), and Slow Horses (UK) are a few examples. The Academy of Motion Picture Arts and Sciences announced 75 films from 92 countries were eligible to receive the Best International Film Oscar at the 95 ^th Awards ceremony in March, an increase of 13 films from 2022. These films are also acceptable for the coveted "Best Picture" Oscar.

With the increased awareness of quality storytelling worldwide and consumers' willingness to " overcome the 1-inch tall barrier of subtitles ," audiences are being "introduced to many more amazing films." Success breeds success. Foreign language titles attract significant audiences, and revenue means studios and producers will invest the necessary resources to localize their titles and distribute them internationally properly. As a result, not only will consumers have access to many more amazing stories, but localization will become an integral and necessary component of post-production in 2023 and beyond.

That's a Wrap!

This coming year will continue to be one of innovation and change. Come back in December 2023, and let's see how well we did!

Through the Looking Glass

Tue, 13 Dec 2022 15:45:43 GMT

Revisiting Our 2022 Predictions for Media & Entertainment

Lewis Carroll's famous "Alice in Wonderland" metaphor of "Through the Looking Glass" describes a world that looks recognizable but unfamiliar. A fitting description for the Media and Entertainment (M&E) industry in 2022.

The year began with the hope that life and the economy would return to pre-COVID "normal," but it did not happen. With much of the planet still impacted by COVID and a global recession, M&E markets tried to make sense of it and respond accordingly. Just as Alice found Wonderland, a world turned upside down, that's how we find the world of M&E at the end of 2022.

In December 2022 , we predicted three things would occur in M&E:

1. The battle for audience share would intensify

2. Investment in original foreign-language content would increase

3. Culturalization would become an integral component of localization

Let’s see how close we came to predicting life in Wonderland in 2022.

Audience Share

Despite a global recession and a Q2 decline in Netflix subscription numbers, consumers continue to move from linear TV to the alphabet of Video on Demand (VOD) services in increasing quantities. For the first time, streaming overtook cable in total viewership in July with a 34.8% share of the audience compared to 34.4% for cable and 21.6% for broadcast TV. Across the board , subscriptions increased for streaming services and gaming platforms, while satellite and cable companies continued to experience six-figure declines . Streaming platforms also saw significant subscriber growth in Asia and Pacific (APAC) markets.

Accompanying this growth are industry churn rates for subscription platforms that have increased year-over-year by 5.3% . The reason for that is, according to Evan Shapiro, "Users are signing up for hit shows, bingeing them, and then canceling in favor of another service with a different hit show."

The lesson for M&E is, "keep the hits coming." Answering the question of where those hits come from leads us to our second prediction.

Foreign Content Spend Increased

Driven by increases in international subscribers, total investment in non-U.S. content increased to $115B in 2022, while total spending increased to $232B . Netflix, for example, committed $45M to develop French and European content over the next three years. Paramount+ expanded into 45 new foreign markets , which means like other VOD companies, they must comply with EU content origin requirements . Even as the global economy slows, analysts expect global content spending to increase industry-wide by an average of 10% in 2023, with a focus on quality and cost.

Culturalization Became Important

Along with the recognition that titles bought for single-language markets may find audiences globally came the realization that localization and culturalization matter. We refer to this as the "Squid Game Effect." Although wildly successful, "Squid Game" suffered from sometimes brutal social and news media reports that the show suffered from inaccurate or misleading subs, dubs, and closed captioning. While these reports didn't seem to affect the series' audience, they left many wondering if the story they saw was the one intended. The reaction's effect on writers, directors, and producers was to make them more aware of the need for cultural and linguistic accuracy.

Localization firms have responded to these critiques and challenges, but so have the people doing the work . While there is some fundamental disagreement about how to improve the process, the underlying reality is that the industry accepts that culture matters to audiences — a lot.

What about next year?

Predictions are fun to make and revisit at the end of the year to see how well you guessed what might happen. Our 2022 predictions were pretty accurate, but they weren't lucky guesses. As Hall of Fame baseball player, Yogi Berra famously said , “You can observe a lot by just watching."

What we predicted for 2022 was inevitable because of how audiences, content, and regulation have evolved. The trends driving that evolution are still in play and will continue to impact the industry, not just next year but for years to come.

We will explore the evolution and impacts when we debut our 2023 predictions next week. The body content of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

How Context Plays a Supersized Role in Scene Analysis

Fri, 09 Dec 2022 16:01:23 GMT

Source: M+E Journal

AI and ML in Media and Entertainment

Wed, 07 Dec 2022 22:35:30 GMT

Few technologies instill intense fear or promise in the public’s mind than Artificial Intelligence (AI) and Machine Learning (ML). From personalized shoppers to writing press releases to robots performing physical warehouse tasks to video content analysis to “Terminator’s” Skynet and video deep fakes , AI/ML can impact industry and society positively and negatively.

AI/ML applications are already affecting the Media and Entertainment (M&E) industry. Spherex greenlight ™ uses an AI/ML platform to analyze video content for regulatory and age rating compliance. Flawless.ai uses it to digitally edit content to sync language translations to facial expressions and lip-movement. Respeecher uses AI to create speech that’s indistinguishable from the original speaker.

Volumes have been written about AI since the first workshop in 1956 established the field. A discussion of the systems AI/ML runs on would overwhelm most people, but understanding what makes them function is much more comprehensible and relatable.

It’s Complicated

Each time we learn something new or are exposed to new information, we’re processing “data.” Our brain uses those data to learn how to speak, think, and interact with others. The more data we’re exposed to, the more we know.

Think about describing the task of using a hammer to drive a nail. As simple as it sounds, for a computer to recognize, understand and accurately identify what’s happening requires many types of “data” humans take for granted. For example:

1. Why would you use a hammer and nails?

2. Are there different kinds and sizes of hammers and nails?

3. How do you hold the hammer?

4. How do you use a nail?

5. Where do you hit the nail with the hammer?

Computers can’t know any of this, so every component and step must be described in detail. “Showing” a photo of a hammer and nail is insufficient because computers can’t know if you want them to recognize the image or the objects in the picture. What if a roof with shingles, people, trees, a toolbox, and the sky is visible? How is the computer supposed to differentiate between these other objects if it doesn’t know what they are, their relationship to the hammer and nail, or the significance of the other things?

The point is, you have to teach the computer. This process gets complicated quickly and shows how hard it is for AI/ML systems to recognize simple objects or tasks. Consider how complex it becomes when teaching the system about the context and nuance of artifacts in a movie scene.

Those who build AI systems understand these challenges and recognize the difficulty of collecting, analyzing, and processing the mountains of data required to make their systems work.

Data, Data and More Data

No company or organization owns or maintains all the data necessary to make AI/ML systems function. It is a global and collaborative undertaking. Universities and corporations understand the challenge, so they open-source their datasets to help seed the industry and invite others to contribute to their improvement. Google , YouTube , IBM , Kaggle, and hundreds of others have contributed trillions of individual records covering hundreds of data types that comprise AI’s comprehensive knowledge base.

Spherex harnessed its near decade of cultural and rating expertise and its catalog of 25M film and TV titles as a knowledge base and augmented it with public and private-source AI datasets to build its award-winning Spherex greenlight ™ content-rating solution. It is the M&E industry’s first AI/ML-based system that automates rating and cultural event detection and extraction for any form of video content. This patented technology scales to enable any regulator or company to rate quantities ranging from single titles to complete catalogs of thousands of titles efficiently and correctly.

In future posts, we’ll provide additional peeks into how these data are used in M&E to improve content creation, post-production, and distribution workflows. The best AI/ML applications are the ones that help you do your job while saving time and money and reducing risk.

A lot has changed since we wrote about AI in M&E in 2021. Technology and science have improved dramatically since then, and 2023 looks to be another year of significant advancement—especially with Spherex products and services.

Understanding the Audience Makes for Successful Global Content

Fri, 02 Dec 2022 22:45:29 GMT

How local awareness can keep your content from being censored

Hardly a week goes by when a film or TV title isn’t criticized for offending someone somewhere. This week alone, two lead news stories focused on titles some audiences will find offensive. Each example provides insight into title content judged and interpreted differently by the show’s producers, regulators, and audiences.

“The White Lotus”

The first is HBO’s series “The White Lotus.” Showrunner Mike White revealed that the fifth episode of this season includes a “gay sex scene” between one of the lead characters, millionaire “Quentin” and “Jack”…his “nephew.” Without considering the plot or answering the question of whether Quentin and Jack are related (White told Variety, “Well, you’ll have to see”), and the fact the terms “uncle” and “nephew” are coded terms sex workers use when referring to clients is beside the point. It’s the gay and implied incestuous relationship, as well as the visuals, that are the point.

As we’ve said many times , LGBTQIA+ content is among the most difficult to get past censors as it is, much less when it depicts same-sex scenes between relatives.

Portraying people in the act, especially relatives, creates a cultural problem in many more markets than those who frown on gay relationships. According to IMDb Pro, “The White Lotus” is available in 39 countries , 17 of which are known to censor LGBTQIA+ content (the link is behind a paywall). It’s fair to say producers will be required to make edits or outright cuts if they want that episode to air in all 39. The extent of changes by regulators is yet unknown.

“The Kashmir Files”

This week’s other controversy is the jury reaction to the Hindi film, “The Kashmir Files,” included in this year’s International Film Festival of India. Released in March, the film tells the story of the Kashmiri Hindus who fled persecution from the Muslim-majority Kashmir Valley in the early 1990s. It “reportedly stirred up anti-Muslim sentiments , with audiences erupting in hate speeches and calling for the slaughter of Muslims and a boycott of Muslim businesses after seeing the film.”

Israeli Director and Festival Juror Nadav Lapid said, via Deadline , “We were all of us disturbed and shocked by… “The Kashmir Files,” [it] felt to us like a propaganda, vulgar movie inappropriate for an artistic competitive section of such a prestigious film festival.” Although banned in Singapore and the UAE, the film was “ praised ” by the Hindu community and India’s Prime Minister Narendra Modi, whose government provided tax credits and promotional resources for the film.

The saying, “Where you stand depends on where you sit,” explains which side of the conflict the audience identifies with and how the public perceives those with an opposing view.

From the Kashmiri Hindu perspective, the story relates the impact of family members killed for religious and ethnic reasons resulting in their departure from a region where their families had established roots. From the Muslim perspective, a film depicting them as the oppressor and murderers wrongly implicates their faith and its adherents instead of those who committed the crimes for political and personal reasons.

Considering both “The White Lotus” and “The Kashmir Files,” the collision of perspectives dramatically highlights the subjective emotion films cause and the potentially intense regulatory or public response. Content creators who understand their audiences will maintain story integrity while respecting cultural sensibilities. Those who don’t understand them risk sanctions for attempting to release content into a market where it is culturally inappropriate or illegal.

Suppose you’re looking to release controversial titles anywhere in the world. In that case, there is no better tool for protecting your IP, company, or reputation than Spherex ratings ™ and Spherex greenlight ™ . Spherex can provide precise scene and country-specific insights that help facilitate better-informed and more rational content change decisions that protect the story, the brand, and the audience.

Contact Spherex today to schedule a demonstration and see the benefits for yourself!

The Experts Talk: Challenges of English Dubbing

Tue, 22 Nov 2022 16:37:35 GMT

English may be the world’s most spoken language, but that doesn’t mean everyone understands it in the same way.

“England and America are two countries separated by the same language!” - George Bernard Shaw

When people in the United States discuss localizing titles, subs and dubs, translations, and culturalization, they usually mean U.S. titles headed abroad. However, thousands of titles and TV episodes made elsewhere must first be translated into English before entering the U.S. market and other English-speaking countries. Also, there are additional components of “English” to address in the translation process. Issues to navigate include (in no particular order):

1. Dialect

2. Region

3. Accent

4. Meaning

5. Culture

6. Religion

This list might look familiar. Foreign titles entering English-speaking markets face the same challenges as English titles headed abroad. Regardless of where a title is to be released, it is critical to understand, interpret and retell the story as accurately as possible. As the saying goes, “the door swings both ways.”

Insights into how difficult this is were discussed recently on a webinar sponsored by the Entertainment Globalization Association (EGA). In an engaging discussion moderated by Catherine Sutton, Amazon Studio's Senior Manager of Language Programs & Creative, the panel discussed just how challenging getting stories right really is.

From the list, dialect, accent, culture, and region of the voice can directly impact the story. How? As Deeny Kaplan, EVP of The Kitchen , points out, simply finding a “neutral or Mid-American accent” for a client isn’t as straightforward as it sounds. Where in the Midwest? Accents in Minnesota are pretty different from those found in Louisiana or Texas. Which one do they want? Is that acceptable?

Alex Weiser, VSI General Manager, said they address casting and vocal attributes like accent when it is “plot relevant.” Unless there is a specific reason to use an accent in an English dub, their approach is to focus on the script.

The audience is another critical component. Is it a title intended for children, families, or adults? What if the film’s country of origin is more liberal than American audiences? What is an acceptable strategy for “toning it down?” Are there character names with American equivalents? If not, how do you change them? Some of the stories are very local in a geographic sense. How do you translate and maintain the story’s culture and nuance of life in those communities and countries while sticking to the plot and storylines? Is there a risk of sanitizing the story as a result?

Maria Nougues, Dubbing Territory Manager, Americas for Zoo Digital , pointed out that the cadence of speech also impacts translations. She cites the speed at which characters from Italian titles talk compared to Korean or Spanish titles, which is challenging when translating it to fit into the lower thirds or attempting to keep up with the action in any given scene. She says it is essential to have staff working on it who understand the language and are familiar enough with the culture and customs to know when the translation doesn’t convey the meaning in context.

There is also a recognition that concern for quality subs and dubs is beginning to occur much sooner in the production process than had been the case previously. Deeny Kaplan pointed out that producers are beginning to recognize the international financial potential and beginning to include the cost of localization in their budgetary planning processes.

The webinar provides valuable insights into English dubbing that may not be obvious to writers, producers, and content distributors. If you’re an EGA member, you can watch the entire recording on your “ Events on demand ” page. It will be an hour well spent.

Impacts of Ignoring Culture in Content

Tue, 15 Nov 2022 22:11:26 GMT

Most people have the regretful experience of causing a misstep that could have been avoided. Something as simple as publicly mispronouncing your boss's name, telling your partner their favorite outfit makes them look fat, or promising a client a discount only to find out the deal doesn’t extend to them can have embarrassing consequences. The sad truth is that committing a faux pas is more likely when you don’t know as much about the situation or audience as you should. The challenge is how to avoid them.

I n the decade since Spherex began analyzing content from a culturalization and rating perspective, we have developed both an eye and an ear for the forms of content that can cause audience and regulatory problems for content creators, producers, distributors, and platforms.

Here are three of the most common sensitivities creators need to be aware of when preparing content for global release.

1. Know Thy Regulator

It cannot be stated strongly enough: understanding who regulators are, how they think, and how they have rated similar titles will be beneficial as you prepare your title for submission. Spherex is the world’s only commercial provider of local age ratings and has worked with those regulators to develop that understanding.

Regulators are serious about their responsibilities and mission and tend to be very consistent. In cases where titles attempt to push back or sneak something in, regulators often respond similarly: make cuts or get banned. Paying attention to previous decisions can go a long way in avoiding problems.

There are plenty of examples: the last seven MCU titles and 2022's top box office film "Top Gun: Maverick" were banned due to the depiction or inclusion of politically charged topics. Mainland China (PRC), Russia, and many Muslim countries continue to object to LGBTQIA+ and any content that depicts the country's leaders or heroes in a negative light.

2. Crime, Drugs, and Violence

It's hard to imagine suspense, mystery, or thriller titles without some form of illegal activity or violence; it goes with the genre. But the extent to which those activities are portrayed can make a big difference to regulators or censors. Gratuitous sex, violence, drug use, or criminality are a quick way to earn a higher age rating and reduced revenue potential in many of the most lucrative media markets.

The world's top 20 film markets have different thresholds for what is appropriate for their audiences. Western countries may be more forgiving, but many Eastern, fundamentally religious, and authoritarian countries are much less so. The only way you'll know where a given scene is or is not acceptable is to either study their regulations, look at the experience of previous titles, or find a source of expertise that can educate and prepare you.

3. Cultural Symbolism

Deities, politicians, clothing, hand gestures, and historical locations hold special places in people's hearts and minds. Disrespecting them in any way can cause many headaches, so if you incorporate these elements into your story, it's best to find out whether your use of them will be problematic.

A few examples include simple hand gestures, such as the two-finger "peace sign," which is an insult if you turn your hand around. The color of a wedding dress makes a difference to Western and Chinese audiences. Failing to warn viewers (e.g.., trigger warnings) a title contains disturbing scenes has created media and audience backlash for some titles. Misrepresenting religious sentiments in Hindu communities can cause significant pushback from legislators, regulators, special interest groups, and the press. Singapore passed a law on November 9 ^th requiring social media companies to block access to "egregious content" within hours." This content includes scenes depicting terrorism, suicide, physical violence, and sexual exploitation.

Avoid self-inflicted wounds by being informed.

Patient: "Doctor, it hurts when I do this."
Doctor: "Then don't do that!"

-Henny Youngman

A filmmaker's objective is to have their story seen by as broad an audience as possible. Advanced knowledge of specific issues of any market you want to enter can help guide the preparation of substitute scenes that maintain story integrity while addressing cultural concerns effectively. Being market smart is the right start .

Three Takeaways from AFM 2022

Tue, 08 Nov 2022 21:12:02 GMT

Competition, Globalization & Challenges

The first in-person American Film Market (AFM) in three years took place in Santa Monica, California, just wrapped.

Approximately 3,700 Media and Entertainment (M&E) executives from 3,000 companies attended either in person or online, attempting to pitch, sell or buy 623+ films and television series produced in dozens of countries across every genre. National and regional film agencies also attended, promoting locations, incentives, and production facilities available to content creators. These numbers do not reflect the countless other projects in various stages of development being pitched by directors or producers seeking financing, partners, or distribution deals by conference attendees. AFM 2022 was M&E beginning a return to a post-pandemic normal.

Over the week, we observed three themes that drove much of the discussions at AFM: competition between platforms, the globalization of content, and challenges facing everyone in the industry.

1. Competition

Not surprisingly, competition across the industry was a central topic of discussion. The alphabet of VOD, FAST, OTT, OTA, and CTV was on display. And it was hard to ignore the content amplification platforms like TikTok, Instagram, YouTube, and others. All this attention competition was assuredly at the top of everyone's minds.

Questions like, "How do I choose a platform?" "Which platform reaches my target audience?" “Is placing my title on multiple platforms better than targeting just the large ones?” “Who offers the best revenue share?” and “What do I need to provide the platform,” were asked and answered hundreds of times.

Many industry leaders spoke of linear television’s expected demise and theatrical releases’ contraction as people move online and purchase larger television sets. The exponential growth of mobile distribution, the expansion of publicly available internet connectivity, and the increasing number of ad-supported platforms were discussed as persistent factors driving both platform and content competition. This is despite slowing advertising spending across all sectors of the economy.

2. Globalization

The global success of foreign-language titles such as “Squid Game” and the increased desire of many to replicate that experience was another key takeaway from AFM. Directors and producers were asked the extent to which they’ve considered how their stories will be accepted in other countries and cultures. Post-production companies were asked how effective their localization is and whether they can provide insights into which countries are most receptive to a given title or story. Platform executives were questioned about the efforts they’re willing to undertake to prepare and promote titles internationally.

This interest stems from believing that a particular story will travel well. The underlying question is whether the international release will help make a profit and, if that’s a possibility, how do you do it, what’s the cost, and who can help do it without damaging the title or the brand? The answer to all these questions is a complex “maybe,” but the good news is that tools such as Spherexratings™ and Spherexgreenlight™ make finding the answers much more straightforward and affordable for the smallest of productions.

3. Challenges

The changing global economic condition was the third most significant takeaway from AFM 2022. Several panels addressed the recession’s impact on theatrical ticket sales, streaming subscriptions, advertising investments, and platform content budgets. Although subscription and advertising revenues are expected to slow or slightly contract, few expect the content acquisition budgets to be significantly impacted. Why? Because content is what drives subscriptions and good content reduces churn. Investment in good content consumers want to watch means the “other guy’s subscribers” churn, “not ours.”

Of the conversations we had with people directly involved in content development or purchase at AFM, few felt the amount of money spent would change much. Instead, they believed the focus would shift from the number of titles bought to the quality of the stories they tell. Other factors such as budget, a title’s attractiveness in countries and cultures, and longevity will still contribute to the decision process. Still, the heydays of buying titles without full consideration of the story, its quality, and reach are a thing of the past.

Back to Normal

Anyone familiar with entrepreneurial markets and industries knows there is a time when land grabs are the driving factor in business and financial decisions. “You have to spend money to make money” and “plant the flag” are well-known refrains. Over the last few years, these phrases have become standard in M&E.

While there are still companies willing to challenge conventional wisdom and do things differently, AFM 2022 provided clues that the wild west days for streaming may be coming to an end. The settlers are now beginning to refine their market niche. Time will tell, but for now, successful content companies will focus on the competitive opportunities that currently exist worldwide, fully aware of their challenges. It’s an exciting time to be in M&E.

Government selects specially-developed online content ratings tool

Tue, 08 Nov 2022 17:13:16 GMT

Spherex has been approved as the national classification tool and a new mechanism to regulate film content in Australia .

Communications minister Michelle Rowland released a statement on Monday, noting the Australian Classification Board and federal government have been working with the US-based media company to design the tool since 2020.

“The rigorous testing conducted by my department and Spherex reaffirms my confidence in the decision to approve the tool to help Australian viewers make informed choices about the content they choose to watch and engage with,” she said.

Development work included refining the tool’s parameters to ensure classifications meet the “highest community standards” and the requirements of the Classification Act.

The tool will classify online films, series and episodes, including locally made content, under Classification Act (Publications, Films and Computer Games) 1995. The process will ensure content becomes available to viewers in Australia and overseas efficiently and affordably.

Spherex tools are used to classify content in more than 100 other countries, and the board can revoke a tool determination in the event it believes a classification decision for a category or consumer advice should be different.

According to the government, the two-step approach will mean film content is always “suitably classified”.

Rowland said the decision to use Spherex for the new classifications tool would mean new programs could be accessed sooner.

“As today’s media and digital environment continues to change, we have a responsibility to remain agile in our response to providing ratings and advice.

“The Spherex tool will allow our classification framework to appropriately inform Australian viewers about the content they watch,” Rowland said.

Australia also uses two other ratings tools: the IRAC Global Ratings tool for online and mobile computer games, and a tool supplied by Netflix for video content distributed by Netflix Australia.

Source: The Mandarin

Spherex Classification Tool Approved By the Australian Government For Online Content Ratings

Mon, 07 Nov 2022 19:54:31 GMT

The Albanese Government, the federal executive government of Australia, announced it has approved the use of the Spherex Classification Tool as a new mechanism of safeguarding and regulating content in Australia under the Classification (Publications, Films and Computer Games) Act 1995.

Spherex, a Silicon Valley-based global technology and data company serving the media and entertainment industry, has a longstanding relationship with the Australian Classification Board. Since 2020, Spherex has worked closely with the Australian Government to ensure its technology reliably generates classification decisions that are applicable and consistent with Australian classification standards and the expectations of Australian consumers.

“Given the rapid proliferation of content, the Australian Government recognizes the need for further industry involvement in classification,” said Teresa Phillips, CEO and Co-Founder of Spherex. “We take this responsibility seriously and are committed to working with the Australian Government on governance and evolution of standards to maintain public confidence in our decisions and advisories.”

The approval of the Spherex Classification Tool adds to two other ratings tools available in Australia including the IARC Global Ratings Tool used to classify online and mobile computer games; and the Netflix Classification Tool used for content available on the Netflix Australia video-on-demand service.

“The rigorous testing conducted by my department and Spherex reaffirms my confidence in the decision to approve the Spherex Classification Tool to help Australian viewers make informed choices about the content they choose to watch and engage with,” said the Hon Michelle Rowland MP, Australian Minister for Communications.

As the world’s only commercial provider of local age ratings, Spherex has successfully produced classification decisions for high volumes of online content in 100+ countries. Since 2018, Spherex has issued over one million age ratings for digital content (films, TV shows, and trailers) distributed by its clients to countries worldwide. The body content of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

Source: MESA Online

New tool cuts wait for US TV shows from up to 20 days to 24 hours

Mon, 07 Nov 2022 14:43:06 GMT

A new classification tool will help online streaming services speed up the time it takes to assess new movies and TV shows from up to 20 days to 24 hours.

US-based media company Spherex, which already provides age ratings for more than 100 countries, has developed a version of its classification tool designed to emulate the Australian standards for ratings.

The more than one dozen streaming services operating in Australia will now be able to use the Spherex tool to more quickly and cheaply classify overseas-made content and Australia made content.

A new system will speed up the classification of overseas and local TV shows and movies.

It currently takes up to 20 days for a standard classification rating, or five working days for a priority application. The new tool will make a classification within 24 hours.

Minister for Communications Michelle Rowland said the new tool would help speed up the time it took for new content to be shown to Australian viewers. "As today's media and digital environment continues to change, we have a responsibility to remain agile in our response to providing ratings and advice," Ms.

Rowland said.

"The Spherex Classification Tool will allow our classification framework to appropriately inform Australian viewers about the content they watch."

The Australian Classification Board will still be able to revoke a decision made by the new tool if they believe the classification category should be different.

Broadcasters, cinemas and online streaming services cannot provide local access to a film or TV show until it has been classified under the Australian standards.

The current classification system rates films, TV shows and computer games from general (G), parental guidance (PG) and mature (M) through to material accompanied by adult (MA 15+) and restricted to those 18 and older (R 18+).

In addition to the Spherex tool, the government also uses the International Age Rating Coalition Global Ratings Tool to classify online and mobile computer games and the Netflix Classification Tool for content available on Netflix.

Source: Australian Financial Review

The Secret Spice for Global Content: SpherexAI

Wed, 26 Oct 2022 19:38:22 GMT

How Spherex technologies assess your content’s cultural fit for global audiences

Have you ever eaten something unique at a restaurant and wondered, and maybe even asked, what the chef did that made it so good?

Of course, you have.

Not surprisingly, if you asked, you learned that chefs rarely reveal their secrets. To them, it’s better to whet your appetite and have you return to the restaurant rather than spill the beans. Movie tech is no different.

We’ve written before about how good Spherex greenlight ™ is at preparing video titles or games for an international release. Since releasing it earlier this year, the industry’s reaction to Spherex greenlight ™ has been remarkable. Their response has also provided insights into potential customers' questions about its underlying technology. Like a good chef, we’ll share enough of the ingredients so you keep coming back.

First Ingredient: Find the spice

The effectiveness of any AI/ML product depends on the quality of the data upon which it is built. To create Spherex greenlight ™, Spherex mined thousands of policy manuals, historical literature, current affairs, and judiciary decisions on sensitive topics (LGBTQ, sexual violence, self-harm, blasphemy, etc.). This knowledge provided a deep, comprehensive library of data to facilitate curation accurately. Using that knowledge, we analyzed millions of titles for all relevant events, created a detailed, metadata-rich cultural database (what we call the Spherex Cultural Playbook), and used our combined knowledge to train the AI engine that powers Spherexgreenlight™.

Second Ingredient: A matter of degree

The intensity of events within titles occurs in a matter of degrees; how death is conveyed impacts how regulators or audiences respond to it. Is death the result of natural causes, an accident, or violence? Is it inferred to occur in the shadows or plain sight? Is it quick and painless, or drawn out and agonizing? Is it a one-off, or is it consistent? What about blood? Is there a little or a lot? If drugs are present, why are they being used, and how much? The degree to which these events occur significantly impacts age ratings.

Last Ingredient: The final cut

The critical component is the content itself, for it is the culmination of all the ingredients: the script, actors, locations, action, language, and music mixed and simmered together and delivered to the audience. Stories are not just a series of sentences. They are paragraphs made up of sentences that must be analyzed in full context. That is how regulators will view the content. The combination of millions of bits of this information provides the substance for an expert-in-the-loop title annotation.

Spherex greenlight ™ AI/ML analyzes the title and provides a second-by-second breakdown of events within it that regulators or audiences may find objectionable. It presents them as an easily viewable and clearly understood UI that informs directors and editors where issues may arise—all in seconds. To see how this works in real-time, watch this video.

Order’s up: Delivering market intelligence

The successful preparation and distribution of your content drives monetization and largely determines whether you get to make another title. Knowing in advance how regulators or the audience will respond to different events in your title is tremendously important intelligence to have as you go from production to post-production to distribution.

If you’re involved in film or TV production or distribution, you owe it to your content to discover how Spherex greenlight ™ can help you.

Spherex will be at American Film Market (AFM) November 1-6 in Santa Monica, and CTAM Think on November 3 at Convene in New York City, so if you are attending, please make a point to stop by and see it for yourself.

Challenges in Global Film and TV Releases

Tue, 18 Oct 2022 19:31:00 GMT

If you don’t know where you’re going, any road will take you there.

If you’re one of the approximately 460,000 production companies on the IMDB Pro active COMPANYmeter looking to release a title that will attract an audience among the world’s 7.7 billion people living in 200+ countries and territories, then you have your work cut out for you. Besides having to write a well-told, engaging story, you must decide where among the world’s 300+ streaming platforms and 25,000+ linear channels to release it.

At a high level, it seems pretty easy to narrow it down. “All” you have to do is identify the most lucrative markets, see what languages they speak, and target them, right? Toss in some subtitles and dubbing, and everything’s good.

If only it were that simple.

Choosing Is Easy-ish

According to the latest estimates , the most spoken languages in the world are English (1.5B), Chinese (1.1B), and Hindi (592M). That doesn’t include the other 2B people who speak Spanish, Arabic, Russian, French, German, and Japanese, among all the rest of them. While those are not the “most spoken,” each of those six languages is spoken in the top ten movie markets worldwide.

Table 1 Most Spoken Languages in the World, Ethnologue

Choo sing your target countries and languages is just the beginning. If your title is to be successful, the path forward is evident. Although audiences may understand the language, regional and societal differences may change their understanding of the story. You have to ensure your story is appropriately translated using cultural references that the audience understands and that it complies with local regulations.

No Title Is Immune From Censorship or Criticism

Getting this wrong has serious consequences. For example, eight out of ten of 2022’s most successful titles at the box office were banned in several of the world's largest markets for cultural issues. Each of the last seven Marvel Cinematic Universe (MCU) titles was banned in China and the Middle East for the inclusion of LGBTQIA+ characters. The Netflix series “Squid Game” received much criticism for mistranslations, inaccurate subtitles, and dubs that left out some of the most important cultural aspects of the series. Most of the flak came from audience members!

The best way to approach this challenge is to determine, as far advance as possible, using the best data, which markets most clearly align with your content. Doing so allows you to target them in a way that reduces title and brand risk, minimizes post-production costs, and speeds time to market.

A Cultural Playbook

Over the past decade, Spherex has worked to develop the IP and technologies necessary to provide the tools the media and entertainment (M&E) industry needs to make informed content and compliance decisions that impact markets and revenue. The company has reviewed thousands of policy manuals, jurisdictional film and TV ratings classifications, legal decisions, and public consumer complaints to create the industry’s first cultural playbook. The result is a proprietary capability that detects and analyzes approximately 1,000 scene attributes across 8.3 million combinations that impact ratings in nearly every market worldwide.

This playbook provides unmatched intelligence and specific guidance that can be applied to any form of video content, from film to television shows to video games. No other platform comes close to providing the accuracy and depth of Spherex AI. From a single review of any title, it gives both a customized and highly specific roadmap for localizing and culturalizing any title and delivering valid age ratings for any country or territory where release is desired.

If you’re interested in learning more, Spherex AI/ML technology is discussed in the October 2022 edition of “ Reteller Magazine .” We encourage you to check it out!

It's More than "Violence" - Detecting Context in Video Using AI

Fri, 14 Oct 2022 19:05:31 GMT

Source: EGA's The Reteller Magazine

DEG Announces TechOps Award Winners

Thu, 13 Oct 2022 17:03:39 GMT

DEG president and CEO Amy Jo Smith and Xperi chief content officer Bill Neighbors welcome guests to the Oct. 12, 2022 TechOps Awards in Los Angeles.

DEG: The Digital Entertainment Group announced the winners of its TechOps Awards at a ceremony in Los Angeles Oct. 12.

“It is DEG’s pleasure to produce our second annual — and first in-person! — TechOps Awards for all these often-unsung innovators in our industry whose mission it is to enable and constantly improve content delivery to consumers in best quality when and where they want to enjoy it,” said Amy Jo Smith, DEG president and CEO.

The winners are:

Technology Leadership Award — Mark Sgriccia, Lionsgate

The award honors an individual or team that has demonstrated leadership, implementing something technically that had an impact on the business. Recipients have demonstrated leadership and significantly contributed to a recent project or other engagement within the last two years in the technology and operations function.

Best Multi-Company Team Collaboration Award — Warner Bros. Discovery Global Content Servicing and Solutions Team and Giant Interactive Client Services Team, Warner Bros. Discovery + Giant Interactive

The award honors cross-industry teams (representing two or more companies) who demonstrate excellence in collaboration, communication, and technical execution with an impact on operational efficiencies in order to achieve a common goal.

Technology Innovation Award — (two winners) Disney Media & Entertainment Distribution Single Ingest Pipeline Team, Disney, and Dmytro Bielievtsov, Grant Reaber and Alex Serdiuk, Respeecher

The award honors a team that identified a problem and created a novel solution.

Everyday Hero Award — (two winners) Yelena Makarczyk, Blu Digital Group, and Cassandra Moore, NBCUniversal

The award honors an individual who demonstrates an attitude of excellence, helps others, encourages teamwork, leads by example, and goes “above and beyond” the expectations of their job/duties to meet the needs of the industry while executing solutions to everyday challenges.

Technology Achievement Award Presented by Whip Media — (three winners) Al Rundle, Disney; Ravindra Velhal and Rick Hack, Intel; and Adriana Becerra, Tubi

The Technology Achievement Award honors adoption/leadership/engagement in the technology and operations function. Recipients have demonstrated a technical achievement and significantly contributed to the realization of technological advancements.

Localization Trailblazer Award — Teresa Phillips, Spherex

The award honors trailblazing companies, teams, or individuals who exemplify excellence in overseeing quality, localized content under tight deadlines using creative and operational groundbreaking strategies.

Lifetime Achievement Award Presented by Dolby — Mike Daruty, NBCUniversal

The award honors and recognizes an individual or team that has demonstrated consistent results in technology leadership, technology achievement, or technology innovation.

Sponsors of the awards event include presenting sponsor Xperi, cocktail sponsor Blu Digital Group, Technology Achievement Award sponsor Whip Media, Lifetime Achievement Award sponsor Dolby and sponsor Audacy.

Source: Media Play News

The Cultural Landscape of Horror Films

Tue, 11 Oct 2022 20:53:38 GMT

How horror films navigate global content restrictions

“Great green globs of greasy, grimy gopher guts,

Mutilated monkey meat.

Dirty little birdie feet.

Great green globs of greasy, grimy gopher guts,

That’s what I like to eat.”

Source: Mid-20th Century children’s song, sung to the tune of “The Old Gray Mare”

Did you know that Halloween, and similar celebrations, are found in many countries worldwide?

In the US, Canada, and Ireland, Halloween is celebrated on October 31 with trick or treating, costume parties, and games. Its origins date back to the ancient Celts, when people believed it was the day that the ghosts of the dead returned to earth. As we do today, they wore costumes to help ward off any evil spirits they encountered. Día de Los Muertos (Day of the Dead) is a Latin American and Spanish three-day celebration from October 31 to November 2. It pays tribute to the dead who, it is believed, return to their homes on Earth each Halloween for a reunion with their living relatives. In England, Guy Fawkes Day is celebrated on November 5 with fireworks and bonfires to commemorate the execution of the famous English traitor. While these celebrations may not share the same origin story, they have one thing in common: dead people.

Comedies, dramas, horror, and thriller titles using these celebrations or themes have been mainstays of the Fall release schedule for generations. The first of the famous “Halloween” horror franchise starring Jamie Lee Curtis was released in 1978. To date, the franchise has grossed more than $750M worldwide . Disney’s 2017 animated release “ Coco ” celebrated Día de Los Muertos, featured the first all-Hispanic cast, and grossed over $807M worldwide . While there haven’t been many films about Guy Fawkes, a mask that resembles him was a key feature in the 2005 film “ V for Vendetta ” and has become a popular Halloween costume in the US and UK.

These are the more mainstream titles in the “Horror and Suspense” genre. There is a significant difference between those and the gorier and more disturbing films entering the marketplace. How do they fare in today’s increased regulatory and cultural scrutiny climate? Let’s look at a few recent titles and examine the differences in their ratings.

Global ratings aren’t universal

“ NOPE ” is the third horror genre film from director Jordan Peele. Released in 2022, it is the story of the owners of a financially troubled horse-handling business and their encounters with an extra-terrestrial at a rural California ranch. The film includes scenes with strong language and depicts violent death, blood splatter, child abduction, and agonized screams as the alien devours its victims. “NOPE” earned an “ R ” rating in the US for “language throughout and some violence/bloody images.” Except for Singapore (NC16) and Malaysia (18), every other country that rated “NOPE” rated it lower: Italy gave it a “6+”, it got a “G” in Japan, and a “12” rating in Columbia, Egypt, Germany, South Korea, Spain, Switzerland, and Taiwan. To date, the film has grossed $171M worldwide.

The AMC television series “ The Walking Dead ” includes content regulators find objectionable and affect its ratings. The series follows a Kentucky county sheriff who awakens from a coma to discover the world in the grip of a zombie apocalypse. Sex and nudity, violence and gore, alcohol and drug use, and frightening scenes are commonplace throughout the episodes. Typical scenes include bloody body parts, cannibalism, gun violence, and graphic zombie deaths. The series has earned a TV-MA rating in the US (inappropriate for ages under 17) and has similar or higher ratings in most countries where it is available. There are a few exceptions. It earned a “13+” rating in Quebec, Canada, a “VM14” in Italy, and a “15” in Sweden.

The cultural differences between horror and gore ratings

So why the differences? The answer comes down to culture. Culture is reflected in the age rating, which is also impacted by how the title is distributed. It is not uncommon for a title to have different theatrical, TV, streaming, and DVD ratings. Horror films are good examples of this phenomenon because they are often edited differently to comply with specific country guidelines for each distribution platform. If you want to learn more about those differences, please see our previous blog posts on the topic, which you can find here and here .

Platform aside, the critical factors in assessing horror titles to determine an appropriate age rating include:

Does the horror have any violence, e.g., blood, bodies, mutilations, etc.?
Would the horror frighten children? If it would, then does it mitigate that impact, such as a positive ending, uplifting music, or humor?
How does it end? Is everyone saved, or does everyone die?
Is the horror realistic? Is this more like a psychological thriller, gory like “The Grudge,” or offers no socially redeeming value like “Human Centipede?”
What's the pacing? Is it fast-paced with lots of jump scares, or is it slower-paced, relying on the cinematography and effects to create the tension?
Is the cause supernatural or extra-terrestrial? Though countries have become less sensitive to the supernatural, there remain a few where supernatural themes get higher ratings, especially countries like China, Vietnam, and Indonesia.
Is the fear constant, or are there breaks for other emotions?

How these factors function varies widely by country, and the ratings reflect the differences. Brazil, for example, will not rate any title containing “scary” content as acceptable for audiences younger than ten years old. The Netherlands provides lower ratings for titles if the terrified victim is saved from the source of the terror. Slovakia and other Eastern European countries have rules that raise the ratings if scenes include physical transformations from human to something else (like a werewolf) or serial killers as characters. Germany focuses on the cinematography to determine how graphic it is, e.g., out-of-focus, in the shadows, or in your face. Denmark will change ratings based on whether the scene is a “good thrill” or horrific. As horror films have become more graphic, regulators tend not to assign a rating lower than 16+, effectively limiting their reach to young adults and older audiences.

Horror films may not be everyone’s cup of tea, but they are a significant entertainment genre that generates considerable revenue for creators, distributors, and platforms. How age ratings are assessed is a good primer for understanding how the rating process works and how cultural interpretations of events and scenes matter.

Decisions on appropriately preparing a title for wide release are best left in the hands of the people who created it. Using Spherex technologies, creators and distributors can identify content that will impact an age rating as early as the final script draft through a finished cut. Using our cultural playbook, creators can identify objectionable content within a title and determine the extent to which compliance edits are necessary for it to reach its optimal audience. Contact Spherex today to learn how we can help you maximize your title’s audience and revenue.

The Plus and Minus of Platform Naming Conventions

Tue, 04 Oct 2022 13:08:25 GMT

At what point is imitation no longer the sincerest form of flattery?

A trend in platform naming involves appending “Plus” or “+” to the brand name. Amazon announced last week, for example, that it was rebranding its recently acquired “Epix” streaming channel as “MGM+.” This is consistent with a trend that began a few years ago as major brands have adopted the “Plus” naming strategy.

Here are a few examples:

CBS All Access rebranded to Paramount+

BET rebranded to BET+

Disney Channel rebranded to Disney+

Discovery Channel rebranded to Discovery+

AMC Channel rebranded to AMC+

Samsung TV rebranded to Samsung TV+

StarzPlay rebranded to Lionsgate+

Apple TV rebranded to Apple TV+

Over a dozen companies have opted to add “Plus” to their name, and Amazon’s recent decision indicates that there is no sign the trend will end anytime soon.

The Pluses of “Plus”

There is a method to the madness. Amazon’s reason for rebranding Epix is to take advantage of MGM’s brand equity, highlight MGM’s extensive film library, and utilize MGM’s IP for future television and movie productions.

Paramount (then known as ViacomCBS) president Bob Bakish described their decision to add the “+” because “Paramount is an iconic and storied brand beloved by consumers all over the world, and it is synonymous with quality, integrity, and world-class storytelling.”

Disney’s decision to add the “+” was to align with the branding format it had adopted with the launch of ESPN+ in 2018. Then CEO Bob Iger indicated Disney had made a significant financial investment in ESPN’s rebranding and its success, in their view, “bodes very well” for the success of the Disney+ brand.

Top branding experts agree with the “Plus” strategy, citing consumer familiarity with the concept and that it simplifies brand offerings. For example, it means consumers can access both the brand’s movies and tv shows. It could mean no ads to watch, the bundling of additional channels to reduce subscription costs, and more genres of content, all of which increase consumers’ interest in the channel’s content and reduces churn. It’s clear why parent companies find value in this branding identity, but it begs the question of when is enough enough?

The Minuses

There’s the old saying, “Familiarity breeds contempt,” and this naming convention has undoubtedly shown some truth to it. Fortune , Fast Company , and the New York Times have written about the trend, and their primary criticism is that while it may make sense in the near term, that benefit is lost long term. They argue that when too many brand names sound the same, any differentiation between them becomes meaningless. Bucking the trend seems prescient, and Peacock gets credit for not going along.

The creators of “South Park: Post COVID: The Return of COVID” cleverly highlighted this loss of consumer differentiation . In the first three minutes of the episode, viewers see signs for “South Park Elementary Plus,” “Pizza Plus,” “Muffler Shop Max,” “Boots & Biscuits Max,” “Tom’s Rhinoplasty Plus,” “Post Office Max,” and others. Throughout the rest of the episode, hotels, restaurants, schools, mental asylums, wine bars, and even cemeteries all had “Plus” or “Max” appended to their names. Film star and entrepreneur Ryan Reynolds made fun of the trend by adding a fictional streaming service to his wireless Mint Mobile service, calling it Mint Mobile Plus , going so far as to copy the Disney+ look.

Brand identification and protection are crucial in the rapidly expanding streaming market space. So much attention is focused on content quality, preparation for global markets, and how it contributes to brand reputation that it is easy to overlook other factors that impact how consumers see a brand.

In the grand scheme, platform names may not matter much to the average subscriber. They’re more concerned about finding something to watch than the name. Don’t most people refer to Disney+ as “Disney” and Paramount+ as “Paramount?” If we had to guess, probably most of them. But companies spend big bucks on branding, hoping their names stick in consumers’ minds. Much time is spent making sure content titles don’t sound the same; interestingly, platform names haven’t received the same attention.

The Eye of the Beholder

Wed, 28 Sep 2022 00:25:26 GMT

How DEI brings out the best and worst of people

The late comedian Robin Williams was fond of reminding people that "No movie is real" whenever someone questioned whether something in the film was plausible or not. Williams’ warning is good counsel for those upset about People of Color (POC) casting decisions and recently released movies.

The Power of The Little Mermaid

To a storm of criticism, Disney recently released the trailer for the live-action version of "The Little Mermaid," featuring a black actress in the lead role. While the casting of 22-year-old African American Halle Bailey and her appearance in the trailer as Ariel thrilled millions of adults and children worldwide, millions of others have found offense.

For example, a host from the Daily Wire, responding to a comment about "white erasure," remarked on camera that "From a scientific perspective, it doesn't make much sense to have someone with darker skin who lives deep in the ocean." He went on to say, “the Little Mermaid should be pale.” But it does not matter what color skin the actor has since mermaids don't exist in reality, much less science.

For some, verbal criticism wasn’t enough. An "anonymous scientist" used AI to whiten Bailey's skin so she looked like a "white-skinned ginger" and posted it on Twitter. Facing backlash and despite a follow-up message that attempted to defuse the situation by saying, "This is purely for educational purposes; please do not misinterpret this in a racist way,” Twitter suspended the account. Sadly, the post’s deletion hasn't stopped its spread, as it is still online .

As of this writing, 23.3 million people have viewed the trailer on YouTube. Before the platform disabled the counter , the trailer amassed 1.1 million "likes" and more than 2 million dislikes , making it the most disliked movie trailer ever released. Paraphrasing an old quote, "Hate gets halfway around the world before the truth gets its boots on." Nevertheless, parents worldwide have posted videos of their daughters reaction to seeing a “brown Ariel” for the first time. They are the images that bring tears of happiness to a parent’s eyes.

Bringing visibility through storytelling

Another example is " The Woman King ." The film is based on female warriors, known as "Agojie," in the African Kingdom of Dahomey, one of Africa's most powerful states in the 18th and 19th centuries. Although the Kingdom's role in the slave trade is a key component of the film, it centers on its unique women warriors, also known as “Amazons,” who protected the Kingdom after the men were forced into slavery.

The film's director, Gina Prince-Bythewood, told Essence , "It’s about honoring the Black women who have been in the struggle, who have died nameless, and it ends with a specific name that embodies our struggle of being invisible, of being unprotected. So, it was a callout in honor of us.” Yet, some critics dismiss the film saying it “ isn’t historically accurate .” Others on social media are clamoring to boycott the movie because the writers are white .

Responding to the criticism, Viola Davis told Variety , “First of all, I agree with Gina Prince-Bythewood’s saying you’re not going to win an argument on Twitter. We entered the story where the Kingdom was in flux, at a crossroads. They were looking to find some way to keep their civilization and Kingdom alive. It wasn’t until the late 1800s that they were decimated. Most of the story is fictionalized. It has to be.” Julius Tennon, one of the film’s producers, added , “We have to entertain people. If we just told a history lesson, which we very well could have, that would be a documentary.”

Diversity is all around us

There are plenty of examples where a character's race or nationality is changed to make it more relatable to audiences. A dozen versions of Santa Claus exist worldwide, many appearing as men and women of many races and colors. Anyone traveling through the Christian world will see Jesus depicted as someone who looks like the local population , even though he was a Middle Eastern Jew. Yet despite wide acceptance of these depictions with little complaint, critics of “The Little Mermaid” and “The Woman King” accuse the directors and studios of being “woke.”

Have you ever wondered why the Bible contains no physical description of Jesus? Stories cannot be so sacrosanct that they can never be changed. From a storytelling perspective, what matters is the stories are relatable and meaningful to audiences. For that to happen, the stories have to be able to travel to other cultures and peoples, which means it is necessary to change characters and stories to resemble the intended audiences.

We should celebrate stories and storytellers who make an effort to bridge divides and bring people together.

That’s as real as it gets.

Streaming TV is Having a Crisis of Scale

Tue, 20 Sep 2022 13:17:54 GMT

The global reach of OTT/FAST means that those platforms are fighting a continuous battle to bring new and successful content into more and more markets.

Building a successful content library involves much more than ensuring those titles have appropriate age ratings and content restrictions. The content also has to be good .

But the companies that provide content worldwide through over-the-top (OTT) or free ad-supported television services (FAST) are struggling to release enough popular content to grow their services.

This creates a cyclical challenge. Waning subscriber growth does not provide the financial resources to develop new content, and the lack of fresh/innovative content only accelerates subscriber loss.

Chicken, meet the egg

A recent Washington Post article states, "Streaming television is going through an existential crisis, involving the people who make it and the viewers who watch it. Its revolutionary zeal has naturally faded, as that initial wave of near limitless expansion, boundless creative opportunities and vast archival choices crashes ashore, after a spate of megamergers and a drop in new subscribers."

Yes, it's true. The hyper-growth of OTT and FAST streaming services is beginning to experience a rapid slowdown. What was once innovative content is now considered standard fare.

This fickle nature of global content consumption has caused streaming services' return on investment to hit a plateau due to the challenges of breaking into new markets. Thus causing stagnation of content as the production forces see budgets pulled. This content stagnation is leaving audiences who have not yet subscribed to a service hesitant to make the subscription commitment.

Solving global distribution challenges is daunting for the largest streaming platforms, let alone the small producers. Ensuring that your content resonates with international viewers is a challenge that must be prioritized for the showrunners and various creatives coming up with the next big streaming blockbuster.

Streaming platforms have had huge successes with sensations such as "Squid Games," but the content that resonates globally is rare; this is especially true for comedies.

One of the most significant issues for comedic content is the reliance on nuance. Nuance is challenging to translate as well as localize. It can also be difficult for local content reviewers to place appropriate content restrictions and age ratings accurately. An artificial intelligence-based content analysis tool can help creators identify any challenges with their content before it is released.

While major studios are slashing content development budgets, smaller producers still seek to create and find an audience. Avoiding the formulaic traps that led to the prevalence of medical dramas on broadcast television can be the solution.

Speak softly and tell a good story

The timing of this plateau of audience growth is less than optimal. Earlier this Summer, it was reported that streaming finally drew more viewers than cable and broadcast TV. But despite the overall growth of streaming, the writing was on the wall for the future of new content. We saw the rumors earlier this year , and it still all comes down to knowing your audience, the markets in which you want to release, and how to tell a good story.

Recognizing that different cultures view topics through distinctive lenses is crucial to bringing a concept to life. Whether it be intense themes such as suicide or drugs; or if it is light-hearted topics such as potty training or first dates, not all markets will interpret humor or drama through the same lens. We recently shared five tips for how creatives can keep their vision intact while avoiding content restrictions in global markets.

Running your content through a system that utilizes human-in-the-loop machine learning will provide you with crucial insight into the subtle distinctions of your content. It should be mandatory to bring new shows and movies to market.

By having insight into the potential sensitivities of a show or movie, streaming services can ensure their titles are on the path to success. Services such as Spherex ratings ™ and Spherex greenlight ™ are market-proven technologies that have helped some of the world's most prominent content creators and distributors with millions of titles reach new markets more quickly.

This skill of bringing quality, globally informed content to market is one of the critical ways streaming platforms can overcome the audience growth plateaus they are experiencing.

And if you are ready to bring your title to a new audience, contact us, and we will ensure your vision comes to life anywhere it gets watched.

Q3 Content Censorship Roundup – Box Office Edition

Wed, 14 Sep 2022 21:45:53 GMT

Picking your battles is key to box office success in Q3, 2022

The end of another calendar quarter is nearly upon us. It's that time to look at the titles that have performed the best at the box office despite being forced to make content changes or being banned altogether. What's different about Q3 is that each of the top three titles fell victim to censorship. We've been saying for a while that everyone should expect more regulation and censorship, and so far, we haven't seen much to persuade us otherwise.

"Minions: The Rise of Gru"

If you're familiar with the plot of the Universal Pictures "Despicable Me/Minions" franchise, you know the protagonist is a character named "Felonious Gru," who is determined to become the world's greatest supervillain. Throughout the franchise and to earn this title, he has attempted to steal the moon, immobilized people in line at a coffee shop, and stolen numerous items like diamonds and fantastical weapons.

Part of the plot of "Minion: The Rise of Gru" centers on a character called "Wild Knuckles," who fakes suicide to escape capture by a group of villains called the Vicious 6. Knuckles then kidnaps the 11-year-old-Gru and begins his training as a supervillain. At least that's the story everywhere in the world except in Mainland China.

Censors in China insist that characters who commit crimes be caught and punished. Even animated ones. In China, producers were required to add an epilogue explaining that Wild Knuckles didn't escape. He was caught, served 20 years in prison, and became an actor while incarcerated. Instead of becoming a supervillain, Gru turned his life around and " became one of the good guys " who got married and raised three children.

While this didn't require any cuts to the body of the film, the epilogue was inconsistent with the actual storyline, which was not lost on Chinese moviegoers. Some complained it looked like a " bad PowerPoint presentation " was added at the film's end, while others said they didn't care as long as they could see the film uncut. Three months into general release, the film grossed $33M in China. Its current worldwide gross is $904M .

"Thor: Love and Thunder"

Despite being banned in the world's largest film market (China), nearly all Middle East Muslim countries, and Malaysia for LGBTQIA+ content , Taika Waititi's "Thor: Love and Thunder" performed well at the box office. Since its release on 8 July, the film has grossed $342.3M in US/Canada domestic markets and $414.2M internationally, for a total box office of $756.5M .

"Top Gun: Maverick"

2022's top-grossing film, "Top Gun: Maverick," continues to make money on a global scale. China banned the movie for scenes viewed by its government as overtly patriotic towards the US and a brief display of the Taiwanese flag. The latter is guaranteed to get any production banned from Chinese markets. Even without access to China, "Top Gun: Maverick" now ranks as the 5 ^th Top Lifetime Gross title of all time. It has grossed over $1.5B worldwide and will only go higher.

Know When to Hold 'Em and When to Fold 'Em

You could argue that Universal Pictures and Imagination Entertainment caved when they offered to change the end of "Minions: The Rise of Gru." Still, you could also argue it was a wise business decision. In what amounts to single frames with subtitles, the producers complied with a country's censors with no change to the story as produced and had a $33M windfall they would not have had otherwise. It's as if the censors forgot it was a prequel, but clearly, the audience did not.

"Thor: Love and Thunder" and "Top Gun: Maverick" refused to make the changes censors demanded and still did very well at the box office. Audiences have praised both studios for sticking with the story and supporting the writers and directors who made them. The lesson here is that knowing the culture, the audience, and the regulators is critical when deciding whether to comply or not. The old saying that "an ounce of prevention is worth a pound of cure" is true in the movie and entertainment business. Resources are available to help creators identify cultural or regulatory problems at the earliest stages of production. Learn what they are, and you can save time, avoid stress, and successfully release your content in nearly any market in the world.

OTT.X Fall Summit 2022

todd.landfried@spherex.com (Todd Landfried) — Wed, 07 Sep 2022 18:56:12 GMT

An event where time was well spent.

There's an old sports adage: competition breeds success. And that was assuredly on display at this year's OTT.X conference.

Attendees from studios, platforms, channel operators, AdTech software solutions, research organizations, and academic institutions gathered to discuss the OTT sector's current status and future potential.

It was great to see the community meet again for the first in-person version of this event since 2019. Four tracks highlighted the rapidly evolving innovation in this space:

1. New & Exciting (industry innovations)

2. Small Business (issue facing small companies as they compete in M&E)

3. FAST (how to compete and win in the FAST market)

4. Content Operations (preparing content for global markets)

Innovation pushes barriers

A common theme throughout the conference was the notion of competition in a rapidly evolving industry. The keynote address and 10 panels focused on the challenges facing M&E companies. First-day session titles included "Fall TV: Early insights & Demand Across Platforms," “Tomorrow’s Consumers Speak,” “Distributing and Windowing Content Across Business Models,” “Programming Your Channel,” and “Globalization of Content.”

Second-day session titles included “Bringing Content Metadata into Clear Focus,” “FAST vs. Cable: And The Winner Is?,” “Marketing Your Channel,” and a discussion of AI-based translation services.

Spherex CEO Teresa Phillips moderated the “Globalization of Content” panel, featuring Jason Gish, President, Film & Television for Testronic Labs , Vince Muscarella, VP of Sales for Whip Media , and Joshua Pine, Chief Revenue Officer for XL8.ai . The panel discussed the challenges the companies face in localizing and culturalizing content, how globalization impacts the supply chain, and how AI/ML technology will change subs and dubs services for years to come.

Other important topics included how NFTs can be used to sell content, how Diversity, Equity, and Inclusion (DEI) matters in staffing and content, and several reviews of industry trends from the past year.

All OTT.X Fall Summit sessions were recorded and will be available to stream on its website .

While we’re still thinking about all of the excellent knowledge shared at OTT.X, we are packing up and heading to the IBC conference in Amsterdam to engage with international content creators, broadcasters, and technology platforms that put great content into your hands and homes.

If you want to connect at #IBC2022 , drop a note in the comments of our LinkedIn post, and we'll see you there.

Rethinking Subtitles for Global Audiences

Tue, 30 Aug 2022 17:35:44 GMT

Yeah, there are standards, but necessity is the mother of invention and change.

Content is the fuel that powers M&E industry growth. To compete in an ever-evolving and expanding marketplace, writers, producers, directors, and distributors must find ways to differentiate themselves across audiences and markets.

With a focus on audience experience, productions have begun experimenting with innovations that enhance the localization of titles and improve the understanding of dialogue. Broad implementation could give the industry new standards to follow.

Rethinking Subtitles

One of the staples of localization is subtitles. Go to any title on any platform that includes foreign language dialogue, and there they are. They will look the same regardless of the language or delivery method. Since silent movies, subtitles have appeared in the lower third of the screen as white text, one line of dialogue at a time. If two people are talking at the same time, it could be difficult for viewers to follow who is saying what. Despite the apparent shortfalls, producers haven't strayed far from industry standards because "if it ain't broke, don't fix it."

But director J.J. Perry's Jamie Foxx-starred Netflix title, "Day Shift," is challenging the subtitle norm with positive results.

Throughout the film, when a character speaks in a foreign language, subtitles are shown outside the lower third, in different colors, near the speaker's body. Those colors follow the character throughout the film.

For example, the lead protagonist in the film is a female vampire, "Karla Souza," whose subtitle, when speaking in Spanish, appears onscreen in red. Foxx's character’s Korean dialogue appears in green. When Snoop Dog’s character, “Big John Elliott,” speaks Japanese to the dry cleaner “Momoko,” the caption appears in blue. Her response to him appears near her body in purple.

Source: BBC Academy Guides: How do I create subtitles

While color has been used in subtitles to denote the dialogue of different characters before (as shown above from BBC guidelines), Perry disrupts the lower third “rule” and places the text next to the speaker. This approach is reminiscent of the speech balloons and captions used in comic books and graphic novels. Regardless of why people use subtitles, any improvement that helps better understand the characters and the story is a move in the right direction.

Location, Location, Location No Longer Matters

The COVID pandemic impacted localization workflows significantly. With staff unable to be in the recording studio, localization teams employed in-home studios using cloud-based applications to get the work done.

Seen initially as a short-term response to the pandemic, this model has now become a permanent fixture as localization firms recognize that quality and workflows don’t have to suffer, although there are clear limitations. First-release cloud-based dubbing solutions had to overcome several challenges, such as network latency and the ability to interact with other actors, directors, engineers, and room acoustics, while obtaining the same sound quality available in a studio setting.

Today, localization companies such as Deluxe and Zoo Digital offer cloud-based services that allow for the provision of studio-quality recordings. They have opened work opportunities for voice talent from around the world. Proximity to professional recording facilities is no longer necessary for any talented actor with an internet connection to fully participate in creating new film and TV content in their native language. This ability makes it possible for content creators to produce and release their content in countries, languages, and cultures never before accessible.

Creativity will keep fueling innovation

Over the next few months, more innovations assisting in creating global content will be announced and come to market. Unlike previous innovations that required hiring companies to do the work for them, these tools can be utilized by content creators, producers, or distributors themselves, wherever they are located.

Invention is indeed the mother of necessity, but opportunity is what drives the market. We can only imagine what kinds of tales are in store for us.

Censorship 101: Five Tips for Telling Your Story Your Way

Tue, 23 Aug 2022 13:51:35 GMT

Creativity happens typically without the oversight of laws, regulations, and guidelines. That is unless you live in a country where government officials look over your shoulder (they do exist). For most writers, however, you can write whatever story you want — up to a point.

The challenge writers face is that oversight is inevitable if the objective is international distribution, even in the most open societies. For content creators who think about sets, locations, script writing, lighting, and even the score, consideration of potential global restrictions must be part of the creative process.

Here are five tips to keep your creation in the good graces of international content reviewers.

Write for a global audience

No script should be censored before you write the first word. Regardless of the genre or subject, content creators should be able to tell their stories their way. That belief, however, often runs contrary to the economics and realities of the marketplace or contract show writing.

Writing with an understanding of your intended global audiences, specifically language, customs, and cultures, is imperative if you want your story to relate to and reach them. Some things can’t be “fixed in post.”

Your double entendre wasn’t that hidden

Understanding to use of humor or language to address sensitive content is one way to address regulatory or cultural concerns. Musicians have used double entendre to talk about sex for decades to get around censors. Songs like Gertrude “Ma” Rainey’s, “Ma Rainey’s Black Bottom,” Little Richard’s, “Good Golly Miss Molly,” and Bessie Smith’s “Need A Little Sugar in my Bowl” got by censors because the singers didn’t use explicit language. But the audience understood perfectly.

Robin Williams said during the production of “Mork & Mindy” that he made an effort to “ try different things to see what could get under the radar. ” That said, don’t underestimate the regulator’s observational skills ; they may be more aware than they let on, but they are also humans and can let things slide.

Recognize that different cultures see things differently

You might think themes like drug addiction, rape, child abuse, sexual assault, and suicide are viewed similarly across cultures, but they’re not. Suicide, for example, is perceived differently in film and TV ratings in the US, UK, and Japan because the public’s attitudes toward suicide vary significantly. In other words, how suicide is portrayed matters. Is it an integral or minor part of the story? Is it depicted with care or callously? Is it graphic or in the shadows? Is it glorified or discouraged? Is the context “historical, fantasy, realistic, or contemporary?”

Accept what you can’t get away with

It doesn’t matter where the story is written, produced, or distributed; some subjects literally won’t play in some countries. Titles like “West Side Story,” “Lightyear,” and “Doctor Strange in the Multiverse of Madness,” among others, have been banned for featuring LGBTQIA+ characters and stories.

Disney’s “Shang-Chi and the Legend of the Ten Rings” was banned over an actor’s comments about the Chinese government. We can cite many examples , but the point is to accept that even the most carefully written positive portrayal of characters or plot lines won’t get past censors.

Pick your battles wisely

Scriptwriters welcome opportunities to include political and social commentary in their stories. It contributes to the development of essential storylines and characters. Sometimes they get away with it, and sometimes they don’t. The challenge is determining where and when to try and predict whether or how their points land with audiences. While some studios, platforms, and distributors are willing to stand up and fight for stories, that isn’t always the case.

Every scriptwriter’s objective is to create a story that entertains as broad an audience as possible. Knowing the audience and what engages them while also understanding regulators’ concerns can help develop a script that doesn’t raise anyone’s ire. Sadly, it is not a skill many scriptwriters possess. The good news is that tools and expertise can provide the insights they need to assess scripts for known problematic events.

While it isn’t common to utilize localization and culturalization so early in the production process, it is a practice worth considering.

Contact Spherex to learn how to incorporate its content analysis services into your workflow.

Why Content Culturalization Matters During a Recession: Part Deux

Wed, 17 Aug 2022 19:10:07 GMT

Have the economy and increased regulation created content’s “perfect storm?”

Despite optimistic Q2/Q3 reports from studios and platforms and indications of no mid-year budget cuts, a real possibility remains that unless the economy recovers to where revenues are more stable, the next fiscal year could see reduced content budgets and fewer purchased titles.

What a Difference An Economy Makes

We’re seeing evidence of this as Warner Brothers Discovery discussed the cancelation of three films, including the $90M “Batgirl,” during a recent earnings call , citing the need for better focus on how content helps the corporate brand and their respective franchises.

If titles in post-production are dropped, then content in any stage of development could face similar circumstances. While creators can’t individually bolster the economy, there are a few things they can do to reduce the chances they’ll find their projects on the chopping block. It starts with the title itself.

Last spring, we provided an overview of five recommended steps necessary to prepare content for global release. These include obtaining the final script, selecting markets, conducting cultural script analysis, localization, and performing a final review before regulatory submission. In writing about the slowing economy, we described how language and cultural differences directly affect global release decisions and budgets. Together, these posts link the importance of understanding how culture impacts the telling of a story and how that understanding demonstrates market viability and value to the studio or platform.

Don’t Forget the Regulators

Recent media coverage shows how some regulators are doubling down on censoring “objectional” subject matter or characters in popular titles, particularly LGBTQ+ storylines or characters. The freezing out of titles or franchises from major markets and the resulting loss of millions of dollars in revenue will get a studio’s attention. While some may be willing to take the economic hit for a tentpole release like “Top Gun: Maverick,” knowing they will make money elsewhere, they may not be willing to do it for smaller films. This knowledge could impact production decisions for content unprepared for release to broader markets.

Overcoming Challenges

Ensuring your title is ready for the global marketplace is more crucial than ever. The combination of economic uncertainty and increased censorship levels can create the perfect storm for content creators trying to obtain the investment necessary to bring their stories to life. Spherex provides the tools and services to address both challenges. They’re economical for even the smallest producers and will soon come to your desktop.

Contact Spherex today and schedule a demo of the technologies that can get you to global release and markets faster than ever.

Small Producers Can Reach Global Audiences

Wed, 10 Aug 2022 13:49:45 GMT

It’s a challenging but manageable process if you know how

Imagine this scenario. You’re a small production company, and you’ve just spent the last couple of years developing a series you’re confident has international reach. Produced in the US in English, the story is an engaging drama, although a little edgy, with serious and comedic moments. The cast includes a broad mix of characters that reflect modern communities. Your lead character is a bisexual woman of color played by an up-and-coming actress who isn’t yet a household name. The rest of the characters are a mix of adults, seniors, and children spanning many ages, races, identities, and religions. In each episode, renowned actors and actresses are cast as protagonists to attract viewers. Cultures typically portrayed as “the bad guys” are depicted positively.

Because it’s a drama, some scenes include adult language, depictions of drug use, gun violence, physical abuse, harassment, and romantic and sexual situations. These events aren’t gratuitous, but some people may find them disturbing. Parents will want to be alerted as certain storylines are unsuitable for children.

The production and cast are constructed purposefully: to reflect real life while respecting cultures and beliefs. The stories and actions aren’t overly sensational but realistic. Your limited audience testing indicates viewers are connecting with the cast and stories and audiences continue to discuss episodes long after they’ve ended. It’s the kind of reaction producers and directors dream of getting. Now comes the fun part.

Global Distribution Challenges

Producers must address several challenges before a title is ready for international distribution (not including finding a distributor). For example, which markets should you target first? How will different cultures react to your cast and characters? How can you ensure audiences won’t be offended by mistranslation or cultural misrepresentation? How do you identify countries that accept “controversial” stories and those that may request or require edits or cuts?

We’ve written about the challenges encountered with titles like “Squid Game,” the last five MCU titles, Disney’s “Lightyear,” and others while trying to get released in other countries. It’s easy to imagine how our hypothetical series above would run into many of the same issues those titles have. The question then becomes, how do smaller companies with controversial stories or casts navigate regulatory concerns so they can be released and enjoyed by audiences?

Finding The Answers

Established studios and producers have a process for managing global title distribution, but many smaller or new companies do not. The good news for those firms is there are tools available today to guide you down the correct path. Best of all, you don’t have to spend a lot of cash hiring consultants to help you navigate the process of bringing your titles to market. It is possible to economically develop a viable strategy of country selection, risk identification and mitigation, localization, and create an achievable release timeline.

Services such as Spherex ratings ™ and Spherex greenlight ™ are expert-in-the-loop AI/ML services that analyze your final cut once and provide the market and content intelligence you need to identify the best markets for your titles. This market-proven technology has helped some of the world's largest content creators and distributors with millions of titles reach new markets more quickly, effectively, and without regulatory risk. Soon, you’ll be able to do it yourself from your desktop.

Contact Spherex today and learn how you can share your content with the world!

How is the Economy Impacting Content Creation?

Tue, 02 Aug 2022 19:31:00 GMT

What should content creators make of platform subscribers and revenue numbers?

If you listen to media pundits, analysts don’t expect Q2 of 2022 to bode well for linear or streaming platforms. Several said the industry was “ slowing down ” due to the state of the global economy. Market contractions are likely to lower ad revenue and impact subscriber totals. To some degree, the companies that have reported so far (more are coming this week) indicate the experts may have a point, but will it impact content development or market expansion?

Among earnings announcements so far:

Netflix posted a loss of 970K subscribers
Peacock netted no new paid subscribers in the quarter
Apple service subscriber growth slowed compared to previous quarters

Other prominent players in the streaming space are expected to report subscriber losses, slower subscriber growth rates, and revenues or earnings below projections. Fortunately, the state of the industry isn’t as bad as some like to paint it. In fact, none of the companies reporting earnings so far have announced a reduction in their content spending this year despite these challenging economic times.

Netflix

Netflix CFO Spence Neumann said in their Q2 earnings call , “…if you zoom out a bit and look at past economic cycles, at least in the US, most forms of entertainment have been fairly resilient to downturns.” People tend to keep streaming subscriptions as they optimize their entertainment spending. Neumann cited that operating income and Earnings Per Share (EPS) were higher than expected, and the company saw a 7.7% growth in screen time during the quarter. This growth included countries where the company increased prices. Bottom line: Netflix will not change its content strategy or curb spending.

Comcast

Comcast CEO Brian Roberts said during their Q2 earnings call that despite flat subscriber growth in the NBCU Media group, their investment in content was paying off. He cited upfronts generating “more than $7 billion in commitments, including $1 billion at Peacock” for the 2022/2023 season. Roberts touted the success of theatrical releases including “Jurassic World,” “Minions: The Rise of Gru,” and “Black Phone,” emphasizing that “great content attracts massive audiences.” Comcast indicated no intent to cut back on content development.

Apple

Apple’s commitment to content continues, with CEO Tim Cook saying during their earnings call that the company grew to over 860M paid members of Apple TV+, Apple Music, and Apple Arcade platforms in the quarter, generating $19.6B in revenue. Cook highlighted that in 2.5 years, Apple TV+ has “earned 250 wins and 1,100 award nominations,” including 52 Emmy nominations across 13 titles.

What this means for content creators is that, given the current global economy, there is no planned change in the amount of money invested in new content. Every major company that has reported quarterly earnings remains committed to its announced investment levels in new content development for 2022. That doesn’t mean they won’t adjust how or what they buy in the future. It means their focus remains on creating engaging content consumers want to watch. This is good news for companies that cultivate and localize content. It is a testament to their effectiveness in producing titles welcomed in over 200+ countries and territories worldwide.

Anti-Diversity, Equity & Inclusion Hysteria

Tue, 26 Jul 2022 17:40:51 GMT

Where does it come from, and why should we be paying attention?

The idea behind diversity, equity, and inclusion (DEI) in the media and entertainment industry is nothing less than demonstrating respect for other people and cultures, recognizing the creative talents of a global community, and establishing equal opportunities for everyone. With more than 12,000 titles produced yearly, it’s fair to presume there should be plenty of opportunities to go around, right?

DEI is worth the effort. For the third consecutive year, UCLA’s 2022 Hollywood Diversity Report shows that most opening weekend audiences are people of color and films with a higher percentage of minority casts performed better at the box office worldwide. How can producing content that looks like your audience, reflects their cultures, and makes more money everywhere be bad? Why isn’t this welcome news everywhere?

Hold my beer.

No Good Deed Goes Unpunished

Despite producing positive audience and revenue results, DEI has met fierce criticism from those who insist it is built upon ulterior motives. One oft-cited critique of DEI published earlier this year on Substack titled, “ Hollywood’s New Rules ,” laments industry changes its authors say are creating “an ideological and cultural transformation” destined to end in a “giant class-action lawsuit.” The column’s central premise is “The old boys club is dead. But a new one—with its own litmus tests and landmines—is rapidly replacing it.” The new club comprises women and people of color. The litmus test is that story ideas must now compete with creators whose ideas weren’t considered 10 years ago. The landmines are fears that DEI will lead to discrimination claims of “ reverse racism ” made by “ white male s ” against “ woke Hollywood” for stifling their opportunities.

This isn’t the first time the murder of DEI has been attempted by irony and it won’t be the last. Many people and groups are more than willing to rain on any well-meaning, still-in-progress parade for change occurring in the M&E industry.

For example, following the publication of the Substack article, dozens more were posted on multiple platforms in agreement. One questioned whether “The English Patient,” “The Silence of the Lambs,” “Lawrence of Arabia,” and “Gone with the Wind” could be made in Hollywood’s “woke” environment. Another complained about Hollywood’s “endless virtue signaling and preachy acceptance speeches.” In a June interview, author James Patterson told The Times of London he worried “it is hard for white men to get writing gigs in film, theater, TV or publishing.” Following a broad and instantaneous backlash against his statement, Patterson walked back the comment . Still, his apology received shade from DEI critics, including one that used a photo of Patterson with a gun to his head to emphasize the point.

Facts, Content, and Audiences Matter

What’s lost in translation are facts demonstrating the need for DEI, such as these from the 2022 Hollywood Diversity Report:

· People of color constitute 43% of the US population

· Diverse audiences are a significant majority of audiences streaming content and watching first-run releases in theaters

· Two-thirds of the top screenwriters in 2021 were white and over half were white men

· One in four television scriptwriters were people of color (e.g., 75% were not)

· White playwrights wrote 90% of Broadway shows

Sadly, the positive impact of DEI risks being overlooked and unappreciated because news or social media debates on DEI tend to miss the point and devolve into a back-and-forth shouting match about history, race, politics, whose ox is being gored, and why the other side isn’t worthy of equal treatment. Opponents’ claims are distractions purposefully intended to further divide and inflame sentiments against communities within M&E simply looking to have the same opportunities to tell their stories in an industry with plenty of them.

DEI is Change Worth Making

DEI isn’t “us versus them,” it’s “all for one.” For DEI to be impactful, the purpose and facts of DEI must be presented to the public so they can see why it’s an important and necessary change. Especially when so many of them look exactly like those our industry is working so hard to include. Efforts like these are among the things that make Spherex proud to be part of this essential, creative industry and support this critical cause.

Age Ratings Are Coming to a Platform You Use

Mon, 18 Jul 2022 19:44:56 GMT

Age ratings are coming to a platform you most likely use – from TikTok rolling out content with a maturity rating system to prevent young audiences from seeing inappropriate videos to content regulators worldwide who have increased the extent to which they examine content for age and cultural appropriateness. We’ve previously discussed regulators’ increased focus on violence , LGTBQIA+ , and cultural issues in film and television. As demonstrated by three announcements this past week, age ratings are making their way onto all types of media platforms.

British Board of Film Classification (BBFC)

On July 12th, The British Board of Film Classification (BBFC) announced they licensed 27 Video On Demand (VOD) platforms to display BBFC age ratings in the UK on a “voluntary, best practice basis.” These include companies such as Netflix, Prime Video, Apple TV+, Sky Store, Rakuten TV, and other well-known UK platforms. Under their “ Mobile Classification Network ,” which intends to “protect young people from viewing harmful content,” the BBFC announced they examined 97 UK websites and placed 33 behind adult filters.

TikTok Regulation is Imminent

On July 13 ^th , TikTok announced in a blog post the rollout of parental controls that set “the standards for what is and is not allowed on our platform.” The tools will allow parents to limit the types of content available for 13–17-year-olds based upon “thematic maturity.” By providing “content scores” similar to those used “in the film industry, television, or gaming,” they intend to “safeguard the teen experience.” The post did not address how and who would make these determinations.

Singapore - IMDA

Also, on the 13 ^th , Singapore announced plans to codify into law online social media safety measures for all ages. The “Code of Practice for Online Safety” is expected to establish regulations covering violence and terrorism, dangerous viral challenges, sexual exploitation, abuse and harassment, public health threats, and racial and religious harmony. If passed, Singapore’s Infocomm Media Development Authority (IDMA) will have the authority to require social media platforms to disable access to harmful content.

Age ratings in film, TV and gaming are becoming common on popular streaming and social media platforms. The challenge for content creators is how do they obtain valid ratings? Spherex has a solution that provides regulator-approved ratings for any form of video content valid in any country worldwide. Make Spherex your first stop in meeting platform and regulatory compliance rules.

Contact Spherex for a demo or additional information.

Why Content Culturalization Matters During a Recession

Mon, 11 Jul 2022 15:39:10 GMT

The media is currently reporting and hypothesizing how a recession could impact the M&E industry. Will it reduce subscriber numbers , jobs, stock prices, and revenues? Who stands to win or lose ? These are essential industry questions, but only one deals with the core product the industry creates: content.

The lack of new content motivates subscribers to drop one service and move to another with better options. Without new content, there is little justification for consumers to subscribe to a service or advertisers to buy time on one. Older content lowers interest and reduces perceived value, which increases churn. In recessionary markets, the challenge our industry faces become where to invest and where to cut costs. One area of production to avoid cost reduction is culturalization and localization.

Why? Because both are crucial to releasing content internationally. Although English is the recognized “ language of business ” and 1.1B people have some understanding of it, in terms of native speakers, it comes in a distant third behind Mandarin (918M) and Spanish (460M), with 397M speakers. Considering all languages, people who understand or natively speak English are only 16.5% of the world’s population. If you want to reach the other 83.5% of the market, culturalization and localization are essential to your content production strategy, providing a positive return on investment .

Who says? In a recent interview , Disney’s VP of Distribution Operations, Andrew Aherne, discussed how content developed for Latin American countries is playing “extremely well in Europe and other markets.” Netflix’s Co-CEO and Chief Content Officer, Ted Sarandos said of “Squid Game” director Hwang Dong-hyuk and his production team , “They didn’t try to make the show different so that it would travel, but tried to find all the things about Korean cinema and Korean drama and build them up in a way and new levels of production values” that resulted in 1.65 billion hours viewed in the series first 28 days of release. None of these successes would be possible without culturalization and localization.

Economic downturns, whether short- or long-term, pressure studio and postproduction companies to look for areas where they can save money. Spherex is the only company that provides services and technologies that provide the market and cultural intelligence necessary to make more informed and targeted localization decisions, minimize production times and reduce costs. The combination of Spherex Ratings and Spherex Greenlight ensures your titles are linguistically and culturally appropriate for every country and territory on Earth. Contact us today to see how we can help prepare your content for a successful global release.

Top Q2 Titles Subject To Regulatory Censorship

Tue, 28 Jun 2022 19:50:15 GMT

Four of the Top 10 Q2 in-quarter film releases (three were in the Top 5) were banned in major film markets for culturally objectionable content, yet still broke revenue records . As we’ll show, it doesn’t take much to run afoul of regulators in today’s top global markets.

Table 1 Q2 Worldwide Box Office, Box Office Mojo

The world’s top movie in Q2 is "Top Gun: Maverick," which received widespread criticism for removing the Taiwanese flag from Tom Cruise’s character's jacket in the trailer. This was done to appease Chinese regulators, who prohibit display of the Taiwanese flag or any positive reference to the country. Global audiences cheered when the film's producers responded to that criticism by restoring the flag in the final release, but their choice ensured the film would not be shown in mainland China.

Regulators' primary objection to the other three films was the inclusion or reference to LGBTQ+ characters or storylines. It didn’t seem to matter whether they were implied or explicit, real or animated, or whether they are portrayed in a positive or negative light. Given the culture in each country, their inclusion was sufficient enough reason that regulators felt the need to take action.

For example, China required three script edits to "Fantastic Beasts: The Secret of Dumbledore" to remove references (no actual footage) to a past gay relationship between the two leading male characters in the film: Albus Dumbledore and Gellert Grindelwald. China and six other countries banned "Dr. Strange in the Multiverse of Madness" for a lead female character referring to "her two moms," China and 14 additional countries banned "Lightyear" for a single same-sex kiss. Despite these edits or bans, these films generated $2.6B in box office revenue through the end of Q2.

Three lessons can be learned from these four films. First, even the smallest references to something like a flag patch is sufficient for a title to be forced into making compliance edits or face a country ban. Second, despite changes in global perceptions of LGBTQ+ characters, even the most minor community reference is enough to get a title banned in a dozen or more countries. Finally, while some countries block content they believe is harmful to their culture or society, consumers will respond positively to banned films containing controversial topics or stories that promote diversity, equity, and inclusion.

The best way to avoid these problems is to know in advance when you may encounter them and in which scene. Utilizing Spherex ratings and monitoring solutions, you can assess your titles at any stage of production for these and other cultural and linguistic issues prior to release and prepare accordingly. With Spherex, you can ensure your titles reach maximum revenue and the largest audiences worldwide.

Contact Spherex today to schedule a demonstration.

Thinking Out Loud Podcast

Mon, 13 Jun 2022 21:53:18 GMT

The streaming wars have become a global battleground to reach broader audiences, increase engagement and reduce churn. The major streamers expect half of their revenue to come from the international marketplace within the next few years. Guest Teresa Phillips, Co-Founder & CEO, Spherex, explains why culture plays an integral part in successfully globalizing content and how Spherex’s unique AI supports the ecosystem to help create content that culturally adapts to meet the compliance needs in various countries while maintaining the integrity of storytelling

Episode 42: There's No Loyalty in the Digital Space

What Do Content Regulators Do?

Fri, 10 Jun 2022 17:46:05 GMT

With the unprecedented increase in the number of platforms available to consume content and the seemingly ever-increasing number of titles, parents are rightfully concerned about the type of stories their children can watch. One way parents or family members can determine whether a specific title is appropriate is an “age rating.” We’ve discussed in previous posts what age ratings are , how they differ between film and TV , and how they vary across countries . In this post, we examine the content regulators that assign ratings and how they perceive their role in ensuring safe and quality entertainment content is available for families in theaters and online.

Government and private classification boards

Generally, there are two types of classification boards: governmental and private. Governmental boards are established by law or decree. Examples of governmental boards are the Kenya Film Classification Board ( KFCB ), the Australian Classification Board ( ACB ), Hong Kong’s Film Censorship Authority ( FCA ), and India’s Central Board of Film Certification ( CBFC ). Private boards are generally industry-created and managed organizations that provide ratings and classification services instead of government involvement. Examples include the Motion Picture Association (MPA) in the US and Canada and the BBFC in the United Kingdom.

Content regulators take their jobs seriously as their judgments influence public decisions about what to watch, and higher ratings can significantly impact a film or TV show’s revenue.

In the ratings process, a final cut of a film or TV show is reviewed for content unacceptable to various age groups. In most countries, this means scenes depicting violence, horror, sexuality, drug use, or other imitable acts that can adversely influence or impact an audience.

What is acceptable for what age group?

What is “acceptable” is typically determined by long-term, ongoing discussions and public research on what audiences deem appropriate for the age groups. A common criterion is that the subject matter is “understandable” to a person. For example, violent scenes with one person killing another are not understandable in the context of a complex story to young children. Likewise, glorifying drug use that leads to addiction or harm can inappropriately influence older children, pre-teens, and young adults. Some countries also look for stories or scenes that portray government, public officials, religious leaders, and others in “unflattering” or “inaccurate” ways, both of which can be highly subjective given who controls the government. Guidelines that describe these criteria can be found on ratings board websites, such as the MPA , the BBFC , and the CBFC .

Three things can occur after a title is reviewed:

1. An age rating is assigned,

2. Content is sent back to the creators with required or suggested edits necessary for an age rating to be assigned, or

3. The film is banned from being released.

Edits generally include changing offensive language, blurring out, or removing unacceptable scenes. Once the requested revisions are complete, the content is resubmitted for approval, and the cycle begins again. Suppose the group submitting the content disagrees with the rating or ban. In that case, they can follow an appeal process to argue their case to a separate board, who then makes a final rating determination or enforces the ban.

As we wrote in a previous post , ratings for young children are not always the same when watched in theaters versus at home or on mobile devices. To address this concern, regulators have created additional categories that address content concerns, for instance, when parents or other adults are absent.

One final note, online platforms often self-rate content. These platforms generally assign a film or show the same rating earned in similar countries, but that doesn’t always match what an official ratings board may give to a title. We’ve written why self-rating isn’t a good idea. It is a clear example of “ caveat emptor .”

The fact remains that whether the ratings are governmental, industry, or self-assigned, the public relies heavily upon them to decide what is appropriate content for their children and families to watch. With the growth of platforms and titles, getting the rating right has never been more critical. Spherex solutions and tools will help you achieve the ratings you want for every title in your catalog quickly, economically, and with no regulatory risk. To learn more, check out Solutions on Spherex.com .

Why DEI Matters in Entertainment Content

teresa.phillips@spherex.com (Teresa Phillips) — Fri, 10 Jun 2022 17:10:41 GMT

Source: EGA's The Reteller Magazine

Five Key Steps to Prepare a Title for Global Release

Fri, 27 May 2022 17:15:00 GMT

Preparing a title for a global release is complex. Many components must be in place prior to starting a deliberate and complicated process. You’ll need a final cut, an accurate final script, trailers, posters, targeted markets, a release schedule, and an understanding of how cultural, regulatory, and political factors impact age ratings. These are critical components to the process, and missing even one of them can threaten the success of the entire localization project.

This blog is not intended to be a step-by-step guide. Rather, it is an overview of the process. Suppose you’re new to releasing content internationally. In that case, we encourage you to avoid trying to do it on your own and reach out to experts, such as members of the Entertainment Globalization Association (EGA), who can offer insight and guidance.

Step One: An Accurate Final Script

The first key step in localizing and culturalizing a title is having a copy of the script that reflects the actual spoken dialogue. The script must match the exact words spoken by all characters in every scene and every frame. It must be pristine with no errors, no substitutes, and nothing missing. Only with this script can a high-quality localization process begin.

Step Two: Market Selection

The next key step is figuring out where you want to release your title. Language alone isn’t an indicator of social, linguistic, or political sameness, and it would be a mistake to presume otherwise. It’s common to prioritize countries where the native language is identical or similar to the native language of the title. Still, language differences may require translation or have cultural concerns that necessitate a scene to be blurred, edited, reshot, or deleted. When choosing markets, it is essential to work with experts who can help you identify where the best opportunities exist and which barriers to entry you may encounter. With this information, you can prioritize your localization efforts and resources to choose where to start.

Step Three: Detailed Script Analysis

The third key step is analyzing the script from a cultural, linguistic, and regulatory perspective. Why? Because in most markets, you will need an age-rating before exhibiting your title. What’s an “age-rating”? An age-rating is an indicator used to inform consumers about the type of content shown and the age at which someone watching the title can safely comprehend and appreciate it. Film and television ratings differ significantly. We have written about these differences in a previous blog post .

For example, in the US, film age ratings are G, PG, PG-13, R, and NC-17. For TV, the ratings are TV-Y, TV-Y7, TV-YZ-FV, TV-G, TV-PG, TV-14, and TV-MA. Worldwide, there are many factors to consider, and the criteria for one country or platform versus another can have a significant audience and revenue impact. We have written before how scenes or characters that are perfectly acceptable in the US may result in a film being censored in India or banned in the Middle East. A detailed script analysis includes not just the words spoken but the context, the meaning of a scene in the native country, sound, visuals, and more. Utilizing Spherex Ratings ™ and Spherex Greenlight ™ can identify all potential issues in a title for over 200+ countries and territories worldwide. The output is a detailed roadmap localization companies can use to know where to focus efforts to ensure a title meets cultural and regulatory standards while reducing regulatory risk.

Step Four: Localization

Generally speaking, “localization” is the process of preparing subtitles and audio dubs for a title in a particular language. It has evolved dramatically from silent movie intertitles and is much more than simply translating the final script into another language.

Localization today includes processes to convert the final script to standard subtitles, mapping dialect, regional and cultural differences reflected in the final product, and preparing audio dubs with the subtitles as the source. This process is challenging and imperative because subtitles must correspond with the action, and audio dubs must match, as closely as possible, the lip movements of the actors onscreen. This can entail changing the script or dialogue in ways that potentially impact the audience's experience and understanding of the story. Knowing in advance where issues may arise can shorten this process and reduce costs on the front end and eliminate risks on the back end.

Step Five: Review

The final key step is a full review of the finished product to ensure the translated story is as close to the original as possible. There are many examples of localized titles audiences believe tell a very different story than the original. Criticisms include missing context, mistranslating dialogue, excluding cultural references, and overlooking nuances that adversely impact audience understanding and satisfaction. Ensuring you avoid these missteps before release means engaging content for the audience and a higher return on investment for you.

These five steps are an overview of elements to consider when adapting a title for global distribution. In today’s competitive content marketplace, proper title preparation can mean the difference between profitability and loss. Spherexr atings ™ and Spherexg reenlight ™ services and tools provide significant and beneficial insights that streamline this process by assisting content companies in identifying favorable markets, achieving appropriate age-ratings, and mapping cultural and regulatory issues before starting the localization process. Contact Spherex to learn how you can use these tools to your competitive advantage.

Reduced Budgets Require a New Approach to Global Distribution

Tue, 24 May 2022 22:42:40 GMT

Following the latest VOD and OTT company M&E earnings, subscriber reports, and layoffs, one of the observations is that content acquisition budgets will shrink worldwide. There are several reasons for this: increased competition, increased production costs due to global price inflation, resulting pressure on studios to reduce costs to maintain profitability, and the concern that Netflix’s subscriber loss will spread to other parts of the industry.

Articles in the LA Times , Variety , and Deadline support the notion that contraction is coming, corporate debt will reduce production budgets, and consumer purchase preferences changing as the economy and market evolve. Other articles highlight the critical importance of global distribution on corporate revenues in the years to come, albeit at a slower pace, and the opportunities content creators will have by expanding into foreign markets. However, the question becomes, what must content creation and distribution companies do to lead in the marketplace or remain competitive?

There are many ways to approach answering this question. Still, the one that is the most straightforward from the content perspective requires knowing your audience, the story, and all the necessary nuances within it essential to impart it in different languages and to other cultures. And in recent years, the industry has improved, most noticeably in titles coming out of South Korea.

“ Parasite ,” “ Squid Game ,” and “ Pachinko ” exemplify the importance of localization and culturalization in preparing a title for international release. “Parasite’s” director Bong Joon Ho famously spoke about the importance of a subtitle’s “one-inch-tall barrier” to understanding and enjoying foreign films. “Squid Game” received much criticism for inaccurate subtitles and audio dubs. Many people living outside of Korea were uncertain they watched the same story Korean audiences saw—but millions watched it anyway. To reflect dialect and cultural differences, “Pachinko” uses color-coded subtitles to indicate who is speaking and highlight the differences between Korean and Japanese languages and customs portrayed in the story.

Adapting to Market Demands & Audience Expectations

It’s important to note the effect of how, in the three short years since “Parasite’s” release, the Korean film industry has realized that depicting language and culture integral to the story as accurately as possible enhances audience understanding, support, and acceptance significantly. Because of their dedication to maintaining story integrity, they have taken the time to understand their target markets, study how the script translates into each one, and have accepted the amount of work necessary to incorporate that understanding into a final, localized release. That is a lot of work requiring tremendous insights into audiences, and it has paid off in industry recognition, revenue, and watched minutes.

The benefit to the audience is they believe that despite the language and cultural differences, the story they’re watching is the same one the director and writer intended. How Korean directors have achieved this objective and the resulting success is an example for others to follow. The good news is the knowledge and tools necessary to prepare any title, new or catalog, for international release are available today for content or distribution companies. Spherex offers a cultural playbook for content markets worldwide that can assist companies in preparing titles for international release quickly and are applicable during any production phase. Contact us today for a no-obligation consultation.

How Content Culturalization Reduces Localization Headaches

teresa.phillips@spherex.com (Teresa Phillips) — Fri, 20 May 2022 23:16:46 GMT

During Netflix’s Q4 2021 earnings call , COO and Chief Product Officer Greg Peters revealed the company “subtitled 7 million run-time minutes in '21 and dubbed 5 million run-time minutes” of content to reach their 222 million subscribers worldwide. That’s 116,666 hours of subtitles and 83,333 hours of dubs they produced before releasing titles anywhere across their 192-territory footprint. That’s a massive undertaking.

Those familiar with the process know “subs and dubs” are done by separate teams of people simultaneously. These teams include translators, editors, proofreaders, managers, producers, quality control, and others responsible for ensuring stories are translated accurately into various languages and are appropriate in as many diverse cultures worldwide as possible.

Kudos to Netflix for investing in the content that requires localization and taking on the challenge of preparing it for global markets. Despite the popularity of “Squid Game” last year, inaccurate translations of stories can adversely impact the viewer’s experience. With that said, linguistic skills are only part of the equation. Familiarity with local culture is crucial when conveying scene or dialogue nuance in the final product. Still, not everyone has that knowledge, and issues are not always caught before a title is released.

The conflict ultimately led lawyers in Egypt to call for an outright ban of the film or face a lawsuit against the country’s Culture Ministry. In its story on the controversy, the Hollywood Reporter said, “few would have anticipated the immediate wave of controversy it would provoke.”

Given the history of cultural sensitivities and censorship in the Middle East to LGBTQIA+ and promiscuous sexual references, this controversy could have been anticipated. Awareness of these concerns in this and other markets is not as widespread as it needs to be despite dozens of examples. Improvements are necessary to incorporate what we call “culturalization” into the localization process.

Netflix now has to deal with the negative press and reputational hit as a company “ that spreads poisons .” What does this mean for future titles Netflix wants to release in the region, and how willing will local regulators be to allow them to exhibit? From both a legal and marketing context, it’s better to know when problems may arise before they happen.

Unfamiliarity with local culture and customs may have been what Netflix CFO Spencer Neumann alluded to during their earnings call, “Entertainment is still fundamentally pretty local around the world. So, it's global and local, and we need to figure that out.” The good news is that tools and techniques are available to make localization more accurate, culturally respectful, and appropriate. It is easier to avoid being hit by the proverbial bus when you know the route.

Source: TVTech

Cutting-Edge Uses for Artificial Intelligence and Machine Learning In Streaming

Thu, 19 May 2022 23:25:34 GMT

Trust is key in any relationship, even (or maybe especially) with artificial intelligence/machine learning. The premise is that with enough training and modeling, software will provide insights that would not have been apparent to mere mortals. All the solutions providers I spoke with for this article say they rely on machine learning to generate analysis and also count on additional contextual information to supplement the software, to make sure that the recommended decision has appropriate context.

The top use of AI/ML which 58% developers expected to use according to the 2020 Bitmovin Developer Report , was for creating recommendations. 50% of developers expected to use it for personalization. The previous year, their survey showed that more than 30% of developers were preparing to use AI/ML. But there are plenty of other uses for AI/ML, and those are what we'll focus on in this article.

Some companies spoke about AI/ML like it was a magic black box with their own proprietary special sauce. Without more details, I just don't have that much trust. What I do understand is algorithms are trained on data, and getting that data into a consistent format is a large, intensive exercise. The AI/ML is taking data, which is either unstructured in some way or inconsistent, and then generating a consistent set of categories or structured knowledge. "It's not the data per se, it's making sure that the AI itself is perceiving the data in the correct way," says Randa Minkarah, co-founder and chief operating officer, Resonance.AI .

"It's hard to say how long it will take [to do data normalization], but delivering smart algorithms that produce insights is a function of the size of data sets; the more subscribers and engagement actions you have, the faster you can perfect it," says Paul Pastor, chief business officer at Firstlight . "It's a volume and throughput game: A company with the scale of a Netflix can refine algorithms very quickly; for a service with a couple of hundred thousand subscribers, it's going to take longer."

Unstructured Data

According to a Gartner report in 2019, 80% of your data will be unstructured in the next 5 years . One of the biggest problems with all this unstructured data is identifying what's within the content. To gain insight into the unstructured data of video, there are small and large companies alike working on building machine learning models for tasks like sentiment analysis, named entity recognition, topic segmentation, text summarization, relationship extraction, mood, activity, color, locations, QoS, translation and sub-titling, contextual advertising placement and more.

"I think media companies are considering AI and ML. I don't think they've adopted it anywhere near as much as they can," says Minkarah. "I think that they're still wrangling their data to an extent, and figuring out how do I deploy this (platform) and make it meaningful. I think that it's hard to deploy AI right now without having a consultant or a consulting group help you operationalize it."

A common complaint I hear is content metadata isn't standardized to the extent it needs to be. Which means when moving to a new OVP or CMS, there may be a lot of work involved in filling in the blanks. "We do use Gracenote and ROVI data to normalize, but even their data sets may not be complete ," says Pastor. " Plus an OTT provider that wants to develop a competitive advantage might want to capture more data than is widely available . "

Likely your existing vendors have something using AI/ML. The question is, what's worth trying out now?

To the Cloud and Beyond

About half of their customers are using AI/ML within their workflow, says Simon Eldridge, chief product officer, SDVI . "It's certainly more than we're doing it two years ago. It tends to not be the first thing that a customer does [it's more like the second focus]." The first thing on many customers' roadmaps is actually migrating to the cloud, getting their content there, and moving their supply chains. "After they've done that initial work, then the AI tools are really an optimization cycle."

"The thing that I think has happened is there are many more smaller, single-purpose AI tools that do one thing like content deduplication, comparing the content, as people migrate to the cloud from multiple different sorts of storage," he says. "It's pretty common that you bought the same thing multiple times over because maybe you had it in your tape library and on spinning disc somewhere." I like this approach, because it tells me I haven't been hording copies of something in multiple locations and just like Marie Kondo suggests, clutter is bad.

Text Identification

Identification of text within content is another AI/ML focus. "For internationalization you don't want the [the wrong language in the] lower thirds," says Eldridge. Another SDVI tool scans for text and identifies the time code for the offending characters. While locating text seems pretty straightforward, a number of companies will identify wholesale transcripts of what's within the content. While we've also covered this before , it bears repeating that scanning hundreds of hours of content will take hundreds of hours without AI/ML.

For news and entertainment production Digital Nirvana offers "The ability to automatically generate a transcript of a feed automatically [using our recently introduced Metadata IQ SaaS product]," says CEO Hiren Hindocha. "If you're running a news organization and it is ingesting hundreds of feeds from different sources. Today the problem is that there aren't enough people to tell you what is in the feeds. There's just more data than can be humanly looked at."

They generate a transcript of a feed automatically to summarize what's in each feed. "We'll be able to allow the analyst or the editor to say, okay, this feed looks interesting because it has this and that. The data has been summarized by the machine."

Digital Nirvana's Trance generates transcripts automatically in multiple languages.

"Today what the system does is it generates transcripts of the audio feed that is coming in. The visual side of it is doing facial recognition of the content to be able to say that I'm seeing Rachel Maddow in this, in this video feed at this point in time, I'm seeing President Biden at this point in time." Also on the roadmap is the ability to summarize content and to identify the important concepts.

Contextual Advertising

Contextual advertising has become an important category because of the privacy restrictions which have happened in Europe and the US. For a while I've asked how people are doing this and till now I haven't had a satisfactory explanation.

"We've be working on associating the AI to recognize and categorize video based on IAB taxonomy," says Mika Rautiainen, CEO of Valossa Labs . That taxonomy contains lots of these advertising targeted topics for the entire piece of content, as well as specific parts of the content. "We have developed AI to be very detailed, so that it finds even sections within the video where this advertisement categories have been portrayed."

"It can recognize grocery shopping at the beginning of the video. Then there's cooking in the middle of the video and at the end that might be an alcoholic drink or beverage. These categories are easily digestible," he says. "We provide this IAB categorization that gives you advertisable categories for the entire video piece. For this example, since alcoholic beverages is one of the categories that is popping up and is considered to be a sensitive content category, any advertiser who wants to exclude this they can decide if the content is brand safe." Creating a list of timecodes exactly where these topics happen make inserting a contextual advertisement very accurate.

Flagging Content

Content identification can be used to automatically identify specific actions. This might include sports activity like goals, homeruns, baskets, etc. or for controversial events like identifying violence, nudity, sexual behaviour, smoking, drinking and drug use. There are two ways to accomplish this.

"If your job is content internationalization, for example, previously, you would have watched a show and it would have taken two hours or whatever to go through and find the bad bits and cut them out and make a new version," says Eldridge. "Whereas now they can do it in 10 minutes per show because they're not watching the whole thing in slow motion and looking for things, they're using markers on the timeline to say, show me the next event."

Automated Trailer Creation

Several years ago there was an effort to build a short film using ML/AI called Sunspring , which was very funny, but not very sensical. Even today, I've been assured I wouldn't be able to tell if something was written by a piece of software or a person. While I do think I can tell, there are uses which don't require very complicated applications. Creation of trailers and highlight clips are both good uses for AI/ML.

"[Commercial] Broadcaster MTV 3 in Finland is using our AI to create promotional highlights of their TV series and movie trailers for their video on demand platforms," says Rautiainen. This broadcaster doesn't have the resources to create trailers for all of their content, but Valossa does it for them. "They are really creating more dynamic and engaging consumer experiences within those services and helping customers to get into the content faster to assess and understand whether the content is appropriate." "AI is actually generating multiple outputs, it looks into the content once and then produce lots of different outputs. One might be action oriented, another one is more emotional," he says. The trailers are much better than Sunspring .

Content Matching

Matching video content to webpages has been something JW Player has been doing for a few years now. "We do have a lot of metadata that is associated with video, like descriptions and sometimes captions and transcripts," says chief technical officer Dave LaPalomento. "So we're able to pull out the thrust of what the video was about matching those two things together, which is something search engines have been doing for a long time."

The primary thing you need to do is put a little bit of code into the pages to which you want article matching applied. The code will be replaced with selected video match for an that article. You could also apply business rules to it if you're so inclined. Is anyone still doing this by hand, or has content matching via AI/ML replaced the human editor? "It's got a decent base now, but we still see a lot of room to grow across our customers."

Quality of Service

There are a number of different tools in this bucket. "Our mode of measurement is by inserting an SDK directly into the streaming publishers apps to measure full census, real time continuously," says Aditya Ganjam, chief product officer at Conviva. "We measure the viewer's experience—their engagement, behaviors, what they're watching, what device they're on, where they are."

Any given time there may be in 20 or 30 million simultaneous streams playing and they provide actionable insights to dev ops, engineering, product, marketing and ad monetization teams using AI and ML to determine a root cause to what people are reacting to. "We're more focused on finding insights from data that either automatically or human can take action on," Ganjam says.

It used to be all about the aggregate information based on traffic patterns. Now they are seeing more attention to two metrics used for customer acquisition: One is how fast you can acquire customers. Seconds is how long can they be retained for? "We noticed that our customer are actually zooming in a lot more," says Hui Zhang, founder and chief scientist, Conviva.

Cultural Categorization

This next company uses AI and ML to categorise content for appropriate ratings and international distribution required as many more media companies expand further into world-wide streaming distribution. "We've been able to acquire this deep set of knowledge, create our own methodologies, systematize and build technology that helps us identify and classify cultural events," says Teresa Phillips, CEO, Spherex . They use computer vision to look at what's on the video, natural language processing (NLP) to look at the subtitles and a synthesis of independent signals to evaluate content meaning.

The company has classified ratings for content for 200 countries and 246 territories. "The machines take up all the edge cases that we as humans can't possibly sit around and think about and turn into rules. There's a lot of rules that we have generated, but a lot of countries either are inconsistent and how they apply their own rules or their rules are unpublished or unspoken."

Spherex's Greenlight identifies multiple categories of sensitive content, based on classifications for 200 countries and 246 territories.

A recent study in New Zealand showed if there is a school setting where there are incidents of self-harm, people are getting bullied, excessive body art, or if there's eating disorders exhibited on screen, these are triggers for teens.

"[Using AI and ML we've identified] what's suitable for children for nine years old, 12 years old, 15 years old, 18 years old," says Phillips. This is based on what they call classifiable, cultural elements that are found in film and television that cultures care about, like violence, sexuality, nudity, blasphemy, suicide drugs. "Our systems have a set of very complicated rules that when we extract a cultural event, let's say that it's drugs, for instance we have to identify a lot of context around that," says Phillips. "What's going on? Is it just presented on this screen? Is it being used? Is it in a party setting? Is it being sold? Is it glamorized or encouraged? Are there consequences to doing illegal drugs, and then there's kind of a lesson there?"

Honorable Mentions

Now, as opposed to the last time we did this article, there are a lot more active uses of AI/ML. There's also all sorts of things which we didn't include simply because of space limitations. There's compliance logging, including automatic translation and caption generation also from Digital Nirvana. There's full-on metadata normalization from Firstlight media when clients bring new content libraries into their CMS. There's advertising placement optimization from JW Player, helping customers get better prices knowing the ads will be seen and engaged with. There's the whole side of content recommendation and personalization. There's automated editing. CDN traffic management, content engagement evaluation and the list goes on.

The categories here seemed like they are all solving very imminent, clear problems. There are a lot of products on the market promising AI/ML application for advertising for example, where I have a hard time writing about them, simply because their benefits are too murky.

However, this article was about existing use cases. Our article on FAST includes interviews about future use cases using AI/ML which seem very likely, but not yet in production.

There's something to be said for the old adage, "trust but verify." Likely there are areas where AI/ML can be allowed its own, but the thing is models need to be trained, and once trained they continually need care. Do I trust a machine to self-police itself? Nope. While all of these technologies are amazing I still don't trust them fully. Yet.

Source: Streaming Media

Understanding Global Content Ratings

teresa.phillips@spherex.com (Teresa Phillips) — Tue, 10 May 2022 17:16:57 GMT

Pressure on content creators to ensure their productions are suitable for international markets is exponentially increasing. It began in earnest with the release of blockbuster films in the late 70s and 80s, where meeting global demand meant little more than subtitling or language dubs for three or four languages. Very few major films received the complete treatment of multiple language translations that movies and TV shows currently receive because the distribution chain wasn’t what it is today, and costs were prohibitively expensive.

Things changed with the advent of streaming and the creation of hundreds of distribution platforms and thousands of channels that provide access to millions of titles to billions of consumers. There is no limit to where a title gets distributed for the first time in history. Thanks to the internet, there are no actual geographical boundaries.

Are There Global Content Rating Standards?

There are no global industry ratings standards-no continental, regional, religious, cultural, or community standards applicable to all content. Content and age-rating criteria used by the Motion Picture Association ( MPA ) in the US can vary significantly compared to the British Board of Film Certification ( BBFC ), the Australian Classification Board ( ACB ), New Zealand’s Te Mana Whakaatu Classification Office , or Canada’s National Film Board ( NFB ). There may be similarities, but US-released titles are not necessarily assigned the same age rating within other English-speaking countries unedited.

It is common for films produced in one country to be banned there, even if those stories include well-known actors, a famous director, and a large production budget. Add to the equation a language, religion, culture, and political or social mores across borders, and the criteria for releasing a title in other markets gets complicated very quickly. If the content does not meet appropriate standards, it’s either edited, assigned an unfavorable rating, or banned. One size does not fit all.

Content Analysis Around the Globe

It is easy for those responsible for releasing titles internationally to get confused about what is or is not acceptable content in targeted markets. There is no simple answer to “what are regulators looking for?” For example, a character in an animated film intended for family viewing mentioning they are in a gay relationship may not register in the US or France. Still, it’s enough to get it banned in Muslim, Hindu, and countries with anti-LGBTQ+ laws. Likewise, a scene depicting intentional violence against police or government officers is enough to increase the rating to an adults-only level or even get it banned in dozens of countries.

The best way to avoid problems is to understand each country’s criteria.

Simple Workflow Changes Eliminate Risk

Content owners and distributors have three opportunities to make culture and regulatory edits to a title: pre-production, post-production, and before distribution. The benefits of performing a content analysis at each stage vary, as does the cost.

Pre-production is the best time to review a title for cultural compliance. Dissecting the story, analyzing the script, and reviewing shots to identify culturally sensitive events that may impact age ratings in targeted markets can optimize the production process because content risks are identified and managed. Incorporating Spherex ratings ™ and Spherex greenlight ™ into the pre-production workflow will identify specific scenes and dialogue within the script so the director and writer(s) can address them appropriately and maintain story integrity.
Analysis of titles post-production using Spherex ratings ™ and Spherex greenlight ™ provides many of the same benefits as if done during pre-production. By providing specific event timestamps and explanations of the issue, localization teams can bleep, blur, or edit scenes to conform to local standards and guidelines. It adds the benefit of identifying specific non-compliant scenes within the completed title across 200+ countries and territories that warrant review.
Catalogs being prepared for broad distribution also benefit from using Spherex ratings ™ and Spherex greenlight ™. Prior understanding of edits needed for which country and platform reduces the number of prepared versions, the cost of preparing them, and the effort necessary to monitor them, making licensing distributable titles across markets worldwide a more manageable process.

While global content release may now be limited to only the most popular or well-funded titles, or those explicitly produced for international distribution, that is changing. The demand from consumers, governments, and platforms for more localized content will force content creators and distributors to deliver localized content soon. With the right tools and knowledge, getting ready is easy.

Get to Know Teresa Phillips

Tue, 19 Apr 2022 23:07:57 GMT

DEG CANON CLUB ADVISORY BOARD MEMBER TERESA PHILLIPS
SPHEREX | CO-FOUNDER & CEO

Teresa Phillips | Spherex

IN THIS JOB Five years
PRIOR EXPERIENCE Held executive positions at Yahoo! and Time Warner; founder of venture-backed start-up; U.S. Army veteran.
HOMETOWN Allen, Kan.
LIVES NOW Los Altos, Calif.
ENJOYS, OUTSIDE OF WORK My teenage sons, travel, sports and gardening.
CURRENT BINGE Yellowstone
CONTACT Teresa.Phillips@spherex.com

DEG: DO YOU HAVE A PERSONAL PHILOSOPHY WHEN IT COMES TO YOUR WORK? IF SO, HOW DOES IT TRANSLATE INTO WHAT YOU DO?

TP: Know who you are –your values, goals and what makes you tick. Set boundaries accordingly and live each day in alignment with your true self. Apply your talents and gifts in service of others.

I work hard, strive for excellence, care about others around me, and lead from a place of authenticity. When the day is done and I’ve done my best, I have no worries about the outcome.

DEG: WHAT EXCITES YOU ABOUT THE FUTURE OF INDUSTRY?

TP: Our future is global. Two of the highest human desires are to share stories and feel a sense of belonging. We are all connected in this way. Movies and TV shows have a unique and powerful capacity to open our hearts and minds to different ethnic, cultural, religious, and gender differences. Technological advances have expanded the proverbial campfire to all of human society. I am very excited about our potential in media and entertainment to empower people from all corners of the Earth to share their stories; to accurately portray under-represented populations; and to export culture in a way that is respectful and authentic–all of which will bring about a more tolerant and harmonious world.

DEG: WHAT ARE THE TOP REASONS THAT SHOWS THAT ARE IN DEMAND WITH AUDIENCES IN THE US MAY NOT BE AS POPULAR IN OTHER COUNTRIES?

TD: Audience demand of shows in local markets is influenced by language, culture, economic, technical, and political forces. One size does not fit all. The horror genre is a good example in cultural diversity. In American horror shows, we expect blood and gore; whereas, in Australia –horror is spooky and mysterious; India prefers religious or supernatural contexts; Indonesia is very folklore-focused, tapping into childhood fears and problems with society; and in South Korea–gratuitous death is avoided. All of these cultural factors play out in an audience’s demand for content.

DEG: WHAT ARE CONTENT OWNERS MOST SURPRISED ABOUT WHEN YOU SHARE THESE INSIGHTS?

TP: Culture is still a black box for most American media companies. Content regulation and censorship are new to them, complicated and always changing. Content owners are surprised at everything from legal compliance and political influence to brand safety and cultural relevance.

DEG: IF YOU COULD HAVE DINNER WITH ANYONE, LIVING OR NOT, WHO WOULD IT BE AND WHY?

TP: I would have dinner with Oprah Winfrey. She’s intelligent, aware, accomplished and instrumental. I’m certain she has multiple frameworks for life that I’d love to tap into.

Source: DEG Online

The International Content Boom Has Made Subtitlers and Dubbers the Lifeblood of Streaming

Mon, 18 Apr 2022 22:16:19 GMT

86% of Russian adults said they prefer to watch dubbed content over subtitled content, a view shared by the majority of respondents in Germany, Italy, Spain and France.
Roughly 7 in 10 consumers in China and South Korea said they preferred subtitles while watching content that’s not in their native language.
U.S audiences were more divided but showed a slight preference for subtitles (43%) over dubbing (36%).

In 2020, “Parasite” director Bong Joon-ho used his Golden Globe acceptance speech to call attention to the “one-inch tall barrier of subtitles” that kept some audiences — American moviegoers in particular — from enjoying the myriad content produced outside of their native languages.

Roughly two years later, audiences around the world are climbing that wall, thanks in part to hits such as “Lupin,” “Money Heist” and “Squid Game,” TV shows that have all become global hits on Netflix. “Squid Game,” from South Korea, clocked more than 1.6 billion viewing hours on the platform in its first 28 days, making it Netflix’s most-watched original of all time. The second season of “Bridgerton,” Netflix’s most-watched English language program, logged less than half of “Squid Game’s” total in the same amount of time.

Experts working within the localization industry say that the evolution of streaming has changed the game for foreign-language content, making shows and movies available at a speed and scale they’ve never been before.

“Our market has grown substantially in the last two to three years, and the fundamental reason for that is the explosion of direct-to-consumer streaming platforms,” said Chris Carey, executive vice president of marketing and corporate development at Iyuno-SDI, which provides translations, subtitling and dubbing services for major entertainment firms. “The content producers can reach those markets much easier than they could going through a pay-TV operator, which was sort of the gatekeeper to many of the international markets.”

The coronavirus pandemic, and the subsequent shuttering of movie theaters, forced some companies to turn to their back catalogs and release older programming in new markets — and languages. That, too, has provided subtitlers and dubbers with more work than they can handle.

“We used to worry about doing an episode a week for broadcast,” said Simon Constable, senior vice president of global language services at Visual Data Media Services. “Now, we’re getting eight episodes in a week.”

The demand, coupled with the challenge of sorting out cultural differences across markets, has placed more pressure than ever on those tasked with translating content for local audiences.

“If you don’t get the localization right in one or two of the episodes, the audience is not going to watch the whole series,” said Teresa Phillips, co-founder and CEO of Spherex, a technology company that helps content producers assess if their shows and films are culturally sensitive throughout hundreds of countries. “You really diminish the value of your investment.”

Add in supply chain issues and a lack of high-quality translators, and localization providers face obstacles much higher than the “one-inch tall barrier” that Bong Joon-ho mentioned. Compared to where international content was a decade ago, those can be good problems to have.

Language localization preferences are rooted in culture

Per a March Morning Consult survey of adults in 15 countries, consumer preferences for subtitles or dubbing largely fell along continental lines.

Respondents in Russia, Germany, Italy, Spain and France largely preferred dubbing when viewing content not in their native language, while roughly 7 in 10 adults in China and South Korea and a plurality of Indian and Japanese consumers said they liked to watch with subtitles more.

Translation preference is usually linked to historical context in each region. Europeans are likely used to dubbing since theatrical releases are required to be dubbed in the region, Phillips said, while in Asia, subtitles are preferred since “traditionally, the West has done a very poor job of translating the audio to make it more relevant.” Some native Korean speakers were not thrilled with the closed captions on Netflix’s “Squid Game,” though others were more accepting, pointing out that translating content across languages is a delicate art form. Phillips said the industry will have to continue improving at both methods of localization in order to meet rapidly accelerating consumer demand — and satisfy the multitudes of tastes across borders.

“We have to create an environment for the user where they can basically choose their own languages,” she said.

Supply chain issues hit localization providers

Launching in new countries with a full library of content, as services such as Disney+, HBO Max and Paramount+ have done recently, often means thousands of hours of programming must be appropriately localized. Companies simply don’t have enough translators who can quickly do the job.

“For subtitling, specifically, there’s been an issue with the lack of qualified translators in all of the main languages that have been targeted,” Constable said. “You have platforms launching in Europe right now, and they all, by and large, want the same territories, but there’s a limited pool of experienced subtitling translators in those territories.”

Dubbing presents even more problems, as not only are translators needed, but the process also depends on studio and actor availability. Making substitutions and bringing in replacements when necessary is often not possible.

Mazin Al-Jumaili, vice president of talent management and business development in the EMEA region for ZOO Digital Group PLC, said it’s vital to retain the same actors and translators for a project and to keep them on call until it’s completed for the sake of consistency. But that same talent is frequently needed for additional projects on the same timeline.

“There’s a strain on the whole acting community and the local language writing community,” Al-Jumaili said. “But the viewing public is very, very conscious of changes, and they’ll be straight on social media if something doesn’t match their expectations and the quality aspirations of that region.”

Constable said providers have fail-safe methods to check the quality of a translation. The ubiquity of social media, however, can elevate even the tiniest of mistakes into public relations crises. “The barrier to entry for feedback is so low because social media is there and it can be out in an instant,” he said. “It means you’ve continually got to tighten up your game.”

Hiring sprees, machine learning could ease the translation burden

With no expected slowdown in demand, companies are launching training programs and investing in recruitment at universities, hoping to find translators from nontraditional backgrounds who can help handle the influx of work. It won’t be an overnight fix.

“To give people the skills that we need, it’s going to take some time,” Constable said.

Computers might be able to assist. Machine translation can assist with the translation process, Al-Jumaili said, though the technology is not yet sentient enough to accurately translate all the nuances of a script. Deepfake dubbing — creating technology that emulates a human voice — has also been discussed in the industry, though the practice has many ethical considerations.

“This is a very sensitive subject because people have ownership of voices in local languages,” Al-Jumaili said. “There’s always someone who’s going to be the approved Tom Cruise voice in French, Italian, German, Spanish, Japanese, so you need to be really mindful of trying to emulate those voices who have established actors associated with them.”

These solutions are clearly needed sooner rather than later, with experts saying this demand is expected to become the norm. Content produced in one country, spoken in the language of another country and then watched by millions of consumers in a third country is the reality of entertainment consumption that streaming has enabled. That one-inch barrier is finally coming down, even in markets such as the United States, where it’s historically been insurmountable for some consumers.

“I don’t see a plateau, certainly not this year, next year or two, three, four years from now because of the great content being produced, and the ease of subscribers to be able to find something they like from a different culture,” Carey said. “We’re really only just scratching the surface.”

Source: Morning Consult

Add Spherex to Your Production Workflows & Release Content Faster

Mon, 18 Apr 2022 14:00:08 GMT

As content distribution avenues grow and the demand for new content expands worldwide, creating a single-language version of any title no longer ensures a profitable return on investment.

Not even the most successful studios are immune from problems with regulators and culture. The pitfalls studios, directors, and distributors face if they don’t pay enough attention to cultural and linguistic concerns are well documented. We’ve written about them here , here , and here . We partnered with Parrot Analytics to prepare a Global Snapshot report that considers how regulators and audiences view five popular US TV shows in seven countries worldwide. As the risks of global content release are increasingly apparent, the question becomes, “How do you mitigate them?”

Content creators and distributors can reduce or eliminate risks by incorporating Spherex Ratings and Spherex Greenlight into pre-and post-production workflows. Both solutions assess a title after a final cut and before submitting it for post-production localization to improve efficiency, enhance translation efforts, highlight potential regulatory concerns, and reduce production times and costs. Here’s how.

Pre-Production: Spherex Ratings script assessment identifies dialogue, action, context, shots, or scenes that may cause problems with regulators and audiences in targeted markets. Knowing these issues in advance means the director can stay consistent with their vision of the story and shoot compliance scenes during regular production instead of shooting them after production has shut down and the cast and crew have gone home.

Post-production: With the benefit of a final cut, Spherex ratings ™ and Spherex greenlight ™ AI/ML technology provide additional insights and guidance for all localization, marketing, and distribution efforts. Spherex ratings ™ “expert-in-the-loop” service provides specific timestamps for cultural, dialogue, or action events. Then running the final cut through Spherex greenlight ™ identifies how regulators will evaluate every noted event in 200+ countries and territories. The result is a significant reduction in localization post-production times and costs. With Spherex’s “Rate Once, Service Everywhere” solution, your content will be ready for global markets with minimal regulatory or adverse market exposure.

Attendees of NAB 2022 (April 24-26) can see Spherex greenlight ™ in action for the very first time. Stop by booth W8904 in the West Hall and witness how Spherex’s innovative new technologies can help deliver your content to global markets faster and more efficiently than ever before.

Scan your NAB badge at our booth for a chance to win a free ratings and content analysis of any single title!

Accelerate Post-Production Compliance Editing with Spherexgreenlight™

Mon, 11 Apr 2022 17:45:28 GMT

Consider this scenario: A platform has commissioned a new series seeking the broadest possible appeal for the teen demographic worldwide. As the final master English versions are completed, a producer suspects scenes involving heavy partying, drinking, and drug use may be too hedonistic for some Asian territories targeted for the upcoming release.

Without prior knowledge of the restrictions, the platform faces many phone calls and emails between industry contacts and regional partners to assess the situation within their planned release windows to address these concerns. This is a time-consuming but necessary process to avoid a negative market reception, despite significant efforts put into the marketing and positioning for the title’s upcoming release.

The post-production period can take several months for major releases, and cost estimates can stretch up to 15% of the total allocated budget. Additionally, post-production is an inherently complex process sometimes with potentially more than 30% of the time spent on tedious tasks, repeated within several linear processes to create each local version release.

When releasing content without making necessary territory compliance edits, the platform and associated content creator entities risk controversial public reception and bad press, running afoul of regulators, and a much lower return on investment. Is there a better way to get these insights sooner, such as when an early edited version is ready? If so, stakeholders could align more efficiently on changes necessary to avoid higher than expected local age ratings or stricter content advisories.

To avoid mismanagement of this precious time and money, use Spherex greenlight ™.

Spherex greenlight ™ is a first-of-its-kind technology that enables companies to make their content culturally compliant in every market worldwide. By consistently utilizing Spherex greenlight ™, it is possible to identify how much contentious material is contained within its assets and obtain a risk assessment of how content will be perceived across 200+ countries and territories. This ability to see future obstacles within release plans reduces the risk of achieving less than optimal revenue results.

Spherex greenlight ™ accelerates the existing linear compliance editing process by allowing post-production teams to identify non-compliant events across all territories all at one time. For example, imitable acts such as heavy drinking in a party scene get edited at one time for those markets where this is an issue. Spherex greenlight ™ also identifies other markets where the same events will be problematic and identical edits will be required. The immediate net result of doing country versions concurrently within initial post-production cycles saves months of payroll and shaves off months of coordination review time, thus accelerating time-to-market. The longer-term benefit is a successful series launch, protection of the brand, and longevity of the relevance of the new show in the global marketplace.

The media and entertainment industry will continue to see unprecedented intense competition for local audiences in the years to come. Global success depends on understanding the cultural complexity and the local forces that influence international viewing. That includes cultural hot buttons, oversight & regulatory conditions alongside traditional operational supply chain considerations. Having this knowledge in the early stages of post-production is a substantial strategic advantage.

You can see Spherex greenlight ™ in action at NAB 2022 in Las Vegas, April 23-26, booth W8904.

Why Self Rating Isn't Wise

Fri, 25 Mar 2022 07:15:04 GMT

Does this scenario sound familiar? You have a catalog of hundreds or thousands of titles you’re about to release onto a major streaming platform. Many titles are old TV shows and films ranging from kids’ animated movies to action dramas containing violence and fighting. Others are recent releases that include well-known titles. The platform is available in multiple countries that require age ratings. You think, “I’ve got nothing to worry about” because all your films have U.S. theatrical ratings, and the TV shows have ratings for each episode. If you don’t have age ratings for all countries, you can look up the US rating and apply a comparable foreign rating. How hard can it be, right?

If only.

Here’s the problem. Most professionals working in international distribution understand that many of the world’s major film and TV markets require country-specific age ratings before airing or releasing it. They may not be aware that there are sometimes nuanced and significant differences in how age ratings are defined and applied to a movie or TV title. Getting it wrong can mean your title reaches a smaller audience, which can directly impact revenue and minutes watched.

In a previous blog post , we’ve documented the differences between movie and TV ratings. We encourage you to read it to familiarize yourself with the differences between the two. A key point of that post is that TV and theatrical audiences are different in both size and access. The ratings reflect those differences. For example, the “G” rating is applied to all US films acceptable for any age level. TV, conversely, because of the broad range of programming available, is broken into four: “TV-Y,” “TV-Y7,” “TV-Y7 FV,” and “G.” Likewise, NC-17 content is available in theaters and age-restricted online channels, but not on linear TV. As a result, there is no comparable rating to NC-17 for television.

It gets more complicated with film because there are distinctly different age categories a title must fit, but cultural and linguistic norms must be considered as they can affect a rating. The table below provides examples of film age ratings across seven countries and how they align with those used in the US. As you can see, there are few countries with straight-line comparable age ratings (shown in red) with similar content criteria to those created by the MPA.

Considering the film “ Divergent ,” a US PG-13 rated title, self-rating it for other countries by simply following a row in a ratings chart would rate the film as a 15+ title in Australia and Japan, and a 16 in Germany, France, and South Africa. While a two- or three-year difference may not sound significant, it is when it blocks several million viewers from the potential audience.

In Germany, the difference in the potential audience from a “12” to a “16” is approximately 2.6 million youth. In France, the audience difference is 3.3 million youth. The average French movie ticket price is $13.33, so self-rating as a “16” means a potential loss of $44 million in box office revenue. From a streaming standpoint, if parents have specific age ratings enabled in their children’s profile, that title won’t appear in their search results even though it is age-appropriate. Either way, self-assigning an uninformed age rating risks less revenue, bad press, and a smaller audience.

Awareness of the problem isn’t enough to adequately address it. Distributors may not know the many factors that regulators and consumers consider when choosing a title to view. Examples include alcohol and drug use, blasphemy, discrimination, violence, sexuality, horror, and imitable acts, each of which must be identified and examined to determine their suitability for international audiences. There are also concerns about language, metaphors, slang, and cultural references. To do this properly requires knowledge of those events and the skills to know how much they will matter to regulators and viewers.

Below is a screenshot from Spherex greenlight ™ AI/Ml product to demonstrate how complex this is. The graphic below displays the events within “Divergent,” including timestamp flags and a description that can affect a title’s ratings for a given country.

Across the entire film, Greenlight mapped 124 identifiable event types and 56 that will change in-countries ratings (aka "exceptions"). This means there are 56 events that someone working at the distributor must know about and be willing or able to address in a post-production process that impacts the title’s rating, including making edits, blurring scenes, or deleting the scene altogether.

While the desire to cut costs and self-assign ratings quickly is understandable, the risks outweigh the rewards. Analyzing the event types across a single title, it becomes clear that simply drawing a straight line across a ratings chart cannot reliably provide ratings that platforms, regulators, or audiences will accept. Whether your catalog has dozens or thousands of titles, ensuring appropriate ratings for each title is a critical step in guaranteeing your titles are findable, age-appropriate, and enjoyed by viewers worldwide.

Telling Stories from the Clubhouse Podcast

Fri, 18 Mar 2022 18:43:01 GMT

Episode 107 - TERESA PHILLIPS, CO-FOUNDER AND CEO OF SPHEREX

There's more to localization than translation. Learn about this innovative company that's using AI to predict cultural acceptance.

Culture As a Tool of Propaganda During Wartime

Wed, 16 Mar 2022 19:04:47 GMT

Culture is the combination of language, music, geography, history, religion, and cuisine that describes people in different world regions. Culture permeates our identity; it is our societal fingerprint.

While media companies use culture to decide which movies or TV shows are more likely to resonate with audiences, regulators use it to enforce legal standards or ban content not in compliance with the local customs. Their stated purpose is to protect their citizens from content that insults their religious sensibilities, is too violent or sexual, keeps objectionable ideas from reaching the public, or is politically divisive. If Government regulators disagree with a title theme or subject matter, they can force changes or halt distribution. However, under certain circumstances, they may favor --and even promote-- titles with themes favorable to the government’s policies or positions. This is more likely to happen in countries with autocratic, theocratic, or monarchical forms of government.

Life During Wartime Propaganda

At no time is this truer than during times of war when the objective culture of media, regardless of form, is co-opted by the government to increase public support of the war effort and demonize the enemy. We’re not suggesting democratic forms of government don’t use media propaganda to engage in similar ways. They do. The difference is that gross deception is employed to make military action cases that aren’t based on fact and instead driven by the leaders' personal, ideological, territorial, or political ambitions. Contrary to countries with more open media and more unrestrained press, opposing viewpoints are heavily restricted or prohibited altogether. The only information the public hears supports the government’s position. There is evidence of this in the current Russia/Ukraine conflict.

In the last few weeks, the Russian government has made a determined effort to stop the free flow of information to its people. It has blocked access to western social media platforms like Facebook and Twitter. It has shut down independent press outlets, criminalized public protests , and threatened any citizen or journalist from any media outlet with a jail term of up to 15 years for reporting or even Tweeting anything other than the official Kremlin position. Those arrested under these laws are accused in court of being “Anti-Russian” and “unpatriotic.”

Variety reported a story on Russian cultural appropriation of film to help promote their motivation for the war. It quotes director Roman Bondarchuk who says the 1997 film “Brother,” “which infected a whole generation of Russians with hatred for Ukraine…” was recently rereleased into Russian theaters. Bellingcat, an investigative website, reported that old video and news footage from the Crimean War in 2014 were reused and redistributed to promote a false flag narrative about the Ukrainian people. Russia deployed media propaganda to convince its citizens that the Ukrainian government was planning attacks on Russian soil or against separatists of Russian descent as a justification for Russia’s invasion. Russian TV aired footage of attacks on Ukrainian civilians and falsely reported Ukraine’s military was behind the attacks “to frame Russia.” The intent is to suggest Ukrainians are the aggressor and, therefore, Russia must go into Ukraine to save fellow Russians.

None of that is true, but it has the desired effect. Russian public opinion polls show President Putin’s job ratings have increased following the invasion, with a reported 69% of Russians approving his performance. The same poll indicates the public also believes Putin is standing up to western intrusion. This poll sits in direct contrast to an independent poll conducted last December when only 8% of Russians supported military action in Ukraine.

Other Effects of Propaganda

The current crisis in Europe isn’t the only example of the misappropriation of culture for ulterior purposes. It is visible in efforts to marginalize LGBTQ+ populations, undermine minorities’ right to vote , women’s healthcare choices, and foment anti-immigrant sentiment worldwide.

Culture is used to educate and entertain audiences, but there is a flip side. It can also be a critical component of wartime propaganda, intended to agitate, anger, and bolster patriotism—all under false pretense.

It is up to the Media & Entertainment industry to empower people from all corners of the Earth to share their stories, to accurately portray underrepresented populations, and export culture respectfully and authentically – all of which will bring about a more tolerant and harmonious world.

Introducing A Global Newsfeed on Culture and Content Globalization

Tue, 01 Mar 2022 18:04:56 GMT

Data and technology company Spherex has introduced what it calls “the first-ever global newsfeed that aggregates stories from around the world related to the globalization of TV and film content.”

Called World M&E News, the weekly newsletter is being offered free of charge as a service to the entertainment industry.

“As content goes global and culture becomes more critical to content success, World M&E News offers a snapshot of the issues and challenges of global content distribution,” Spherex says. “Media and entertainment companies need to pay attention to the cultural mores in the countries in which they are distributing content in order to avoid censure, loss of revenue and limited audience. Understanding the importance of culture as it relates to content globalization, World M&E News serves as a free, real-time resource for studios, streamers and networks looking to understand the global landscape as they ramp up international distribution efforts.”

Source: Radio+Television Business Report

How Metadata Enhances Content Discovery

Fri, 25 Feb 2022 15:19:10 GMT

Media companies spend a lot of time and money studying and modeling consumer behaviors. It’s big business and a critical component of today’s media marketplace. Entire companies, platforms with specialized engineering teams, academic researchers, entrepreneurs, and the public attempt to find the Holy Grail of search algorithms that provide the best way to recommend titles, so you don’t change the channel.

Algorithms are components of computer programs that analyze data to identify market and user trends, track inventories, improve network traffic efficiencies, and provide content recommendations to new or long-time system users. Artificial intelligence and machine learning are increasingly incorporated to augment and add insights into data analysis that would take years to build into the datasets these programs use. But when it comes to recommending what program to watch, one type of information is so important that without it, algorithms would fail miserably: metadata.

We’ve written about metadata before , so there’s no need to revisit all of that here. In this post, we will focus on how metadata contributes to the effectiveness of search algorithms and why getting it right can lead to increased revenue.

Metadata Feeds Search Algorithms

Over 1.7 billion households are now searching for a movie or TV show to watch over the air, stream, buy or rent. That number is expected to increase to 1.8B by 2026. At some point, whoever controls the remote has to think about what to watch. If they’re searching on a VOD or OTT platform, they’re entering titles, names of actors, genre type, age-rating, words, or phrases that describe what they’d like to see. If the customer has been on the platform for a while, the service has kept track of what they’ve watched and searched their catalogs for titles with similar styles of content.

Think about it this way: if you’re searching for a title to watch with young children, your search is likely going to include a “G” (or comparable) age rating. That’s metadata. If you’re looking for a romantic movie shot in Ireland, both the genre and the location are metadata. If your favorite musician is Andy Gibb, and you want to find which movies or TV shows he appeared in, guess what? You’re going to find out using metadata.

That’s the high-level stuff. Studios, distributors and platforms utilize metadata that consumers don’t even think about when building their search engines and algorithms. Here are a few examples of those kinds of metadata:

Depending upon the platform, the number of metadata fields varies. Some platforms may request more descriptive details on character traits, such as whether the lead is “kind” or “obnoxious.” Is the story originally written for the screen, or is it based on a novel or actual events? Does the film have a strong female lead, or is it a film about a group of friends? These data add context to the film record and enhances search, classification and matching capabilities.

Additional subscriber and profile details are drawn upon to further define possible interests. For example, is the subscriber male or female? What is their income level? Where do they live? Are there children or senior citizens in the home? Which movies do critics or people near them recommend? These are key factors in personalization.

There can be thousands of bits of information used to suggest something for you to watch. For example, Netflix has 222M subscribers , each having dozens of data points about their content preferences and watch history. The amount of data processed for each search means not only must the programs and network systems themselves be extremely robust, the algorithms doing the work are very complex.

Figure 1 is a search algorithm. This one won the Netflix Prize, which the company crowdsourced to see if their search model could be improved by more than 10%. The winning team was awarded $1 Million. You can find details about their formula here .

Why Content Creators and Platforms Take Metadata Seriously

The theatrical, linear, streaming, online, or retail video content market is enormous. According to IMDb Pro, over 235,000 TV and movie titles are available in the US alone, and over 5.7 million available worldwide. The question for content creators and distributors is how will you stand out in such a crowded market? How will you get to the top of the search results? Can you even get noticed?

Notwithstanding whether the title is any good or not, metadata alone isn’t going to get it near the top of the search results page, but it can help. Providing as much of it as the platform or store requests and developing it is a good investment of time and resources. Search algorithms do not care whether your title has data for each of the fields it utilizes, but you can be sure that if nothing is in the key fields, your title may be harder for consumers to find. The worst films still have metadata that describe them, especially if they’ve won awards for being bad. You may not have watched them, but most movie junkies have heard of “ Plan 9 from Outer Space ” or “ The Room .” When you search for them, you’re going to find them and see detailed information about the title, its plot, actors and director, and why people think it’s so bad that it’s worth watching.

Obtaining high-quality and effective metadata is not a task left to the uninitiated. Studios like Disney and platforms like Netflix and Amazon Prime Video have teams of employees or contractors whose job is to watch and annotate metadata for their original movie and TV titles. Companies who distribute titles via TVOD or retail stores know better metadata makes their titles more easily findable by consumers and thereby more marketable. That means more sales, more rentals, more views and more revenue.

Global listings and metadata is one of Spherex’s core businesses and provides studios or platforms easy access to a massive data store of over 1 million unique titles, including artwork variations and trailers in 45 languages spanning over 140 locales. Covering many languages, versions, and formats, the Spherex datastore contains nearly 25 million title records for Hollywood's top movies and tv shows and titles produced worldwide. Title records are cleansed, normalized, localized and ready to use.

It's easy to dismiss or not be too concerned about a title’s metadata quality because it’s not something people see. But whether they realize it or not, it is something they use every day. With nearly 600,000 new titles released worldwide each year, competition for the top placement on results pages is only going to get more intense. Understanding the importance of metadata, taking advantage of its proper use can help get your content the audience attention it needs to positively impact your bottom line.

Life in the FAST Lane

Mon, 14 Feb 2022 19:43:04 GMT

From the first commercial television broadcast at W3XK in Washington DC in 1928 through the inauguration of the first basic cable TV station ( WTCG ) until the launch of streaming video-on-demand (VOD) by Netflix in 2007, how and what people watch on television hasn’t changed much. Television sets were how entertainment, sports, and news entered people’s homes. Large networks created shows aired by their affiliates, broadcasting in communities across the country. Station and network operations, including content creation, were funded through commercial advertising. Even the programming schedule was primarily determined by the station or network’s ad sales. Most stations went off the air at midnight and returned at 5 AM the following day.

As cord-cutting became an inevitable trend , the legacy networks began to look for alternatives to compete with VOD. Alternatives that didn’t require consumers to pay a fee yet had a known content catalog along with a familiar look and feel.

They may have found one. Welcome to the FAST lane.

FAST is the acronym for “Free Advertising-Supported Television.” It combines legacy advertising-based funding with a traditional programming model so advertisers can reach streaming consumers. Not all consumers want to pay for access to all TV shows or movies and are willing to sit through ads to access that content. Content owners, including the networks and studios who have produced entertainment shows for decades, want to monetize new and old content and FAST provides another means to do just that. So far, it’s working.

Since its inception in 2014, FAST has become one of the fastest (no pun intended) growing streaming platforms in the industry today. In the US alone, the number of FAST providers has doubled in the last year. At the end of 2020, 10 FAST services were operating in the US. Today 20 providers offer 1,037+ channels that reach more consumers than all cable and satellite services combined. Audiences are responding positively to the service. Revenues are expected to reach $4.1B in 2023 from a projected 216 million active users .

There are caveats. First, no direct linear-to-streaming channel allows you to watch the same linear broadcast on a streaming device for free. Streaming of local channels is available, but not everywhere and not for free. FAST channels can include a streaming live version of a television network for “free” once you pay the subscription fee. For example, ViacomCBS’ streaming platform Paramount+ includes access to a live local stream of the consumer’s nearest CBS affiliate in a subscription. YouTube offers access to local channels, but only through their YouTubeTV service. So, while there is no specific charge for local channel access, a fee is required to watch those programs.

Second, FAST channels do not offer the latest content. TV shows are from past seasons. Movies are older releases. Many are so old they predate television and film age ratings or have such mild content that they require no ratings. Many FAST channels focus on a single genre. For example, some channels air only rodeo, martial arts, romance, history, documentary, or nature programs. Many of the shows are recycled content that aired on network TV channels years ago.

Third, FAST channels offer some content identical to their paid subscription-based counterparts. PlutoTV, IMDbTV, and STIRR host the game show channel “Buzzer” and cooking channel “Hell’s Kitchen/Kitchen Nightmares,” which are also available on paid platforms like Hulu, Sling TV, and Discovery Plus. The advantage to FAST subscribers is that if they watch these shows, they don’t have to pay for them, and there’s no need for a paid service subscription. Conversely, if the channel is available on a paid platform, there’s no need for the consumer to sign up for an additional free service. The decision then becomes one of cost and convenience, where consumers must decide whether the cost of a paid subscription to get a channel they can get free elsewhere is worth the hassle of logging out of and into another platform every time they want to watch it.

The final advantage we’ll mention is FAST does not require specific hardware, such as a Tivo+, Roku, Amazon FireStick, Google Chromecast, or comparable devices or carrier set-top boxes to access its content. It can be viewed on mobile devices such as phones and tablets, desktop and laptop computers, or smart TVs. This makes it easier for users to consume content wherever they are and with whatever device they have available without additional hardware that eventually becomes obsolete.

Historically, one of the consumers' problems with traditional linear services is the number of commercials shown during shows. The number of advertising minutes can sneak higher in popular programs to the point some people question whether the show is intended to interrupt the commercials. Questions of audience willingness to suffer through ads aren’t new, yet consumers are more than willing to tolerate them if it means not paying for content. A recent report from Tubi predicts that AVOD/FAST audiences will surpass SVOD for the first time next year. During Q3 of 2021 , 35% of US streaming users accessed a FAST or AVOD service during that time, up 4% in a single quarter. If this trend continues, consumers can expect to see more similar services soon.

Analysts expect FAST to develop into a more robust platform that includes original titles, recent films, TV releases, sport multicasts, and even live streams from TV networks. Several factors will drive these changes, including audience and advertiser acceptance of the platform, resulting in more significant platform revenues and attracting larger audiences. It may be that the traditional free, over-the-air linear model has found its next phase, and consumers seem more than willing to see where it leads.

Feeding the proverbial beast of consumer demand for content will require a significant focus on curating titles that interest consumers. While large catalogs exist to feed FAST channels, a bigger challenge may be making those titles findable across platform search engines. Our next post will discuss the information that powers search: Metadata. It’s a critical component of making platforms user-friendly and more content producers need to understand how it works and its significance.

Report: Cultural differences impact TV series demand

Fri, 04 Feb 2022 18:03:09 GMT

Findings from a report on the connection between local age ratings, cultural factors and TV show audience demand in key markets worldwide analyses the age ratings and cultural content of five popular US-originated TV shows worldwide.

The report, Global TV Snapshot: Culture, Age Ratings and Audience Demand, from global entertainment technology and data company Spherex and audience demand measurement specialist Parrot Analytics considers the audience demand for each show in seven targeted markets.

The pair selected markets around the world that are varied in cultural norms and have different age rating regulations and compliance requirements. Featured countries include Australia, Brazil, India, Indonesia, South Korea, United Kingdom, and the United States. The series analysed include American Horror Story, Grey’s Anatomy, House of Cards, The Walking Dead, and Prison Break.

The top three findings from the report state:

Content age-based ratings have a direct impact on audience size as parents and families rely heavily on them to make viewing decisions.
Content elements most likely to impact ratings are sexuality, violence, and religion.
Storylines or characters that are culturally or socially identifiable to local audiences attract greater interest and larger audiences.

The Global TV Snapshot report provides insights into why shows that are in demand with audiences in the US may not be as popular in other countries. The Walking Dead has a completely different audience appeal depending upon the local culture. Australia hosts Zombie Walks for entertainment; whereas Indonesia finds the representation of Zombies to be disrespectful to the dead. The American political drama House of Cards is popular in countries where corruption and intrigue are perceived to be local problems, such as India. But in countries with lower tolerance for bad language or explicit sex, which are staples of the series, countries like South Korea and Indonesia see significant reductions in audience demand and acceptance.

The growing awareness of and sensitivity to other cultures continues to rise in the West, and the Global TV Snapshot details how US content is perceived, accepted, and rejected by cultures around the world. From religion and zombies to sex and family allegiances, the report provides important insights into audience demand and culturally specific content critical to success in the global streaming wars.

“This report refutes the common expectation that top-rated shows in the US are assured success everywhere,” asserts Teresa Phillips, CEO of Spherex. “Consumers are attracted to shows they can relate to, and market success begins with cultural awareness and understanding. This report highlights how core themes in American film and television are interpreted around the world.”

“Our data shows that global audience demand for a series is not only shaped by its narrative and characters, but also by the cultural values of the country where it is aired,” adds Samuel Stadler, VP Marketing for Parrot Analytics. “Age rating restrictions are one way that local regulators try to protect their citizens, but our data shows that these ratings can also have a significant impact on a show’s popularity.”

Source: Advanced Television

New Report Captures Stark Cultural Differences in Age Ratings and Audience Demand for US TV Series Around the Globe

Thu, 03 Feb 2022 18:30:22 GMT

Spherex and Parrot Analytics today released the findings from a first-ever report on the connection between local age ratings, cultural factors and TV show audience demand in key markets worldwide. The Global TV Snapshot: Culture, Age Ratings and Audience Demand analyzes the age ratings and cultural content of five popular U.S.-originated TV shows worldwide while considering the audience demand for each show in seven targeted markets.

Spherex and Parrot Analytics selected markets around the world that are varied in cultural norms and have different age rating regulations and compliance requirements. Featured countries include Australia, Brazil, India, Indonesia, South Korea, the United Kingdom, and the United States. The analyzed series include “American Horror Story,” “Grey’s Anatomy,” “House of Cards,” “The Walking Dead,” and “Prison Break.”

The top three findings from the report state:

Content age-based ratings have a direct impact on audience size as parents and families rely heavily on them to make viewing decisions.
Content elements most likely to impact ratings are sexuality, violence, and religion.
Storylines or characters that are culturally or socially identifiable to local audiences attract greater interest and larger audiences.

The Global TV Snapshot report is available for download from Spherex and Parrot Analytics and provides insights into why shows that are in demand with audiences in the U.S. may not be as popular in other countries. “The Walking Dead” has a completely different audience appeal depending upon the local culture. Australia hosts Zombie Walks for entertainment; whereas, Indonesia finds the representation of zombies to be disrespectful to the dead. The American political drama “House of Cards” is popular in countries where corruption and intrigue are perceived to be local problems, such as India. But in countries with lower tolerance for bad language or explicit sex, which are staples of the series, countries like South Korea and Indonesia see significant reductions in audience demand and acceptance.

The growing awareness of and sensitivity to other cultures continues to rise in the West, and the Global TV Snapshot details how U.S. content is perceived, accepted, and rejected by cultures around the world. From religion and zombies to sex and family allegiances, the report provides important insights into audience demand and culturally specific content critical to success in the global streaming wars.

“This report refutes the common expectation that top-rated shows in the U.S. are assured success everywhere,” said Teresa Phillips, CEO of Spherex. “Consumers are attracted to shows they can relate to, and market success begins with cultural awareness and understanding. This report highlights how core themes in American film and television are interpreted around the world.”

“Our data shows that global audience demand for a series is not only shaped by its narrative and characters, but also by the cultural values of the country where it is aired,” said Samuel Stadler, VP Marketing for Parrot Analytics. “Age rating restrictions are one way that local regulators try to protect their citizens, but our data shows that these ratings can also have a significant impact on a show’s popularity.”

Source: Digital Journal

Spherex, Parrot Analytics Report Features Cultural Differences in Age Ratings, Audience Demand for U.S. Series Globally

Thu, 03 Feb 2022 17:47:23 GMT

Spherex and Parrot Analytics released the findings from a first-ever report on the connection between local age ratings, cultural factors and TV show audience demand in key markets worldwide. The ‘Global TV Snapshot’ report analyses the age ratings and cultural content of five popular US-originated TV shows worldwide while considering the audience demand for each show in seven targeted markets.

Spherex and Parrot Analytics selected markets around the world that are varied in cultural norms and have different age rating regulations and compliance requirements. Featured countries include Australia, Brazil, India, Indonesia, South Korea, United Kingdom, and the United States. The analysed series include “American Horror Story,” “Grey’s Anatomy,” ”House of Cards,” “The Walking Dead,” and “Prison Break.”

The top three findings from the report state:

● Content age-based ratings have a direct impact on audience size as parents and families rely heavily on them to make viewing decisions.

● Content elements most likely to impact ratings are sexuality, violence, and religion.

● Storylines or characters that are culturally or socially identifiable to local audiences attract greater interest and larger audiences.

The Global TV Snapshot report is available for download from Spherex and Parrot Analytics and provides insights into why shows that are in demand with audiences in the US may not be as popular in other countries. “The Walking Dead” has a completely different audience appeal depending upon the local culture. Australia hosts Zombie Walks for entertainment; whereas, Indonesia finds the representation of Zombies to be disrespectful to the dead.

The American political drama “House of Cards” is popular in countries where corruption and intrigue are perceived to be local problems, such as India. But in countries with lower tolerance for bad language or explicit sex, which are staples of the series, countries like South Korea and Indonesia see significant reductions in audience demand and acceptance.

“This report refutes the common expectation that top-rated shows in the US are assured success everywhere,” said Teresa Phillips, CEO of Spherex. “Consumers are attracted to shows they can relate to, and market success begins with cultural awareness and understanding. This report highlights how core themes in American film and television are interpreted around the world.”

Source: MESA Online

How Content Culturalization Reduces Localization Headaches

Fri, 28 Jan 2022 16:07:04 GMT

During Netflix Q4 2021 earnings call , COO and Chief Product Officer Greg Peters revealed the company “subtitled 7 million run-time minutes in '21 and dubbed 5 million run-time minutes” of content to reach their 222 million subscribers worldwide. That’s 116,666 hours of subtitles and 83,333 hours of dubs they produced before releasing titles anywhere across their 192-territory footprint. That’s a massive undertaking.

Those familiar with the process know “subs and dubs” are done by separate teams of people simultaneously. Those teams include translators, editors, proofreaders, managers, producers, quality control, and others responsible for ensuring stories are translated accurately in various languages and are appropriate in as many diverse cultures worldwide as possible.

Kudos to Netflix for investing in the content that requires localization and for taking on the challenge of preparing it for global markets. But as we have shown , linguistic skills are only part of the equation. Familiarity with local culture is crucial when conveying scene or dialogue nuance in the final product. Still, not everyone has that knowledge, and it’s not always caught before a title is released.

Netflix’s remake of “Perfect Strangers” is an excellent example of how being aware of cultural or contextual issues can affect audience acceptance of a title. Released in the Middle East on January 20 , the film immediately drew fire from many in the region. Because it included a gay character, some claimed critics felt the film promoted homosexuality and “moral degradation.” One critic on Twitter said Netflix “has an agenda to spread ‘deviant ideas’ to ‘normalize false ideas.’” It’s such a serious issue that lawyers in Egypt have called for an outright ban of the film or face a lawsuit against the country’s Culture Ministry. In its story on the controversy , the Hollywood Reporter said, “few would have anticipated the immediate wave of controversy it would provoke.”

Given the history of cultural sensitivities and censorship in the region to LGTBQ+ and promiscuous sexual references, the controversy should have been anticipated. Awareness of these concerns in this and other markets is not as widespread as it needs to be. Improvements must be made to incorporate what we call “culturalization” into the localization process.

Incorporating Spherex services and technologies into post-production localization efforts, culturalization offers a proven solution for preventing these types of problems. Based on the analysis of millions of titles, Spherex greenlight ™ will flag potential issues, including sexuality, morality, violence, and cultural sensitivity. Hence, the producer or localization service provider knows precisely which scene may cause problems in any market worldwide.

Netflix now must deal with the negative press and reputational hit. Indeed, some in the region think of them as a company “ that spreads poisons .” Who knows what this means for future titles Netflix wants to release in the region and the willingness of regulators to allow them to exhibit? From both a legal and marketing context, it’s better to know when problems may arise before they happen.

Unfamiliarity with local culture and customs may have been what Netflix CFO Spencer Neumann alluded to when he said during their earnings call, “Entertainment is still fundamentally pretty local around the world. So, it's global and local, and we need to figure that out.” The good news is that tools and techniques are available to make localization more accurate, culturally respectful, and appropriate. It is easier to avoid being hit by the proverbial bus when you know the route it takes.

TV Ratings vs. Movie Ratings: What's the Difference?

Fri, 14 Jan 2022 17:36:37 GMT

As professionals involved in the Media and Entertainment (M&E) industry, we’re sure you are aware there are separate ratings for US film and TV content. What you may not be aware of are the differences between the two. This post will highlight these differences and describe how they impact the audience as content is distributed across various platforms.

The Basics

Ratings exist to inform parents and audiences about the appropriateness of content for their children and families. The problem ratings attempt to solve is that exposure to violent, sexual, adult, or suggestive language content can be harmful or offensive to specific audiences. Ratings provide a warning that those events are part of the production. Age is the primary determinant in assigning a rating, but presumed maturity within a rating category (e.g., PG vs. PG-13) may also be a factor. In other countries, criticism of the government, unflattering depictions of cultural norms, or negatively describing religion are grounds for content to be assigned higher age ratings or even banned. Those factors are not typically an issue with US age ratings for film or TV.

The first thing to understand is the fundamental difference in the purpose, type, and reach between the two platforms. Movie ratings were established for the content shown in movie theaters. TV ratings were created for content displayed on TV screens. The similarity is content; the difference is paid admission versus 24/7 access in our living rooms. The former is controlled access by requiring payment for a ticket, and the latter may not be controlled at all. Parents can be in the audience with a child in a theater but might be away while the show is on the living room TV. As a result, content notification requirements are more granular and specific for TV ratings than for film.

For example, there is no need for a comparable TV-Y or TV-Y7 rating in theaters because a G-rated film easily encompasses and addresses the guidance those ratings provide. Likewise, there is no market for NC-17 content on linear TV or streaming platforms, so TV has no comparable rating.

The next thing to understand is two different groups developed the US ratings systems. The Motion Picture Association ( MPA ), an industry trade group, developed US film ratings in 1968. Occasional updates have reflected changes in types of content, such as the introduction of the PG-13 rating following the release of an Indiana Jones film. We have previously written about this in more detail here .

Television ratings were developed and maintained by the TV Parental Guidelines Monitoring Board, also an industry trade group, in 1996. Its members include the MPA, the National Association of Broadcasters ( NAB ), the Internet and Television Association ( NCTA ), and five public interest groups. Their interests are related, but their ratings differ at the top and bottom of the age scale. TV ratings were created as a voluntary system following concerns expressed by the US Congress and complaints made to the US Federal Communications Commission (FCC) about objectionable TV content being aired without notice to parents. TV programs are self-rated by the networks or platforms in the US system.

The Ratings Matrix

Below is a comparison matrix that presents the difference between movie and TV ratings systems.

US TV ratings also contain "content descriptors” that specify specific types of potentially objectionable content. The elements within those descriptors are:

D – Suggestive dialogue (rarely used with TV-MA-rated programs)
L – Coarse language
S – Sexual content
V – Violence
FV – Fantasy violence (exclusive to TV-Y7-rated programs)

These elements are shown below the rating and displayed for 15 seconds at the program’s beginning and following any breaks.

Upon review, it’s clear that TV ratings closely resemble those used for movies; this is on purpose. The reason is to provide continuity and consistency for parents and regulators across all content distribution platforms, including theatrical, linear, retail, and online services. As a system, both have worked quite well and have served as a model for other countries worldwide who wish to provide consumers with helpful information about content and titles they may consider sharing with their children, families, and friends.

Spherex: Localized Age Ratings Services Provider

As the global industry authority and leading private provider of local age ratings worldwide, Spherex uniquely understands the importance of getting age ratings right, regardless of the platform. Spherexratings™ and Spherexgreenlight™ provide content creators with the necessary knowledge to tailor titles to fit any age rating and identify their best markets. Greenlight™ is a first-of-its-kind AI/ML technology that culturally adapts content for markets worldwide. With this technology, content creators can increase engagement, drive more revenue faster, and avoid legal and regulatory risks.

Take the guesswork and risk out of international expansion. Contact us today!

Spherex M&E Predictions for 2022

teresa.phillips@spherex.com (Teresa Phillips) — Fri, 07 Jan 2022 16:37:47 GMT

Predicting the future is problematic. The process begins with the predictor’s perspective on the past, includes their view of things as they are today, and ends with someone else going back to see how close they came 12 months later. The task is further complicated by the difference between what we think will happen and what we want to happen, both of which can have no relationship to what actually happens. The challenge then, to paraphrase Peter Drucker, is not “predict the future, but to create it.” Our predictions focus on technologies and changes we believe will contribute to a new future for the M&E industry in 2022.

One: the battle for audience share intensifies

No one is in the media or entertainment business just to tell stories. They want to make a profit as well. As such, streaming and linear platforms, advertisers, and content creators need viewer or subscriber figures, minutes watched, customer churn, and revenue as success metrics. When streaming content was first introduced in 2007, Netflix and Hulu were the only two players. Today, there are nearly 300 VOD and OTT platforms available to consumers across 200+ countries and territories. That number is expected to increase to 600 platforms and two billion subscribers by 2025.

Of course, having a platform means you must make content available that consumers will want to watch and subscribe to and for advertisers to support. Variety’s “Dare to Stream” report says 35% of SVOD subscribers choose a platform because it “Has the shows I want” to watch. Companies with existing or expanding content catalogs have a competitive advantage because they don’t have to buy or license content, but even those titles become stale over time. The result is the demand for new content will continue to increase as more consumers tire of existing catalogs, are unable to find something to watch, and reach the point of deciding which service is no longer worth the subscription price.

Two: original foreign-language content investment increases

The global popularity of foreign titles in 2021 like “Squid Game” and “The Silent Sea” demonstrate what 2019’s Best Film Oscar winner for “Parasite,” director Bong Joon-ho hoped for – that moviegoers would overcome the one-inch subtitle barrier and find engaging stories worth watching. The result of this success has platforms searching for possible successors. CNBC reports that studios are interested in foreign titles because (a) the market for them, especially South Korean titles, is hot, (b) they cost less to produce than domestic titles by a factor of 5-10x, (c) it allows them to establish production and licensing relationships that can freeze out competitors who may be late to the game, and (d) opens new markets to their platforms for local and other international titles.

Netflix announced it would invest approximately $500 million in Korean content in 2022. This year, Disney plans to launch service in South Korea, Taiwan, and Hong Kong and buy 50 Asian originals by 2023. Peacock has partnered with Telemundo to develop 50 Spanish-language projects and create a new streaming channel. Amazon Prime Video announced it is expanding its content development in India , ordering shows in Hindi, Tamil, and Telugu languages. Many of these titles will find their way to the US and other international markets. Several will find the same level of success and audience acceptance as Squid Game, Parasite, and other foreign language titles.

Three: culturalization becomes an integral component of localization

We’ve written many times about content creators' challenges when preparing titles for international release. We highlighted the numerous films or TV shows that have run up against regulatory challenges , how less-than-optimal “subs and dubs” have resulted in the foreign audience watching a show that differs from the original , and how getting it wrong impacts revenue and audience acceptance.

The inevitability of regulatory and social media review and criticism means that changes in post-production workflows are necessary to ensure titles pass regulatory and linguistic muster before title submission and release. As the number of titles being released continues to increase globally, directors, producers, and studios need to find a competitive advantage that allows them to reach markets faster, at reduced cost and with no regulatory risk. Beginning in 2022, adding Artificial Intelligence (AI) and Machine-Learning (ML) tools, such as Spherex greenlight ™ to existing human processes can help content providers accomplish this important objective while reducing localization costs and improving the customer experience, and getting to revenue faster.

The underlying notion of all these predictions is speed to market. How do content creators, owners, and distributors get in front of audiences, even during a pandemic, more quickly, with less cost, and fewer regulatory headaches? We believe 2022 is the year they begin to reimagine their markets, where they go for content, and how they manage post-production and win in the marketplace.

It’s going to be an exciting year. Check back next January and let's see how well we did!

The Importance of Movie Metadata

Tue, 28 Dec 2021 15:59:19 GMT

Imagine you’re one of the 209 million worldwide subscribers scrolling through the seemingly endless options of movies and television shows on Netflix every single day. What causes you to stop and choose what to watch? Was it the title? The actors? The genre? The description? The trailer? The information we use varies, but it does beg the question of where this information comes from in the first place?

The short answer is data-fed algorithm-powered search engines. Algorithms are computer programs that utilize descriptive data about a film or TV show to make title recommendations to the consumer. Those descriptors are known as “metadata.” This post will detail movie metadata features, what metadata covers, how professionals obtain it, and its role in making titles and online search results more successful.

What is Movie Metadata?

Metadata are descriptive words, like keywords, that describe many aspects of a title, including the name, directors, actors, genre, filming locations, languages, and ratings. Content metadata provides search engines context about the title. Context enables a search engine to know aspects about a movie it couldn’t tell from just the movie title alone.

Search engines or catalogs cannot effectively match a title to the consumer’s personalized preferences and interests without adequate metadata. Without it, recommendations would be generalized and less predictive, relying on factors such as subscriber age, sex, and location rather than a history of what the consumer has watched before. The importance of using descriptive metadata to feed search engines quantitative and qualitative information cannot be underestimated.

While it may seem simple enough, creating an optimal movie description takes more training and strategy than you may realize.

How to Get Content Metadata

Without exception, every content distribution platform, from linear cable and satellite to streaming platforms to online stores, requires metadata. There is no standard list of metadata that all platforms subscribe to: some need more and some require less. Some have their own specific metadata requirements. The point is that someone must provide a minimal amount of it so the title can be inserted into their catalog and found by consumers.

Typically, it is the job of the producer to provide metadata. With very few exceptions, the platforms will not do it for you. The best way to get quality metadata is to hire trained professionals who know what to look for and understand platform, marketing, and regulatory requirements. The process, which we call “annotation,” has experienced annotators watch a final cut of each title or episode and take detailed notes on classifiable elements impacting the film’s rating. These experts also gather descriptive information and provide that to the producer who then submits it to the platform.

As international distribution is becoming more of a rule than an exception, skilled annotators can also highlight scenes that may run afoul of country regulators, censors, or cultural norms. We call this process “culturalization.” Violence, sexuality, blasphemy, LGBTQ+, and other references may require changes before a title is permitted into foreign markets. Identifying these cultural issues before post-production can reduce localization costs and result in getting the content to more markets sooner than if done post-localization.

Why Your Titles Need Metadata

The old chestnut of “If a tree falls in the forest and no one’s around to hear it, does it make a sound?” is the perfect analogy for metadata. If a great film is made and no one watches it, is it a great movie? It must first be discovered. That is where metadata comes in. Below we outline advantages to completing any missing metadata present within title catalogs.

Discoverability

Facilitating the consumer’s ability to discover your title depends on the accuracy and completion of vital descriptors. Metadata will ensure your title is displayed for a search result that is relevant to and promotes your content.

Cataloging

Over 43,000 movie and TV episodes exist in the primary streaming platform catalogs in the US alone. Many of these catalogs are controlled by distributors who have licensing rights to titles so old that they lack age ratings of more complete metadata. Film annotation can provide the missing age ratings and metadata that increase likelihood of content discovery by audiences, thus increasing the value of and revenue from a title.

Unique IDs

Movies and TV shows often have the same name. The TV show “The Office” was released in the UK years before being reimagined for US audiences. “A Star is Born” has been made into a movie four times and a TV series that has no relationship to the films. Metadata contains a unique identifier to ensure no duplicate entries are created thus avoiding confusion while allowing easier updates to title records.

User Experience

Improving title metadata ultimately supports a better user search experience. Who hasn’t used the remote to look through a platform’s catalog and said to themselves, “Nothing’s on?” By providing personalization and descriptive metadata, you add relevance to the search algorithm so the viewer can locate content that interests them.

Localization

Metadata is not complete if it only caters to one region. Titles are now released internationally, so listings should resonate with different cultures, customs, and languages. Global metadata strengthens the title’s ability to comply with local regulations, take local culture into account, and build a loyal international audience.

Spherex: Global Listings & Metadata Services Provider

If your titles are missing data or localization metrics, Spherex manages a massive data store of over 25 million unique titles that can help fill in the blanks. Our data provide artwork variations and trailers in 45 languages spanning 140 countries and territories.

Our purpose at Spherex is to inspire a more tolerant and harmonious world, one story at a time. When it comes to movies and TV shows, one size does not fit all. Spherex has introduced a technology that culturally adapts content for markets worldwide to increase engagement, drive more revenue faster, and avoid legal and regulatory risk.

Change is Coming in 2022

Tue, 21 Dec 2021 00:12:17 GMT

The past 12 months have seen significant change and disruption in the Media and Entertainment (M&E) industry. Due to the impacts of the persistent COVID-19 pandemic, consumers are now more accustomed to being entertained at home and on multiple devices. The growth of online subscriptions reached levels analysts had not predicted for another two or three years. For example, Disney+ achieved subscriber numbers that Netflix took seven years to reach. The amount of money spent to buy new content also increased, hitting $220B in 2021—the most ever by the industry.

Amongst this growth and disruption, Spherex is considering 2021 in the context of the media and entertainment industry's challenges in 2022. What are the “hot button” issues that should concern us? What events or trends will impact business? Are there technologies that help streamline processes or reduce costs?

Spherex asserts that three milestone events from 2021 will impact the Media and Entertainment industry in 2022.

1. Culture consciousness becomes unavoidable

There was a lot of culture-centric news across the industry in 2021. Several films were heavily censored or banned for violating religious or cultural norms. The British film “ The Lady of Heaven ” was banned for “hateful, divisive, and inciting racial prejudices” against Muslims and labeled “ sacrilegious ” in Pakistan. The Amazon Prime television series “ Tandav ” was banned in India over “undignified” representations of Hindu gods. The Vietnamese government forced Netflix to remove the Australian spy series “ Pine Gap ” over their use of a map of the South China Sea that "…angered and hurt the feelings of the entire people of Vietnam."

Not even classic film franchises or directors were immune from cultural penalties. The classic James Bond film franchise was censored at home and forced by the BBFC to make cuts due to scenes they found sexist or sadistic. Famed director Steven Speilberg’s remake of “ West Side Story ” was denied age-rating classifications and banned in Saudi Arabia, the United Arab Emirates, Qatar, Bahrain, Oman, and Kuwait for failing to comply with those country’s “cultural views” regarding profanity, sexuality or inclusion of LGBTQ+ characters or actors.

The South Korean Netflix hit “Squid Game” created much discussion because critics believed the series subtitles misrepresented South Korean culture. Others claimed inaccurate script translation and closed captions resulted in viewers watching a different series than the director intended.

These and other examples should remove all doubt that regardless of the story, government regulators are paying attention to cultural aspects of titles before release. The loss of markets or higher-than-expected age ratings will lower box office revenues or viewership hours. Especially when there is every indication that the amount of scrutiny content may encounter is expected to increase in the coming years.

2. Competition is global and increasingly fierce

Here’s the competitive landscape. In 2021, the top M&E companies spent $250B on original film and TV production and licensing. For that $250B, IMDb Pro reports 44,028 films and 13,610 TV programs were at some stage of production (e.g., not released) through the end of the year. Recent data from Ampere Analysis indicates over 43,100 films, TV episodes, and series titles are available to subscribers across 11 US streaming platforms. Worldwide that figure exceeds 300,000 titles. That’s a great deal of money, a lot of content, competition for consumers' attention, and many titles that aren’t getting distributed.

The M&E industry has never invested more money in content acquisition. Given the amount of content that’s available, why buy more? How will people find what to watch?

There are many reasons for this, e.g., content is king, and all the good titles have been taken, among others. We want to highlight market research that shows original content attracts subscribers faster and keeps them longer than old TV content. Not unlike the Disney+ series “Mandalorian” or Netflix’s “Squid Game,” a good series will find a loyal audience who return to it time and again. There’s also the fact that those series are less likely to travel. Netflix series will always stay on Netflix. Same for Disney, Amazon, or AppleTV+ titles. That long-term loyalty is what the platforms are hoping to buy with these content investments.

The result is a highly competitive content land-grab to attract new subscribers, increase viewership hours, and reduce churn. With such substantial investments on the line, producers must figure out how to reach as broad an audience as possible across as many markets as possible, as quickly as possible. This is not an easy task, and given the amount of content in the pipeline, the effort and time required to prepare content for release will not get any easier or faster anytime soon. It’s not just the quantity of titles entering the market slowing things down; the demand to localize them for international markets is a factor and the time required.

3. Artificial intelligence (AI) and machine learning (ML) begin to add value

In 2021, AI/ML took significant steps towards improving content development and post-production workflows. On the production side, tools came to market that assists content creators with script analysis to determine a film’s possible critical and financial success, pre-production talent, distribution and release analytics , and recommending the right talent to maximize revenue for a particular script. On the post-production side, AI/ML can create visual effects to imperceptibly lip-sync facial movement with foreign-language dialogue and predict trailer effectiveness in finding an audience. Spherex greenlight ™ is part of this AI/ML solutions class. It is used to identify cultural and contextual cues that impact age ratings before localization, thus saving production time, reducing localization cost, and eliminating regulatory risk for any internationally-released title.

Understandably, not every company can afford to be an “early adopter.” But the need to succeed in today’s highly competitive marketplace will push many studios and companies to try these tools and see if they add value to their content production workflows. Effective and successful utilization of these tools will only encourage their further development and improvement, which is the only way they get built. The Rogers Adoption Curve suggests that, like other companies that have adopted new technologies early, they will reap the benefit of getting their content to global markets faster, more cost-effectively, generating higher box-office revenues, and doing so with lower regulatory risk.

These aren’t the only trends that will impact M&E in 2022, but we believe each will begin to influence decisions about content production, distribution, marketing, and bottom lines. In a market with thousands of titles being released to theatrical, streaming, and linear platforms each year, it’s essential to see where and how you can gain market share and advantage. The best way to win in this new, more extensive marketplace is to be more innovative and agile than your competitor.

We’re looking forward to 2022, and we hope you are, too—best wishes to you, your families, and your business in the coming year.

It’s going to be exciting.

Spherex Greenlight™ Wins OTT.X Impact Award

Mon, 13 Dec 2021 20:41:21 GMT

2021 OTT.X Impact Awards

The winners of the 2021 OTT.X Impact Awards were honored Dec. 7 at a ceremony at the IPIC Theatres Tuck Room Tavern in Westwood, Calif. OTT.X created the awards show to celebrate the content creators and organizations using their art and technology to inspire positive action and promote acceptance of, and equality for, all people. Echoing and furthering the organization’s mission was the highlight speaker of the night — David Lenga, a 94-year old Holocaust survivor and the inspiration behind Here Media’s award winning No Goodbyes. Lenga shared his harrowing tale of survival and perseverance with the audience and emphasized the importance of taking action against inequalities and injustices.

The 2021 Impact Award winners were:

Spherex Greenlight™ (Spherex) — Impactful Technology Innovation
No Goodbyes (Here Media) — Impactful Short Title
“Dime Quien Soy” (NBCUniversal) — Impactful Series
Best Summer Ever (Freestyle Digital Media) — Impactful Full-Length Feature, Fiction
Vice Versa CHYNA (VICE/Rock Salt Releasing) — Impactful Full-Length Feature, Non-Fiction
Google TV Watch With Me (Google) — Impactful Technology Innovation

Source: Media Play News

Film Classifications Explained: A Guide to Age Ratings

Fri, 03 Dec 2021 15:30:03 GMT

You may be familiar with seeing a large 'PG' or 'R' flash on your screen before a movie begins. Most have a general idea of what these age ratings mean and how they indicate the appropriateness of a film's content. However, they may not understand the process or the criteria for how movies are classified. Today, most movies are released on multiple online platforms and movie theaters simultaneously. As a result, worldwide audiences have more access to internationally produced content than ever before, so understanding age ratings for films is more important than ever. This post discusses US film ratings are determined, explains the different movie classifications, and how they are essential in international distribution.

Why Are There Movie Ratings?

In the United States, the MPAA (Motion Picture Association of America), an industry, non-governmental organization, created the current rating system in 1968. It is designed to educate and inform parents to make appropriate movie-viewing choices for their children and families and provide a unified classification of film titles. This system was created to prevent the film industry from simply denying a film’s distribution based on a set of moral standards on which not everyone may agree.

Many countries, including some of the world's largest movie markets, utilize governmental censors or regulators to provide age ratings. Unlike the US, where the banning of films is extremely rare, movies and TV shows are routinely censored or banned in countries like China, Russia, Malaysia, and several Middle Eastern countries.

What are the Ratings Used in Film Classifications?

Content is classified for audience suitability based on several factors. Most countries have a unique set of ratings, possibly none, but many classification systems look at similar influencing factors to determine an age rating. Elements such as language, sex, nudity, drug use, violence, horror, discrimination, and other dangerous behavior are common citations for different age ratings.

The same five movie age ratings in the United States have been in place since 1990 when the NC-17 rating was introduced to replace the former X-rating. We detail the individual ratings below.

General Audiences (G): This rating is generally viewed as accessible for all ages. Ideally, this rating is given to a movie deemed appropriate enough for children to watch without any permission or guidance from parents or adult guardians.

Parental Guidance Suggested (PG): With PG ratings, a parent may or may not need to make a judgment call if the material is suitable for their children. Typically, PG films may include animated violence or language that may not be suitable for younger children. In this case, a parent may accompany a child to a viewing at a movie theater.

Parents Strongly Cautioned (PG-13): This rating may be newer than you realized, having been created in 1984 to alert parents of slightly intense content. This rating gets the name PG-13 as it suggests the movie may not be appropriate for pre-teenage children. Themes such as stronger language and more graphic violence or horror may be prevalent in films with PG-13 ratings. Parents should be cautious and accompany children under 13 to see a movie with this rating.

Restricted (R): A movie with an R rating will certainly contain adult content. This means parents would be wise to learn more about the film before deciding whether to allow a child to accompany them to watch this movie. Anyone under 17 needs a parent or adult guardian present to be admitted to a film screening.

No One 17 and Under Admitted (NC-17): NC-17 ratings flag parents the movie in question is clearly for adult eyes only, and children will not be permitted to any movie theater showings, regardless of granted adult permission or not. Whereas other movie ratings allow parents to choose what their children get to see, the NC-17 rating was proposed by the National Association of Theater Owners (NATO) to prevent legal action from happening.

It is not a requirement for films or TV shows to be submitted for a rating in the US—unless they seek commercial release. A movie is labeled as unrated (UR) or not rated (NR) if no rating is sought or available. This is not common. While some filmmakers may elect not to have their films rated, they significantly reduce the work's commercial and financial opportunities. Many platforms and theaters refuse to exhibit unrated, or NC-17 films (mostly because there is little market for them), and many online platform search algorithms automatically exclude such content in their results.

How Are U.S. Movie Ratings Determined?

The MPAA ratings board consists of three MPAA staff “senior raters” and no more than ten anonymous parental members, all with kids between the ages of five and 15. Members are limited to seven year terms, or until their youngest child turns 21, whichever comes first. These board members make up a group known as the Classification and Rating Administration (CARA). Members view submitted films, discuss their thoughts, and vote on a final rating. The findings are then reported to a producer of the film. The determined rating can always be disputed by the filmmaker or re-submitted once appropriate edits are made to adjust the movie's rating before release. An appeals board can overturn rating decisions by a majority vote.

Ratings are established for the life of the film. Only in cases where revisions are made, additional content added (e.g., a “Director’s Cut”), country regulatory edits are required, or the producer appeals will the MPAA reconsider re-rating a film.

For example, the MPAA originally wanted to rate Steven Spielberg’s 1984 film “Indiana Jones and the Temple of Doom” with an “R” rating due to the graphic depiction of a beating heart torn from a man’s chest and child slavery. Spielberg argued an “R” was too restrictive while acknowledging the film’s PG rating caused difficulty for many parents given the content. He called on the MPAA to create a new rating between PG and R. The MPAA obliged, creating the PG-13 rating.

Spherex: Localized Age Ratings Services Provider

As the industry authority on local age ratings globally, our mission at Spherex is to inspire a more tolerant and harmonious world, one story at a time. When it comes to movies and TV shows, one size does not fit all. To assist filmmakers in reaching international audiences, Spherex has introduced a first-of-its-kind technology that culturally adapts content for markets worldwide to increase engagement, drive more revenue faster, and avoid legal and regulatory risk. Known as Spherex greenlight ™ this technology provides content creators with the information they need to tailor their title to fit any appropriate age rating and find their best market.

Take the guesswork out of film classification and the risk out of international expansion. Contact us today!

How ‘Squid Game’ Got Lost in Translation

Mon, 29 Nov 2021 17:09:53 GMT

The controversy surrounding Netflix’s hit series “Squid Game” is the latest example of how inaccurate translations of stories can adversely impact the viewer’s experience and appreciation of foreign titles. The old theatrical days are long over, where localization service providers had months if not years to generate local language audio and subtitles prior to international exhibition. It’s the streaming era now, where post-production schedules are compressed into days and weeks, and content is globally syndicated at launch.

For the industry to meet today’s market challenges and opportunities, the localization process must ensure that stories told to foreign audiences are consistent with the original production, accounting for any linguistic and cultural differences that may impact viewers’ understanding and appreciation of titles.

Localization is more than just the literal translation of a script into another language, subtitles, or audio dub. A script is a story, and stories have context, nuance, meaning, and feeling. Plus, they reflect the writer or director’s culture and points of view. Characters within a film may have relationships that may not be fully understood or appreciated in other cultures. The native language of the film may use words for which there are no foreign language, historical or cultural equivalents. Physical gestures along with visual and musical cues also contribute to storytelling. Traditional subs and dubs often overlook these critical story components because they’re not seen as necessary to the story and are difficult to translate.

Critics have identified issues in “Squid Game” that could have been avoided if cultural knowledge had been considered during the localization process.

An example from the first episode of the series highlights a Pakistani immigrant named “Ali” who refers to two other Korean players as “sajangnim.” This term was translated and used as “Sir.” Sajangnim is a word typically used to show respect for the top boss of a company or business. The complaint is that translating “sajangnim” to “sir” minimizes the self-declared inferiority of Ali’s position as an immigrant (a class of people often overlooked and exploited in Korean society), and it fails to convey the patriarchal responsibility that a “sajangnim” would owe his subordinates. Because the translation ignores significant cultural references, some have argued the word “boss” would have been a better choice.

Later in the episode, other characters ask Ali to call them “hyung,” which means “older brother,” instead of “sajangnim.” “Hyung” in Korean culture indicates a close, friendly, familial relationship. The subtitles indicate they want Ali to call them by their given names, which again, misses the cultural importance of their relationship and downplays the betrayal that occurs later on in the show.

Defenders of the process point out the platform has its own constraints limiting how much a story can be presented to viewers. There’s only so much space on the screen where subtitles appear and only so much time available to show a subtitle before other dialogue must appear. There are different sources for closed caption and language dub scripts because each uses a distinctly different process. There’s only so much context you can provide within these limitations with the added difference in the abilities of those who perform this work. Bottom line: compromises must be made to meet industry or platform standards; and unfortunately, story clarity is what gets sacrificed. As they say, therein lies the rub.

IMDb data reports that over the last decade, an average of 15,000 new films and 251,000 new TV episodes were released each year worldwide. Each of these titles seeks an audience on the hundreds of streaming platforms or the thousands of TV channels they host. Focusing on the script alone without paying close attention to the cultural aspects of the story is what creates the problem “Squid Game” highlights. Artificial intelligence (AI) may alleviate some of these concerns, but what must come first is the knowledge and understanding of culture.

Even if automated capabilities were available to tackle that much content, the literal translation of a script to 7,115 languages is insufficient to address a film’s cultural issues. There’s more to visual storytelling than just the script: location, costumes, customs, relationships, lighting, action, and music enhance the script to tell the story. As the criticism of “Squid Game” shows, small changes can make significant differences.

Foreign-language titles will continue to find new markets in the global content ecosystem, and viewers will want to watch them. “Squid Game” reiterates the risks and shortcomings of today’s localization process and shows why it must be reinvented. As an industry, it is important to reimagine the process of localization and apply culturalization to ensure that the stories people see are those that the writers and directors intended. Without more attention and resources, great stories will continue to be lost in translation.

The First Thanksgiving: When Translation Made History

Wed, 24 Nov 2021 13:15:02 GMT

Did you know the first Thanksgiving ever celebrated in the U.S. occurred 400 years ago this year? If you didn’t, then don’t feel bad. Most Americans couldn’t tell you when or where it happened or why the natives attended in the first place. The vital lesson of that first celebration is that despite different cultures and traditions that are a literal world apart, overcoming language and cultural barriers can lead to productive relationships amongst people worth celebrating. Those lessons are as valid today as they were then, and we should be thankful for them.

The first recorded celebration happened at a place known as the Plymouth Plantation in 1621 . It was a continuation of an English tradition of taking time to celebrate that year’s harvest. There was no formal name for it at the time; they just picked a day, had a feast, and that was it. There was a thing called “Thanksgiving,” but that was a day of religious prayer and fasting; yes, fasting as in not eating, and it first occurred in 1623. So how, you may ask, did two celebrations, where during one you feast and the other you fast, turn into a day for overeating? It’s a fascinating story.

To summarize, the Puritans left England for the Netherlands in 1609 to avoid religious persecution by leaders of the Anglican Church under King James I. After several years in the Netherlands and to establish a community of like-minded families, a group of what we now know as “pilgrims” left the Netherlands for the New World. Their goal was to begin life anew, embracing their own culture, religion, and rules. After several failed attempts to depart, the Mayflower sailed into Cape Cod on November 21, 1620.

Their delayed departure meant the pilgrims arrived too late in the year to plant their crops. As a direct result, and because they had no established trade channels to replenish supplies, about half of the original 102 pilgrims died due to starvation or disease over the next several months. It became clear that if they were to survive, they needed help.

According to Edward Winslow’s account, as told in “ Mourt’s Relation ,” members of the Wampanoag tribe, who were the pilgrim’s immediate native neighbors, first approached them to establish a peaceful relationship in late March 1621. The tribe’s leader, Massasoit, understood the politics of their arrival and the effect a recent epidemic of European origin had on the stability of his society . He needed the pilgrims, and they needed him. The two groups negotiated an agreement whereby they live amongst each other peaceably, relying on each other for support based on respecting their land and property and providing mutual defense and trade opportunities.

So how did they negotiate an agreement if they didn’t share a language? Ask most Americans this question and the answer you’re likely to hear if they have one, is they pointed, acted out what they wanted to communicate, and taught each other bits of their language. Given the time from their first introduction to the first celebration was a matter of months, it’s unlikely that’s what happened. The truth is more surprising: they had translators.

The Wampanoag had two people who spoke understandable English. The first, a tribal member named Samoset, learned it from dealing with Europeans who had been visiting and trading with them for many years. The other, a prisoner of the tribe, a Patuxet Indian named Tisquantum (also known as “Squanto”), learned English after being captured by an Englishman named Thomas Hunt in 1614 and spending several years in England before returning home in 1618.

Samoset made the first contact with the pilgrims and was later joined by Squanto. Squanto was freed only after demonstrating his skill in accurately translating the dialogue between the pilgrim leader and Massasoit. Squanto also endeared himself to the pilgrims by teaching them local agricultural techniques and other tricks for living on the edge of a wilderness.

As Winslow wrote, “We have found the Indians very faithful in their Covenant of Peace with us… and we, for our parts, walk as peaceably and safely in the woods here as in the highways in England.” The agreement's success, which created peace between the Wampanoag and the Mayflower pilgrims that lasted a generation, was due to a recognition that two peoples from different cultures and languages needed each other. What’s important and often overlooked is who reached out in the first place.

It wasn’t the pilgrims who saw the importance of the situation and reached out to the natives; it was the Wampanoag. It wasn’t the pilgrims who tried to learn the tribal language; the Wampanoag learned English. The bottom line is were it not for the Wampanoag’s outreach to the pilgrims, their use of translators to communicate effectively, their willingness to teach the pilgrims how to grow crops; there may not have been a crop that fall to celebrate as the remaining 53 colonists may not have survived the winter. Were it not for language translators 400 years ago, we may not be celebrating Thanksgiving today. Were it not for Wampanoag translators, the Fourth Thursday in November would be just another day.

The Culture Narrative

Mon, 22 Nov 2021 21:07:52 GMT

From horses to boats to trains to planes and books to plays to movies to TV, the distances between people and ideas continue to shrink. Each of these advances, except for the horse, was the result of some technological advancement. Each was disruptive, exposing people to different perspectives, continents, climates, languages, customs , and cultures. Over time, these and others have all impacted or influenced life and society worldwide—whether anyone liked it or not. The advent of streaming media has disrupted what had been a primarily regional distribution of content. It forces us to look more closely at global content distribution and what it means for international audiences.

As much as any of the world’s 7.7B consumers living in any of the 200+ countries and territories, speaking any of 7,139 known languages may have access to millions of titles distributed across hundreds of streaming and linear platforms doesn’t mean they’ll understand them without some help. As the recent controversies of “ Squid Game ” and “ Eternals ” highlight, this massive expansion of markets means we must fundamentally change how we prepare content for international, multi-platform distribution, and that means changing the narrative to include cultural context.

If anyone spoke about culture in M&E just a few years ago, they usually referred to things like holidays, music, food, or clothing. Today, in the context of storytelling, culture is much more than that. Culture has become an integral part of how a story is both told and understood. For example, most Americans know when Cinco de Mayo is and maybe what it celebrates but have no idea what Diwali or Ramadhan are or when they take place. Not only that, but they likely don’t understand the importance those days have on the people who celebrate them. Culture adds layers to a story that, unless conveyed in a translation, are lost. Unfortunately, censors now use filmmakers’ lack of cultural awareness to require changes, deletions, or deny content access to markets.

Here are a couple of recent examples.

In many cultures, giving those older than you greater respect or deference is ingrained in society. Whether it’s serving them meals first, giving more significant consideration to their opinions, even body language communicates one’s status or position to others. Without knowing the context, the story's subtle yet intrinsic characteristics may not be adequately communicated to the viewer. The directors of the South Korean films “Parasite” ( Bong Joon-Ho ) and “Squid Game” ( Hwang Dong-Hyuk ) have both discussed the importance these factors played in telling their stories. Yet contrast the public reaction whether these aspects are understood by audiences following each title’s release.

Despite the integral role cultural relationships play in “Squid Game,” criticism of the series centers on the missed opportunities to share those insights with international audiences because of what some see as poor translation and subtitle choices. “Parasite’s” Bong is known to have dedicated many hours to ensuring “Parasite’s” subtitles convey as much of the culture as possible. That focus contributed to its winning 302 film awards, including an Oscar for best picture, the first- for a foreign-language film, and no criticism that any part of Korean culture was lost in translation.

The entire story of Disney’s “Shang-Chi and the Legend of the Ten Rings” centers on the importance of Asian family, culture, tradition, and the conflicts that arise when families disagree. Yet, despite that focus, Chinese censors banned it for “perceived insults,” some of which are described here . China’s official opinion differs significantly from those of many critics and Chinese citizens who felt the film was “the most respectful treatment of Chinese culture coming from a Western production they’ve seen in years.”

There are two lessons here. First, although international release requires the expense of localization, the amount of attention paid to culturalization by directors and producers does impact audience acceptance and understanding of their story.

Second, the government, not critics or consumers, decides what is inappropriate for their country. The best content creators can do is be aware of where the cultural lines are drawn and make sure they comply to the extent possible while maintaining confidence in and control of their story.

We can point to various types of content released in Saudi Arabia , Russia , India, and other countries where awareness and sensitivity are a direct roadblock to the release of content internationally. Content creators should know, by now, that knowledge of culture from storytelling and regulatory standpoints are critical parts of production and to successful global release. The good news is more people are talking about the need for culturalization. The challenge is getting them to devote the time and energy necessary to achieve the success of “Parasite” while avoiding the kind of criticism experienced by “Squid Game.”

NEXT BIG THINGS IN TECH 2021

Fri, 19 Nov 2021 18:08:18 GMT

Technology is the backbone of every company today. For the first time, Fast Company is recognizing the tech breakthroughs that promise to define the future of industries, from healthcare to agriculture to artificial intelligence.

Some of the world’s most intriguing innovations are so new that their full impact is yet to be felt. This is what we’re highlighting in the inaugural edition of Fast Company’s Next Big Things in Tech. The 65 honorees on our list, which includes global giants as well as intrepid startups, often harness research that’s fresh from the labs, applying cutting-edge tech to solve real-world problems in unexpected ways.

Our winners, which were selected by a team of 14 Fast Company writers and editors, cover a lot of ground, from financial tech to robotics to sustainability. There’s an affordable tractor that drives itself and uses sensors to improve crop yields. The first at-home COVID-19 test that uses CRISPR technology to deliver results that are both rapid and reliable. A dashboard that helps companies gain new insights into their diversity, equity, and inclusion progress based on hard data. A technology for keeping payments safe from quantum computing attacks that could instantly crack current encryption standards. And a streaming platform that turned a billion people watching a live BTS concert into a community. Other honorees take on equally ambitious challenges—and are poised to improve our lives at home, at work, and beyond.

These products, services, and technological breakthroughs may not all be on the market yet, but they’re real, and they’re reaching important milestones along the way toward availability. Their potential for the future is what excited us the most as we assessed candidates for this list.

MONEY

Anchorage Digital

FOR SOLVING CRYPTO'S CUSTODY PROBLEM

Grabango

FOR LETTING ESTABLISHED STORES DITCH CHECKOUT LINES

Mastercard

FOR PROTECTING PAYMENTS FROM QUANTUM COMPUTING ATTACKS

Orum

FOR MOVING MONEY INSTANTLY

Zest AI

FOR MAKING CONSUMER LENDING LESS RACIST

SMART MACHINES

Azumo

FOR BUILDING SCREENS THAT STAND UP TO SUNLIGHT

Diamond Foundry

FOR CREATING A MATERIAL THAT CAN OUTPERFORM SILICON

GelSight

FOR HELPING ROBOTS DEVELOP A NEW SENSE

IBM

FOR GIVING MOORE’S LAW NEW LIFE

Lightmatter

FOR MAKING AI FASTER AND MORE SUSTAINABLE

Monarch

FOR AUTOMATING FARMS WHILE PRESERVING THE ENVIRONMENT

MTEK

FOR BRINGING NEW EFFICIENCY TO FACTORY FLOORS

Rapid Robotics

FOR TEACHING ROBOTS TO DO EVERYDAY WORK

Relativity Space

FOR 3D PRINTING ROCKETS IN MERE DAYS

SambaNova

FOR LETTING COMPANIES TRAIN AI MODELS IN THE CLOUD

Skylo

FOR SENDING THE INTERNET OF THINGS TO SPACE

Tactile Mobility

FOR ALLOWING VEHICLES TO FEEL THE ROAD BENEATH THEM

SUSTAINABILITY

Anuvia

FOR PRODUCING FERTILIZER FROM FOOD WASTE

Automotus

FOR HELPING CITIES UNDERSTAND—AND MONETIZE—VEHICLE TRAFFIC

Bowery Farming

FOR DESIGNING AN OPERATING SYSTEM FOR CROPS

Desktop Metal

FOR SAVING TREES THROUGH 3D PRINTING

Farther Farms

FOR FIGHTING FOOD WASTE WITH CO2

Form Energy

FOR CREATING THE BATTERY OF TOMORROW

GAF

FOR CLEANING UP OUR ROOFS

FOR CREATING A PRACTICAL—AND SCALABLE—ELECTRIC VEHICLE BATTERY

Li-Cycle

FOR KEEPING BATTERIES OUT OF LANDFILLS

MagniX

FOR ELECTRIFYING SHORT FLIGHTS

MycoWorks

FOR REPLACING LEATHER WITH MUSHROOMS

Nuvve

FOR TURNING SCHOOL BUSES INTO BATTERIES

PepsiCo and Wint

FOR GETTING SMART ABOUT WATER CONSUMPTION

Sama and Orbisk

FOR USING AI TO REDUCE RESTAURANT FOOD WASTE

Turntide

FOR REDESIGNING MOTORS TO RUN MORE CLEANLY

Upside Foods

FOR MAKING CELL-GROWN MEAT A REALITY

AI & DATA

ADP

FOR TURNING DATA INTO NEW DEI INSIGHTS

Arkose Labs

FOR FOILING BOTH HUMAN FRAUDSTERS AND BOTS

Beyond Identity

FOR FINDING A WAY AROUND PESKY PASSWORDS

Keyavi

FOR GIVING DATA A MIND OF ITS OWN

Microsoft and InfernoRed

FOR SECURING THE DEMOCRATIC PROCESS

NeuTigers

FOR CUTTING AI DOWN TO SIZE

PwC

FOR NIPPING AI BIAS IN THE BUD

Spherex

FOR MAKING TV AND MOVIES MORE CULTURE-AWARE

HEALTH

Biospectal

FOR MEASURING BLOOD PRESSURE THROUGH SMARTPHONES

Brightseed

FOR MAPPING PLANTS’ CHEMICAL DIVERSITY AND USING IT FOR MEDICINE

Caption Health

FOR ADDING INTELLIGENCE TO ULTRASOUNDS

ClosedLoop AI

FOR GIVING DOCTORS NEW INSIGHT INTO HEALTH OUTCOMES

Microsoft and Adaptive Biotech

FOR USING DATA TO CREATE A TEST FOR PAST COVID-19 INFECTION

Outset Medical

FOR MAKING DIALYSIS LESS OF A BURDEN

Sherlock Biosciences

FOR APPLYING CRISPR'S POWER TO COVID-19 TESTING

Synchron

FOR GETTING PEOPLE WITH PARALYSIS ONLINE

Tivic Health

FOR REDUCING SINUS PAIN THROUGH TECHNOLOGY

TruTag

FOR PREVENTING PHARMACEUTICAL SUPPLY-CHAIN FRAUD

EXPERIENCES

Adobe

FOR PERFORMING MAGIC WITH MEGAPIXELS

Amazon

FOR DEMOCRATIZING SPECIAL EFFECTS

Arcturus

FOR RAISING THE VOLUME ON VOLUMETRIC VIDEOS

Around

FOR MAKING TRULY HYBRID MEETINGS POSSIBLE

Audio Design Desk

FOR SIMPLIFYING SOUND DESIGN

DressX

FOR OUTFITTING INFLUENCERS WITHOUT THE WASTE

Envisics

FOR STREAMLINING DISTRACTING CAR DISPLAYS

Hour One

FOR PUTTING VIRTUAL PEOPLE TO WORK

Kiswe

FOR CONNECTING FANS TO LIVE EVENTS

Leica Geosystems

FOR MINIATURIZING THE LASER SCANNER

Neurable

FOR KEEPING TABS ON OUR BRAINS' NEEDS

Pathway

FOR BRINGING WHITEBOARDS INTO THE VIRTUAL ERA

Taqtile

FOR USING AR TO MANAGE INDUSTRIAL EQUIPMENT

Tilt Five

FOR GIVING TABLE GAMES A NEW AR TWIST

Data and technology company Spherex has introduced a newsfeed

Thu, 18 Nov 2021 18:42:33 GMT

Data and technology company Spherex has introduced a newsfeed that aggregates stories related to the globalization of TV and film content. “Spherex is pioneering the concept of culturalization as a critical success factor for studios, streamers and networks as they ramp up their international distribution efforts,” said Teresa Phillips, Spherex Co-Founder and CEO. “Our goal is to make it easier for all of these companies to reach bigger audiences and generate more revenue by providing the tools to educate the industry about the importance of culture in content distribution.”

Spherex introduces World M+E News

Thu, 18 Nov 2021 18:28:32 GMT

Data and technology company Spherex has announced the introduction of a newsfeed that aggregates stories from across the globe related to the globalization of TV and film content. Called World M+E News, the company is providing the newsfeed as a service to the entertainment industry as culture becomes more critical and TV and film content goes global.

In order to succeed in the global streaming wars, media and entertainment companies need to pay attention to the cultural mores in the countries in which they are distributing in order to avoid censure, offense and loss of revenue. Recent headlines highlighting translation and localization missteps in TV and film content demonstrate the adverse impacts low cultural awareness has on audience acceptance and, in many cases, can be damaging to the title and the distributor’s or producer’s reputation and revenue. Understanding international cultural trends and narratives is critical to the media and entertainment industry’s ability to adapt, evolve and innovate.

“Spherex is pioneering the concept of culturalization as a critical success factor for studios, streamers and networks as they ramp up their international distribution efforts,” said Teresa Phillips, Spherex Co-Founder and CEO. “Our goal is to make it easier for all of these companies to reach bigger audiences and generate more revenue by providing the tools to educate the industry about the importance of culture in content distribution.”

World M+E News was developed exclusively for Spherex. The company reviews and curates articles daily from hundreds of news sources worldwide filtered through a cultural, social and religious lens around TV and film content.

Spherex is a global entertainment technology and data company transforming how media and entertainment enterprises create, adapt and deliver film and television to audiences worldwide through human curated AI and machine learning. With unmatched expertise in cultural adaptation, ratings, metadata and title monitoring, Spherex works with the world’s largest media companies, movie studios, networks, distributors and streamers to build larger audiences, speed up content discovery, drive more video views and generate higher revenue.

Spherex Debuts Global Newsfeed on Culture for Entertainment Industry

Wed, 17 Nov 2021 18:19:35 GMT

Spherex announced the introduction of a newsfeed that aggregates stories from across the globe related to the globalization of TV and film content.

Called World M+E News, the company is providing the newsfeed as a service to the entertainment industry as culture becomes more critical and TV and film content goes global.

Understanding the TV Ratings Chart

Mon, 15 Nov 2021 21:25:23 GMT

Every time we turn on our television, and before any program begins, a box appears on our screens that contain the show’s age rating. Also known as parental guidelines, this rating may not matter much to kids, but it informs parents that what they watch may or may not be suitable for everyone.

In the U.S., there are currently seven (7) television ratings displayed on-screen. They are:

Comparing TV age ratings to movie ratings, three things stand out. First, there is a general overlap between the primary TV and movie ratings. This is done primarily to avoid confusion. Second, there are more types of TV programs being developed for young children than there are films, so the industry created three additional ratings to better inform parents of content within those shows they may choose to restrict from their children’s viewing. Thirdly and conversely, there is no TV rating for purely adult content, because such content is not specifically developed or available on TV. Such content is available, but only from age-restricted subscription services or pay-per-view.

When notices appear on-screen can vary. If the show is longer than one hour, then the rating icon--if it appears at all--will reappear at the bottom or top of the hour. Some channels display the rating icon after each commercial break, but not all do.

But what about streaming platforms?

All content needs to be rated no matter its platform. Streaming platforms have generally adopted both TV and movie ratings methodologies in the US. The difference is streaming services are more willing to label content “unrated” if no “official” rating has been obtained or if the producer or distributor of the content has not “self-rated” it. TV content such as news, sports, religious, paid advertising and home shopping programs are not required to have ratings, and therefore do not display one.

Age ratings do have an impact on audience. If parents don’t see an episodic or film rating at-a-glance, then they won’t know if they should let their kids watch it. In film, a movie with an “R” rating will have fewer viewers than a “PG-13 rated film.” Smaller audiences mean fewer ticket sales, which mean less revenue. If that happens in TV, lower-rated shows lose out on additional views, which means lower share ratings and the show may not get renewed or ever be rebroadcast. On streaming platforms, an “Unrated” show may be ignored by search algorithms, again missing out on any ability to find an audience.

Streamers offer additional tools parents can use to define and limit the types of content their children can watch. Disney+, Netflix, Hulu, Prime Video and others offer parental controls and even kid’s profiles for just this purpose and some make sure the kids stay safe. For example, Disney+ offers a “Kid-Proof” feature that prohibits them from leaving their profile without passing a test. These parental options have not yet made their way to linear TV services.

Source: soda.com

Recommendations for Improving the System

Some organizations are calling for a more uniform approach to ratings. The Catholic News reported last month (September 2021) the TV Parental Guidelines Board’s (PGB) recommended guidelines for streaming services—and how they “can and should adopt age-based ratings and applicable descriptors.” They suggest that, like most television shows, streaming providers should display rating when consumers scroll through their viewing options. The PGB also said that these ratings should be displayed across all viewing platforms: television and online. So, whether we’re watching snippets of “Bridgerton” on YouTube or Netflix, the ratings should display the same unless heavily edited to meet a “G” rating.

Tim Winter, the president of the Parents Television Council , insisted the new guidelines would be a positive, if small, step to fixing some of the “widespread inconsistencies in how programs are rated,” specifically on streaming platforms.

Other countries have already taken action to limit the amount of violent material that could frighten young children, among other things. According to the Center for Media Literacy , more productive ratings systems “pay attention to developmental age differences” between children age groups and aim to address viewers at home and in theaters.

Sweden, Spain, Norway, Germany, and Denmark all have a ratings system that considers the type and intensity of violent material shown. Based on those factors, their ratings classifications “either warn parents about violent material or restrict theater access” for younger children. Spain is also one of several countries that have developed specific classifications for televised content . Other countries include Australia, Chile, France, Hungary, Ireland, Italy, Malaysia, Maldives, New Zealand, Peru, the Philippines, Poland, Portugal, Romania, Thailand, Turkey, and Venezuela. Conversely, other countries such as South Africa, the Netherlands, Mexico, Brazil, and Argentina have adapted film ratings for television. This is separate from the United States, which has independent ratings systems for television and film.

TV and movie rating systems exist as tools consumers can use to learn about the appropriateness of content for their families. Given the concern being raised by parents that with so many titles becoming available on TV and on streaming platforms, how, where and when age ratings are available is more important than ever before.

Silicon Valley Business Journal

Fri, 05 Nov 2021 20:01:19 GMT

Discipline, integrity, motivation: What values can military veterans bring to your company?

Editor's note: This is an excerpt from an article honoring veteran business founders in Silicon Valley. It was originally published in the Silicon Valley Business Journal on 5 November 2021 .

Veterans can bring a multitude of technical skills to businesses that hire them, depending on their specialization and training in the armed forces.

But military experience also instills attitudes and mindsets that are valuable to the business world in general, including discipline, adaptability and the idea that no one will be left behind.

As personal values grow as a success factor in the workplace, veterans offer companies the benefit of their experiences, taking them from the field and the base to the office and the meeting room.

We spoke to two military veterans who founded and lead Silicon Valley companies to see how their service has benefited them in the business world, and how businesses can better serve veterans. U.S. Army veteran Socrates Rosenfeld leads Santa Cruz-based Jane Technologies, which operates an online store for cannabis products, and Teresa Phillips — who also served in the Army — is the head of Spherex, a Santa Clara-based data and technology company that helps adapt media content for global audiences.

Socrates Rosenfeld, co-founder and CEO, Jane Technologies

U.S. Army, 2004-2011

Socrates Rosenfeld co-founded Jane Technologies, an online marijuana and cannabis products store, after his stint in the Army.

How has your experience in the military has prepared you for your career today?

Serving in the military is a very unique, difficult and challenging experience. From training to combat, you are guaranteed to face some adversity. When you're in the thick of those challenging times, you have to dig deep and find the courage to move forward, as scary and as hard as that may be — that’s how real values and character are formed.

Why should local companies specifically seek out military veterans to hire?

We’re extremely mission- and results-driven individuals, accustomed to fulfilling our duties and succeeding in the face of adversity. We had to be adaptable and persevere despite limitations, unclear instructions, and shifting priorities. We’re excellent at following a chain of command and adhering to protocol, which bolsters a company’s structure and organization, and yet we’ve also all had to make tough decisions in real time. Perhaps most importantly, we’re dedicated to taking care of our people, building effective teams, and offering the support and guidance to collectively accomplish goals.

What can local companies do to support employees who are military veterans, or encourage more veterans to join their ranks?

Employers should look beyond the technical skills a veteran possesses. As veterans, we’re adaptive and resourceful by nature, having lived life outside of our comfort zone, and we operate on an accelerated learning curve. During my time in service, I saw people with no college degrees or prior experience successfully fixing turbine engines and flying Apache helicopters in their early 20s.

Try not pigeonhole your veteran employees. With the natural soft skills that veterans possess, we can truly succeed in any facet of business. It’s a good idea for employers to offer training programs. Veterans take initiative and have gumption and can easily acquire technical skills, so if we have the opportunity, we’ll take it.

To encourage more veterans to join your ranks, I think specific outreach and initiatives that demonstrate a company's genuine interest are really effective. In the cannabis industry, we see internship or incubator programs for social equity applicants that include veterans in that pool - and it is very successful in attracting talent.

Teresa Phillips, co-founder and CEO, Spherex

U.S. Army, 1986-1993

Teresa Philips co-founded Spherex after her own military service.

How has your experience in the military prepared you for your career today?

My entire military service prepared me for my career today. I gained valuable experience and expertise every single day alongside fellow servicemembers, allied forces and foreign dignitaries.

My military service taught me how to pay attention to detail; act with pride, purpose, and integrity; soldier through adversity; execute with precision; and lead by example. Serving under the direct command of general officers prepared me well for executive life in the high-tech industry, as managing large-scale initiatives and leading teams came natural to me.

Why should local companies specifically seek to hire veterans?

Companies should extend opportunities to veterans not only because it’s the right thing to do, but also because it’s the smart thing to do.

Veterans are motivated, disciplined, professional and trained. We are loyal, persistent and focused on achieving the mission. Most importantly, we know that a team is only as strong as its weakest link, and we leave no one behind.

What can local companies do to support employees who are military veterans, or encourage more veterans to join their ranks?

Local companies can host open houses or other events specifically for veterans. Leaders in human resources can educate themselves about military positions and create “cross-walks” to illustrate how military education and skills are transferable to civilian positions. And hiring managers can learn how to interview veterans by expressing an interest in their military careers and drawing out their strengths and expertise.

The best way to honor veterans for their service is offering them employment opportunities when they come home.

Squid Game: How Culture Impacts Viewer Experiences

todd.landfried@spherex.com (Todd Landfried) — Fri, 29 Oct 2021 20:09:22 GMT

We generally don't write about specific shows unless something really goes wrong on the culture and localization side of things and highlights problems content creators may face when preparing for international release. Netflix's latest global hit, the South Korean title “Squid Game,” falls squarely into this category for three reasons. First, it demonstrates the impact social media has on the public perception of a title. Second, it highlights how translations can tell a very different story in subs and dubs than in the native language. Finally, it points out how complex the localization process is and the sacrifices that are sometimes made to get a title released.

No one is shocked these days when social media “influencers” light the internet on fire with criticism. What surprises people is how soon it comes and from which direction. "Squid Game" was released on Sept. 17 2021, and within days people fluent in native Korean started posting about translation and cultural issues . One of the first to gain significant attention was a TikTok post by Youngmi Mayer , in which she describes the problems she found in the film's English closed captions in episode 6, “Gganbu.” So far, Mayer's video has been watched 2.9 million times.

Mayer's concerns have been challenged as unfair because she watched the English Closed Captions instead of the English subtitles, which tend to be closer to the script. Closed captions are based upon the audio dub, which can be reduced or altered to match the character's lip movements. Here are two examples using Mayer's original post as the source.

Mayer Korean dialogue (:30): “What are you looking at?”

English Closed Caption translation: “Go Away!”

English subtitle: “What are you looking at?”

English audio dub: “Go away!”

Here’s another example:

Mayer Korean dialogue (6:00): “I’m very smart, I just never got the chance to study.”

English Closed Caption translation: “I’m not a genius, but I still got it work out. Huh?”

English subtitle: “I never bothered to study, but I’m insanely savvy.”

English audio dub: “I’m not a genius, but I’ve still got it where it counts!”

There are both consistencies and inconsistencies across translations, and it’s easy to see how a non-native speaker could experience a storyline that has deviated from the original depending upon whether they use subtitles, closed captions, dubbed audio, or a combination of any two. The differences in the second example could be due to carelessness or mishearing what is being said. “Work out” sort of sounds like “where it counts” if you say it fast enough. But if someone doesn’t have the English audio dub playing while they watch the film, how would they know the difference? The reality is they wouldn’t know, which could lead to the kind of confusion or misinterpretation Mayer and others discuss.

The extent to which this happens varies across titles. In the case of "Squid Game," some people believe it has impacted the story significantly; and from these two examples, we can see why. But the general public won’t understand the process for creating subs and dubs and how they can contribute to inconsistencies or the appearance thereof.

The woman who voiced the character Han Mi-Nyeo, Stephanie Komure, responded on Twitter , stating, “I’m the dub actress for Mi-Neyo, so I was in the studio when this changed. She was tough to dub because her expressions/mouth movements are so huge & up close, & things had to change to fit flaps. It’s a balancing act.” Ms. Komure indirectly refers to the linguistic, cultural, and visual issues encountered during localization. Linguistic in that some words and phrases are conveyed with fewer words than in other languages. Cultural in that is making sure the context is represented in words spoken and visual because the objective is to have the spoken words match as close as possible, as Komure mentions, to the movement of the actor’s mouth. It is a “balancing act,” and there are bound to be misunderstandings.

The immense number of TikTok views alone has raised public awareness of the importance and significance of localization. This likely means there will be a race with future foreign-language titles to identify similar problems, throw shade on the platform, and earn millions of views. Content companies should expect this to happen from now on. Awareness of a problem is the best way to begin working on ways to solve it.

Quality control for subs and dubs has always depended on the company and the budget. If anything forces content companies to eliminate these differences, it will be to insist upon better coordination and consistency between actual dialogue, subs, dubs and closed captions. No content company wants these types of problems to occur. They want all localizations to be consistent with the dialogue; but as "Squid Game" shows, it’s easier said than done.

Netflix Hits a Global Nerve: Exploring Controversy in Media

teresa.phillips@spherex.com (Teresa Phillips) — Fri, 22 Oct 2021 18:45:56 GMT

As the uproar over the Dave Chappelle comedy special "The Closer" refuses to die down, it is clear that Netflix has hit a nerve. Netflix is no stranger to controversies. Issues with its content continue to grow in international markets alongside the company’s slate in local language programming.

In 2019, Netflix removed an episode of the " Patriot Act " from its library in Saudi Arabia, in which Minhaj criticized the Saudi government over the killing of journalist Jamal Khashoggi. In the same year, Netflix edited a graphic suicide scene in “ 13 Reasons Why ” nearly two years after its release after backlash from mental health groups and countries such as New Zealand where suicide is a sensitive issue. In 2020, the platform cancelled “ Messiah ” after one season. The series, filmed in Jordan, received criticism from Jordan’s Royal Film Commission, asking Netflix to not stream the series for being anti-Islamic.

This time the backlash is literally ‘closer’ – at home in the United States and from Netflix employees. The controversial comedy special comes from Dave Chappelle devoting material to ridiculing gay and trans people and describing himself as “team TERF” or “trans-exclusionary radical feminist.” Starting with a trans employee at Netflix, the show received intense criticism for being transphobic.

Netflix, in its response, chose to stand behind the show. Leaked emails from Ted Sarandos show him reiterating his support for the Chappelle special. He further went on to say that the company has a strong belief that ‘’that content on screen doesn’t directly translate to real-world harm.” The leaked emails created further backlash, and eventually Sarandos retracted his statement – but the damage had been done.

While correlation and causality are often debated, it is undeniable that what we consume impacts us personally and culturally. For example, an Otago University study in New Zealand found that teenagers have been " shocked " by the portrayal of suicide in the controversial Netflix series “13 Reasons Why.” Studies further found a spike in suicides rates in months after Netflix released the show. In India, film regulators (CBFC) believe that smoking on screen glamourizes the habit; hence, it is mandatory to add smoking warnings in films. Earlier research studies identified a correlation between on-screen sexual content and adolescent attitudes and behavior towards sex. Even though it’s inconclusive that violence in entertainment leads to real-life violence, there are instances of a connection between the two.

Netflix is known for pushing the envelope when it comes to content. Still, it is naïve to assume doing so does not impact a culture, a country, or individuals where it is consumed.

Americans enjoy personal rights different from other countries, which sometimes leads to a myopic view of other cultures. The First Amendment of the U.S. Constitution guarantees freedom of speech. There is no “hate speech” exception to the First Amendment; thus, there is no legal definition of what precisely constitutes “hate speech” in the U.S. In contrast, many countries in Europe and other parts of the world have laws against hate speech. For example, in the Netherlands, Article 137d of the Criminal Code includes sexual orientation to protect against hate speech. In Iceland, Article 233a of the General Penal Code considers pubic denigration and hatred towards sexual orientation or gender identity in its protection clause. In South Africa, the draft Hate Crimes Bill introduced in 2016 addresses racism, racial discrimination, xenophobia, and discrimination based on gender, sex, sexual orientation, and other problems resulting from hate crimes. The Bill includes provisions that criminalize hate speech in ways that could restrict the right to freedom of expression.

Netflix defended "The Closer" comedy show citing freedom of expression. Creative freedom is indeed one of the essential factors for media and art to function. Comedians push our boundaries, compel dialogue around uncomfortable topics, and poke at society’s issues. Still, there is a limit to freedom of expression – one cannot incite violence. When individuals, especially in vulnerable groups, go from feeling offended by speech to feeling unsafe as a result, it has likely gone too far. Social media platforms like Twitter, YouTube, and Facebook have permanently banned influencers who promote hate speech. A recent study looks at Twitter’s deplatforming of influencers, including one comedian who used his platform to promote racism under the guise of comedy. The study found that the activity and toxicity of the influencer’s supporters was reduced when he was removed from the service.

Incidents such as these open our minds to perspectives on what freedom of expression means to different people. In their list of demands to Sarandos, the protesting employees at Netflix demanded that the company add disclaimers to transphobic content. Their request seems reasonable given that one of Netflix’s core values is ‘ Inclusivity . ’ Sarandos in response , however, said he did not feel the show needed disclaimers.

In our experience at Spherex, a robust content advisory system is valuable in informing the audience what to expect when they are watching a show. A content advisory can take the form of a pre-roll or a ticker, or a description on the content page – the critical aspect is that it provides sufficient information for vulnerable individuals or groups to make the right decisions about content for themselves and their families. It also conveys responsibility and sensitivity on the part of the platform to acknowledge the potentially harmful impact of content. An example of this would be Disney+’s handling of its classic content. The service has introduced warnings about stereotyping and racism on its library titles.

Regulators all over the world invest themselves in protecting their audiences even outside the bounds of the law. South Africa’s Film and Publications Board (FPB) holds regular dialogues on sexual violence and displays appropriate content warnings because it is an issue of concern. Similarly, regulators in the U.K. (BBFC) , New Zealand (OFLC) , Australia (ACB) , among others, periodically update consumer advisory guidelines in line with current social issues. As exhibited in many countries, age ratings in conjunction with consumer advice and additional trigger warnings wherever applicable successfully mitigate audience anxiety and prevent vulnerable groups from feeling threatened by messages or portrayals in content.

Companies that distribute content globally to diverse audiences, like Netflix, must lead the way in promoting greater tolerance and harmony in the world. Their content is viewed by and influences millions of people daily, and they must bear responsibility for what they produce and release. Afterall, “With great power comes great responsibility.”

Expect More Content Regulation

Mon, 11 Oct 2021 22:59:59 GMT

In the past several months, an emerging trend is evident in the media and entertainment industry: increased levels of and calls for content censorship and regulation. It doesn’t matter what country you live in or where you want to release your title, regulatory bodies and private groups exist that can limit what story you tell and how you tell it. Worldwide, varying levels of censorship exist, and some countries are more prohibitive than others. Some restrictions are intended to protect young audiences from sensitive subject matter, but others are to deter government criticism and to discriminate against minorities. It’s this latter category that should concern content creators.

Content Regulation and Censorship of Movies Around the World

We’ve documented the increased levels of censorship occurring in Hong Kong resulting from mainland China’s crackdown on “national security,” but it is not alone. India, Kenya, Nigeria, Australia, Hungary, the U.K. have, in just the last several weeks, required filmmakers make substantive changes in their work to meet regulatory or ratings guidelines.

Hungary's Media Council of the National Media and Infocommunications Authority (NMHH) ruled on 15 September that LGBTQ+ content was unsuitable for anyone under the age of 18. Titles that do include those themes will "not be recommended." The new guidelines follow a law passed in June that bans the "display and promotion of homosexuality" within the country.
A law passed in 2020 gives the Turkish government authority to force edits or ban access to content critical of the government or that it finds otherwise objectionable. Shortly after the law was passed, Turkey refused to issue a filming license for the Netflix series “If Only” because one of the characters is gay. Netflix responded by moving production to Spain.
Nigeria’s National Film and Video Censor Board ( NFVCB ) decided in September 2021 to ban any film or other content that depicts “kidnappings, drug addiction and GSM (mobile) phone snatching” regardless of the context. Their intent is to reduce the influence the content may have on young people committing crimes in the country.
The British Board of Film Classification (BBFC) required Universal Studios to make cuts it perceived as sexist and promoted sadism from the new James Bond film “ No Time To Die ” in order to receive a 12A rating.

New Levels of Content Based Regulation

New measures to censor or regulate content, regardless of platform, are being introduced worldwide.

Vietnamese legislators are calling for the establishment of bans on any film that portrays “law-breaking” behavior, or stories depicting selfishness or successfully getting away with criminal behavior.
The draft European Union Digital Services Act provides for broad regulation of digital platforms throughout the union, requiring uniform age-based ratings, local content origination requirements, and holds platforms accountable for third-party suppliers. The law allows penalties of up to 6% of annual global income for violations.
The TV Parental Guidelines Board has issued new guidelines that call for all U.S. streaming platforms to adopt “age-based ratings and applicable descriptors” for “all online video assets.”

Misinformation’s Impact on the Regulation of Media Content

Ensuring age-appropriate content or banning unflattering depictions of politicians or events isn’t the only rationale for content regulation. Some recent efforts are instigated by misinformation campaigns propagated online or on social media that then motivates politicians or governments to call for restrictions that will, if past is prologue, inevitably find their way into broader content restrictions such as film and TV.

What type of motivation do we mean? A July 2021 poll of likely US voters shows 58% of Americans believe media companies are the “Enemy of the People.” A 2018 poll shows 26% of Americans and 43% of Republicans believe the president should have the authority censor media companies for “bad behavior,” whatever that means. GOP Legislators in several states have used these arguments to introduce bills that prohibit media companies from banning misinformation on their platforms and provide for significant fines for violations should they do so.

Florida’s Senate Bill 7072 allows for fines up to $100,000 in damages if residents of the state “feel” as though they have been treated unfairly by the removal of video or written content they post online. Texas’ House Bill 20 also limits content and social media from banning content even if it violates the platform’s community standards. Both laws were signed into law by their respective Governors and are now on hold pending court challenges for unconstitutionality.

The door of regulation and censorship has lately been swinging in the direction of more restriction rather than less. In reasonable cases, content creators can conform to cultural and contextual requirements without sacrificing their creative vision or remain true to the story by understanding them and working with reasonable regulators. The risk is that as more of this type of legislation and regulations are passed, other countries will imitate them in their countries. Laws like these are the proverbial camel’s nose under and its time we, as an industry, start paying more attention to the threat they are to creative and personal freedoms everywhere.

The Resonance AI Podcast

Mon, 04 Oct 2021 23:02:48 GMT

Conversations About the Future of Media: Teresa Phillips

The Emmy’s Kudos to Culture & Change

Mon, 27 Sep 2021 16:45:42 GMT

Culture Matters:

Award ceremonies have long been used by people in the media and entertainment industry to make statements about our world. Occasionally controversial, one consistent theme revisited year after year is culture and impact on content. One of the most memorable statements was when, in 1973, Marlon Brando refused the Best Actor Academy Award for his role in “The Godfather.” Native American actress Sacheen Littlefeather took to the stage and declined the award due to Brando’s views of “the treatment of American Indians by the film industry, of TV movie reruns, and also recent happenings at Wounded Knee.” Littlefeather thanked the audience for their indulgence and said her hope was “…in the future, our hearts and understandings will meet with love and generosity.”

Dick Cavett interviewed Brando and asked why he did it. Brando replied it was to call attention to the fact that continued degrading depictions of American Indians, minorities, and other cultures in movies and TV harm them. As one of the industry’s biggest stars and with an anticipated audience of 85 million people, Brando felt he had the freedom and responsibility to criticize Hollywood for perpetuating stereotypes. He was one of the first to say publicly that it was harmful for “American Indians and all other minorities” to be “represented as savage, as ugly, as nasty, vicious, treacherous, and drunk.” The effect was, he said, to cause their children to “they grow up only with a negative image of themselves and it lasts a lifetime.” He was glad he allowed Littlefeather to make her statement.

Forty-eight years later, Reservation Dogs creator Sterlin Harjo said, “We are here on television’s biggest night as creators and actors, proud to be Indigenous people working in Hollywood, representing the first people to walk upon this continent, and we are really happy to be here.” Actor ’D’Pharaoh Woon-A-Tai said, “Thankfully, networks and streamers are now—now—beginning to produce and develop shows created by and starring Indigenous people.” Devery Jacobs, who plays Elora Danan Postoak in the series, added, “It’s a good start, which can lead us to the day when telling stories from underserved communities will be the norm, not the exception.” Paulina Alexis, who plays Willie Jack, closed their remarks, saying, “Because, like life, TV is at its best when we all have a voice.”

Yara Shahidi, star and Executive Producer of “Grown-ish,” mentioned when presenting the award for “Best Supporting Actor in a Comedy Series” how television and culture “…should affect things. Setting the tone not for today, but tomorrow.”

Lucia Aniello, producer of the HBO series “Hacks,” spoke about “wanting to make a show that honors anybody who struggled to tell their stories, especially women who never got to tell their story at all because the world wasn’t listening.”

Television Academy President and CEO Frank Scherma said, “Television has always been a place to come together and share our most valuable resource: stories. We laugh, cry, learn and watch television as a family and as a community. And it’s so great to see that television and the stories that we tell are finally becoming a reflection of every part of our society. Voices of black, Latinx, Asian American, and Indigenous creators, along with the LGTQBIA+, neurodiverse and disabled communities are being heard by larger audiences than ever before. These stories touch all of us as part of our shared human experience. We’ve only started this next evolution where content represents who we are as a global population. And when we see other perspectives, besides our own, we move beyond simply acknowledging our differences and begin to understand and celebrate them.”

In accepting the Governor’s Award, Debbie Allen said, “Let this moment resonate with women across this country and across the world, from Texas to Afghanistan. Let them know, and with young people who have no vote who can’t even get a vaccine, they’re inheriting the world that we leave them. It’s time for them to claim their power. Claim your voice. Sing your song. Tell your story. It will make us a better place. Your turn.”

We’ll never know if Marlon Brando would agree that the M&E industry is doing better at representing minority populations in film and on TV in positive ways. Getting to where they can write and produce their own content has been too long in coming, but it is a move in the right direction.

The number of people of color who win industry awards remains lower than many would like. However, the plethora of new distribution platforms and increasing demand from the public for their cultural stories create more opportunities for their work to be seen and their talents to be recognized. The statements at this year’s Emmy Awards reflect the importance culture has on influencing stories and how they can, as Sacheen Littlefeather hoped, lead to “love and generosity.” Culture matters.

Televisionation: Friday Fireside with Rick Howe

Fri, 24 Sep 2021 21:44:19 GMT

Friday Fireside with Teresa Phillips, Co-Founder and CEO of Spherex

Televisionation: Friday Fireside features Rick Howe, The iTV Doctor, in conversation with prominent figures from the advanced-TV/video industry.

Today’s episode of the Friday Fireside is a fascinating discussion with Teresa Phillips, Co-Founder and CEO of Spherex. Teresa has a unique product that informs content owners and distributors about international cultural norms that impact the marketability of their products. If you sell internationally, you need to watch this! Just remember that it wasn’t Ronald Reagan that brought down the Berlin Wall; it was MTV! (and Teresa has a piece of the wall to prove it!).

Recorded on Sept. 24, 2021

All Things Video

Mon, 20 Sep 2021 22:48:46 GMT

Culture-Fitting Content for Global Audiences

In this episode, Teresa and I discuss the challenge of localizing and cultural fitting content for international audiences. Entertainment companies must navigate complex regulatory, economic, and cultural environments in each new market, so it’s no surprise that cultural missteps are fairly common – from Netflix running afoul of the Singaporean government for hosting drug-related content to the infamous Cuties movie poster debacle here in the U.S. In response, Teresa shares how Spherex uses technology and human expertise to help media companies successfully localize and extend their content to foreign markets. Finally, we comment on Netflix’s recent foray into gaming, ARPU differences between AVOD and SVOD platforms, and future M&A targets as media consolidation continues.

Teresa Phillips is the Co-Founder & CEO of Spherex, a technology company that uses machine learning to adapt entertainment content for international audiences. Teresa started her career in the U.S. Army, serving tours of duty at the Pentagon and NATO’s Allied Command Operations. She later worked as a Group VP of Business Operations at Time Warner Cable and VP of Business Intelligence at Yahoo before launching her first company, an educational video marketplace called Graspr in 2006. She then served as SVP for V2 Solutions before co-founding Spherex in early 2018.

Host: James Creech

Advertising’s Culture Lesson - Pay Attention

Mon, 13 Sep 2021 10:16:00 GMT

We spend a lot of time examining how different industries approach culture. One industry that has lessons for media and entertainment is advertising. Like film, advertising tells stories, albeit 30-90 seconds versus 30-90 minutes. Still, advertising’s long history of initially getting culture wrong, learning from those mistakes, making relevant changes, and winning market share are valuable lessons for content creators.

Hundreds of trade journal articles and academic research papers have been written examining cultural advertising failures. One of the classic examples is Proctor & Gamble’s (P&G) 1976 introduction of Pampers disposable diapers in Japan. When first introduced, P&G localized a U.S.-centric ad that showed a stork delivering Pampers to a Japanese family. This failed miserably.

Americans wouldn’t think twice about the baby/stork metaphor, but in Japanese culture, storks are wild animals, and they wouldn’t deliver babies because they could be dropped in flight and killed. In Japanese folklore, babies are gently delivered by giant peaches floating down a river. P&G learned this story only after market research into the launch failure. When they changed the imagery to a peach, the product took off.

It would be great if P&G had learned its cultural lesson from this single event, but it did not. During the 80s and 90s, P&G repeated the mistake when launching pink and blue diapers in Asia (China has a one-child policy and buying pink diapers meant you had a girl, which at the time, was not the “preferred” child), all-temperature detergent in Japan (laundry is done in tap water temperature, not hot/warm/cold), and using ads with side-by-side product comparisons, which are considered rude in Asia.

We’re not singling out P&G for its failure to recognize the importance of culture when launching new products worldwide. Hundreds of other companies have and continue to make the same mistakes. Instead, we acknowledge the company’s willingness to find out where it went wrong, fix the problem, and successfully increase brand awareness and market share in critical international markets. We’re here to commend their incorporating cultural understanding into their product design, marketing, and advertising strategies. This is a crucial lesson for content creators.

The advent of and explosive growth of streaming presents content creators with global opportunities that would have been extremely difficult, impractical, or impossible a decade ago. The dramatic surge in the number of available platforms, the increasing number of released titles, and the resulting competition for viewer’s attention mean that to be competitive companies must think differently.

The adage “Doing the same thing over and over and expecting different results is the definition of insanity” applies here. Advertising provides valuable insights into why and how avoiding or denying the importance of culture has when introducing new content and products into new markets. Culture matters, and market success relies on understanding it. The goal is to get it right the first time, and learning these lessons is a step in the right direction.

Crisis in Afghanistan - A Call for Help

Fri, 27 Aug 2021 04:30:00 GMT

Historic events that compel immediate and direct public response rarely present themselves. The return of the Taliban to power in Afghanistan will have a devastating impact on the country’s women and girls. It is unquestionably one of those significant moments and one that we, as a global Media & Entertainment company, cannot ignore.

India: The Film Certification Tribunal’s Demise

Fri, 20 Aug 2021 04:00:00 GMT

India’s two Houses of Parliament, the Lok Sabha and the Rajya Sabha, passed the Tribunals Reforms Bill, 2021 Aug. 2 and Aug. 9, respectively. They did so amid solid opposition to the lack of discussion on the merits of the bill. The bill seeks to eliminate eight appellate tribunals, including the Film Certification Appellate Tribunal (FCAT).

LGBTQ+ Content Meets Cultural Challenges

Mon, 16 Aug 2021 06:24:00 GMT

Worldwide, 71 countries criminalize same-sex behavior. Eleven can and do legally put people to death for participating in same-sex acts, and 15 more criminalize transgender, cross-dressing, and impersonation. Those countries include sizable Media and Entertainment (M&E) markets. These regulations are challenging for the creators of LGBTQ+ content who want to release it internationally. How do they balance the tension of complying with local regulations and their desire to reach audiences who may enjoy their work and make money? How do they navigate evolving public sentiment with rigid censorship requirements?

When considering the crossroads of culture and entertainment, change doesn’t come fast or easy. Many countries’ ratings systems are seldom updated. Those with recent updates, such as Hong Kong, tend to expand restrictions. These changes are driven by the increased availability of titles made possible by the explosive growth of VOD and OTT platforms. Consumers now have greater access to titles that local regulators find objectionable. Titles with LGBTQ+ plots or characters are considered particularly offensive in many countries.

Some governments have long considered the LGBTQ+ lifestyle a threat to families and public order. Content creators understand that regulators in these countries will scrutinize LGBTQ+ films or tv shows. What regulators cannot avoid, however, is evolving public sentiment that is more accepting of alternative lifestyles. Twenty-nine countries have legalized same-sex marriage – all within the past 20 years.

The increased audience for LGBTQ+ content is associated with younger people’s greater acceptance of the community than their parents and older generations, the quality of those stories, and the reality that more people are identifying as LGBTQ+. Older generations, having considerable political power and greater adherence to tradition, push for more restrictive regulations. LGBTQ+ content creators must overcome these cultural obstacles to get their work in front of the public. This requires creativity, courage, and vision. While many titles have been the victim of regulatory-mandated edits, some films have managed to walk that fine line and have demonstrated real success in attracting large audiences.

As the industry’s top performance metric, box office success is a sure way to draw regulators’ attention. 2018’s “ Bohemian Rhapsody ” grossed $911M worldwide, won four Academy Awards and 43 other international awards. 2019’s “ Rocketman ” earned $195M, won an Oscar and 20 other awards. The Canadian Broadcast Company’s (CBC) sitcom “Schitt$ Creek” won nine primetime Emmys and 99 other TV awards in its six years in production. Major VOD platforms such as Netflix, Amazon Prime, and Hulu all have LGBTQ+ genre listings in their catalogs, and all major studios produce LGBTQ+ titles. There is a substantial market for LGBTQ+ content, but that doesn’t mean the path for these titles is always clear or easy.

The recent Disney/Pixar film “Onward” was banned in Qatar, Oman, the UAE, and Kuwait due to the inclusion of Disney’s first obviously lesbian animated character, a police officer named “Specter.” Russia required a word in Specter’s scene to be changed from “girlfriend” to “partner,” as in the person she worked with, not lived with, before allowing the film’s release. Some applauded Disney for positively depicting a member of the LGBTQ+ community; however, the film was still considered inappropriate in its original form.

Despite these reactions, films that portray same-sex relationships in a more caring, less offensive light are being exhibited in restrictive markets and gaining traction. Hong Kong ViuTV’s remake of the popular Japanese series “ Ossan’s Love ,” starring two members of Hong Kong pop music’s top boy band, Mirror, is attracting large audiences to the first drama focused on same-sex relationships. Some media analysts suggest the show may have “ gone beyond its commercial and artistic value ” and is “ reshaping public perceptions of the city’s sexual minority groups. ”

”Ossan’s Love” does have critics who claim the series violates Hong Kong’s new national security laws . Lawmaker Junius Ho-Kwan-yiu has vocally criticized it because the law “requires society to promote Chinese traditional culture and to prevent bad ideology.” He asserts the series violates the law because it glorifies “childless couples.” It’s unclear whether mainland China or the Hong Kong legislature will crack down on the series or similar titles likely to be released in the future. Still, so far, no action has been taken against its producers. Yet as recent history indicates, they are capable of doing so .

Regulators believe they are protecting their culture, their families, and their country from influences they have decided are harmful. LGBTQ+ content creators already know they are at a disadvantage when releasing their work in culturally unfriendly countries. They already know the risks. But as “Onward” in Russia and “Ossan’s Love” in Hong Kong show, making appropriate edits to a title or understanding a particular market’s culture can be the difference between a title being released or banned. There is a path forward; but until parts of the world become more accepting of the LGBTQ+ community, some markets will remain out of reach or extremely difficult to enter.

U.K. Film Industry Braces for Brexit Backlash

Mon, 26 Jul 2021 10:05:00 GMT

United Kingdom (U.K.) content producers may soon feel the effects from last years’ “Brexit” through greater limits being placed on their access to European VOD (Video on Demand) consumers.

Hong Kong – That Was Then, This Is Now

Fri, 16 Jul 2021 09:00:00 GMT

On June 11, 2021, Hong Kong’s government expanded its film regulations to more closely reflect mainland China’s censorship rules. The regulations, which went into effect immediately, were issued under the stated purpose of protecting “national security” and attempting to provide balance “between protection of individual rights and freedoms on the one hand, and the protection of such legitimate societal interests on the other.”

Hungary’s New Anti-LGBT Law

Fri, 09 Jul 2021 10:09:00 GMT

In what can be seen as another step towards stifling LGBTQ rights in the only non-democratic government in the European Union, Hungarian lawmakers on June 15th 2021 passed a law that bans the use of any material in schools that can be construed as promoting homosexuality and gender change.

EGA Expands Board of Advisors

Fri, 09 Jul 2021 08:41:00 GMT

Today, the Entertainment Globalization Association announced that its Board of Advisors has expanded. This brings the total board seats to twelve. Three industry leaders were added to the board, two new seats and a replacement for David Lee who stepped down earlier this year to focus on the integration of SDI with Iyuno after they acquired the company. EGA’s Board of Advisors is composed of industry leaders from companies across the content globalization ecosystem and includes senior executives from; Keywords, Deluxe, Hiventy, Visual Data Media Services, VSI, Audiomasters, Zoo Digital, Plint, and Iyuno-SDI.

A woman of influence: Teresa Phillips

Fri, 09 Jul 2021 08:08:00 GMT

This is an interview with one of the outstanding Silicon Valley professionals selected to be in the 2021 class of Women of Influence.

New BBFC Language Guidelines Questioned

Fri, 02 Jul 2021 04:30:00 GMT

The post New BBFC Language Guidelines Questioned appeared first on Spherex .

Spherex Harnesses ML to Help Producers Go Global

Mon, 28 Jun 2021 15:46:00 GMT

To help with that problem, the global entertainment technology and data company, Spherex is launching a new product called Spherex Greenlight that combines machine learning and human curation to capture societal and cultural cues from more than 120 countries around the world.

North Korean Law Curbs Access to K-Pop and Foreign Films

Fri, 18 Jun 2021 09:57:00 GMT

South Korean pop culture has never been more in demand—even making its way to the citizens of North Korea. But Kim Jong-un and his state media are cracking down on this “vicious cancer” he feels is perverting everything from “ attire, hairstyles, speeches, behaviors ” and, if not regulated, will corrupt North Korean youth.

Kim and his state media have said that if the tide of K-pop, foreign films, and other aspects of foreign culture are not reigned in, the results will be chaotic and North Korea as they know it will “crumble like a damp wall.” According to The New York Times , Kim particularly dislikes the influence of “anti-socialist and nonsocialist” K-dramas, K-pop videos, and South Korean movies, going so far as to command “his government to stamp out the cultural invasion.” Consequently, the North Korean government passed the “anti-reactionary thought law” in December 2020. This law makes it illegal to own or distribute foreign media, and anyone found with or distributing said media will be put in a prison camp or executed.

North Korea’s system of mutual monitoring is reflected in the law, with citizens being asked “to inform on others who watch K-dramas” and provides significant penalties for those found guilty or those responsible for violations. If a worker is caught, then the head of the factory can be punished; parents can be punished for the actions of a child. As The Daily NK’s Editor-in-Chief Lee Sang Yong told the BBC, “In other words, the regime concluded that a sense of resistance could form if cultures from other countries were introduced.”

But it isn’t just South Korean media being put under the microscope. According to News.com.au , an online Australian publication, “impure cultural materials … are commonly passed around on USB sticks” and anyone found with one (that is proven to have media from South Korea, the US, or Japan) faces the death penalty. Anyone found watching any type of foreign media will be put in a prison camp for 15 years.

According to The Daily NK , a man with the surname of Lee, from Gangwon Province, was found to be illegally selling CDs and USBs containing South Korean movies, dramas, and music videos. Under North Korea’s “anti-reactionary thought law,” authorities branded him an “anti-socialist element.” Forty days after his arrest, his immediate family stood with 500 other people while authorities forced them to watch Lee’s public execution.

“The harder the times, the harsher the regulations, laws, punishments become,” Choi said. “If someone watches two hours of illegal material, then that would be three years in a labor camp. This is a big problem.”

Even children are not safe from watching public executions. According to the BBC , Yoon Mi-so told interviewers she was only 11 years old when authorities ordered her entire neighborhood to watch a man executed after he was found with South Korean content. “If you didn’t, it would be classed as treason,” she said from her home in Seoul.

North Korean youth are also being imprisoned. Just this month (June), two high school boys and four girls were each sentenced to re-education camps for five years just for watching South Korean dramas and sharing them among their classmates.

“To Kim Jong-un, the cultural invasion from South Korea has gone beyond a tolerable level,” said Jiro Ishimaru, chief editor of Japan’s  Asia Press International . “If this is left unchecked, he fears that his people might start considering the South an alternative Korea to replace the North.”

This isn’t stopping people from trying, however, as the underground market for foreign content has led to development of methods to limit or destroy content quickly or deliberately in attempts to circumvent the law. For example, USB drives can be programmed to delete the content after three failed password attempts, or after one attempt if the content is particularly sensitive. The drives can also be programmed to show a program only once and then delete the content, preventing it from being shared with anyone else.

Media is not the only thing on blast in North Korea. The new law banning foreign media also extends to nose- and lip piercings, hairstyles, texts (or other types of communication) in the South Korean style and even “hemming their trousers above their ankles.” It is believed these restraints are in response to the loss of Western support after the 2020 US presidential election, combined with North Korean borders closing due to COVID-19—resulting in increased economic hardship and looming famine.

Content’s Cultural Conundrum

Mon, 14 Jun 2021 08:28:00 GMT

Citing the growth of global content distribution opportunities, the Hollywood Reporter recently wrote about the increase in local-language film adaptation. The piece raises several important points we at Spherex have known for some time, e.g., how important culture is to content, how culture doesn’t always translate well (if at all), yet when done properly can generate significant profits for the content owners. Rather than relying on traditional “subs and dubs” to export foreign content to consumers worldwide, production companies are starting to create local and culturalized versions of movies and tv shows to better align with consumer preferences.

Culture matters because people are different. Language, geography, customs, religion, politics, economics, social and/or class structure all have significant impact on how people perceive and relate to stories, images, sound and even the words used in a title. The success of exporting content from one country to another depends more so on cultural proximity than on geographic vicinity or language similarity. Cultural proximity ensures that audiences can understand the characters’ dialogue, motivations of behavior, and body language in addition to following the storyline.

Exporting or importing good stories or shows is nothing new. Since the 1970s, television shows have been adapted for local audiences worldwide, especially soap operas, game shows and other unscripted programming. Go back decades and find examples of foreign films or TV shows that were given the “Hollywood” treatment and became hits in the U.S. and worldwide. One example is the 1985 French film, “ Trois Hommes Et Un Couffin ” (Three Men and a Cradle) that became 1987’s top-grossing film “ Three Men and a Baby .” It cost $11M to make and grossed over $168M worldwide. The Australian talent show “ Popstars ” became the U.K. talent show “ Pop Idol ,” which became the American talent show “American Idol” and eventually was exported to over 15 countries. The British game show “Who Wants To Be A Millionaire” was localized and released in 114 countries reaching every continent except Antarctica and is still being produced 24 years later.

Kelly Wright , an adaptation specialist with Israel’s Keshet International, says the difference now is that “with the rise of global streamers, any fan can check out the “twists and suspense” of the original without having to wait for a remake.” A shot-for-shot remake isn’t going to attract an audience anymore, especially one with access to the original. The industry’s challenge is to make the adaptation or original story timely and attractive to an audience by understanding and writing for their culture. A story that lives in their culture is what makes it special.

The good news is that technology and resources are available to studios and production companies to help them understand the cultural issues that can affect the success of their titles in the global marketplace. Spherex has extensive knowledge of cultures and regulatory requirements covering nearly every territory on the planet and has created technology to identify cultural sensitivities before they become cultural missteps.

Spherex Co-Founder Teresa Phillips: 'Find your north star and follow it – day and night'

Tue, 08 Jun 2021 19:26:16 GMT

As co-founder and CEO of global data and technology company Spherex , Teresa Phillips is pioneering technology that is changing the future of entertainment.

Leading a team of data scientists, AI engineers and content analysts, Phillips and her team are making sense of the crowded content landscape worldwide so media and entertainment companies don’t get lost in translation. Collaborating with major studios, networks, streamers and content creators, they are transforming how media and entertainment enterprises create, adapt, and deliver film and television to audiences worldwide through AI and machine learning.

Prior to establishing Spherex, Phillips was the founder and CEO of venture-backed startup Graspr, a platform that housed a library of DIY videos where users could also share their ideas and expertise. Phillips held executive roles at both Yahoo!, where she helped craft the company’s successful partnerships with SBC (now AT&T), British Telecom and Rogers Communications, and at Time Warner, where she was part of the cross-company effort to migrate systems, products, and operations in support of Time Warner/Media One's joint venture - Road Runner.

Q: WHAT IS YOUR BACKGROUND, AND WHAT ARE YOU WORKING ON?

My career began in the U.S. Army as an executive assistant to four-star generals and diplomats. I served two tours at the Pentagon and NATO. The five years I spent supporting the Supreme Allied Commander, Europe at the end of the Cold War was particularly pivotal in shaping my global mindset, leadership style, and career. Collaborating daily with NATO nations’ civilian and military personnel, I quickly recognized how individual culture shapes how we think, communicate, express emotions, and interact in business and personal settings. Culture influences every aspect of our lives.

Over the past two decades, I’ve held executive positions at both Yahoo! and Time Warner, as well as founded a venture-backed startup. I’ve built a career at the intersection of technology and media, leading teams in product development, business operations, and business intelligence.

At Spherex, we are creating a new business category in culturalization for the Media & Entertainment (M&E) industry. Spherex has developed the first-ever cultural intelligence platform that applies machine learning and artificial intelligence to analyze and process millions of hours of video content created daily for innovations in content recommendations, audience targeting, and cultural compliance with global regulations. We assess every movie and TV series on every platform to make it culturally relevant and appropriate, from compliance and ratings to audience demographics and title, down to religious references and cultural taboos. Through this process, we save content providers and streaming platforms money, increase their audience reach, drive new revenue, keep them brand safe, and make their content more appealing to all audiences.

Q: WHAT MOTIVATED YOU TO GET STARTED WITH SPHEREX?

Since my time at NATO, I’ve been interested in culture and globalization. I believe that cultural awareness and tolerance achieve understanding and harmony, which are the gateways to globalization. Media & Entertainment helps us get there faster. It is the only industry that can produce a product (e.g. a movie or TV series) and simultaneously release it worldwide. A movie has the powerful capacity to connect us emotionally, opening our hearts and minds to different cultural, religious, and gender differences in countries around the world. Today, tens of billions of dollars are spent annually producing content for global distribution, yet very little time and money are spent considering how that content will be perceived by local audiences. My vision for Spherex is to create a cultural dimension that can be embedded in content and associated with viewers to meaningfully connect global storytellers with their local audiences.

Q: HOW HAVE YOU ATTRACTED CLIENTS AND GROWN YOUR COMPANY?

Most of our growth has come from referral business and word-of-mouth. In the industry, we are known for our deep domain knowledge and expertise in facilitating international expansion by way of providing local age ratings, supply chain operations, and metadata. The wonderful aspect of our industry is its connected ecosystem. In a global marketplace serving both supply and demand sides, every transaction touches at least two entities. Even though M&E is a huge global industry, it is still quite small in terms of how closely companies work together across the supply chain. This tight integration allows us to grow organically and very quickly.

Q: WHAT ARE YOUR GOALS FOR THE FUTURE?

Because we’re creating a new business category, we must educate the marketplace about culturalization and the need to adapt content worldwide. We’ll continue to evolve our technology platform in order to scale. The ultimate goal is to be the ubiquitous provider of culturalized listings worldwide, which entails applying artificial intelligence to generate personalized versions of artwork, trailers, and other assets that resonate with cultures around the world. Our industry has a high level of reusability in that once a title is created, it can be relicensed in perpetuity. This means our culturalized listings can be used in every country by every storefront at any time.

Q: WHAT ARE THE BIGGEST CHALLENGES YOU HAVE FACED SO FAR?

It was a herculean effort in analyzing cultures around the world to gain insight and knowledge; then codifying that knowledge and embedding it in systems so that we can act on it. Without machines, humans alone cannot determine how a film should be adapted to better connect with audiences, in say, Brazil, Singapore, Russia, and Indonesia – all at the same time. Another challenge is that cultures and societies are always changing and evolving, so we must stay closely aligned with content regulators worldwide to update our system rules when they update their policies and laws.

Q: WHAT IS YOUR ADVICE FOR FEMALE FOUNDERS WHO ARE JUST STARTING OUT?

My advice for new female founders is to find your north star and follow it – day and night. While others can give you advice on stops to make and things to pick up along the way, only you can choose the path that’s best for you. There is no simple formula, no secret to success, or no “one right way” of doing anything. Pack the 3 C’s and you’ll do fine: Courage, Compass, and Conscience. Trust your instincts, open your heart, and sharpen your mind. Above all, take care of yourself and enjoy the journey!

Source: Databird Busines Journal

Let's DEW Lunch with Teresa Phillips

Mon, 07 Jun 2021 22:27:04 GMT

Culture Matters: Don't Get Lost in Translation

As the streaming wars go global and the arms race for eyeballs heats up, more and more content needs to be audience-ready in real time. Spherex's Teresa Phillips and nScreenMedia's Colin Dixon discuss the importance of cultural content adaptation in addition to localization for streamers to get content to market faster, grow bigger audiences and drive more revenue.

Featuring Teresa Phillips, CEO of Spherex, and Colin Dixon, Founder and Chief Analyst, nScreenMedia.

Amendments to the Electronic Media Law in Luxembourg

Fri, 04 Jun 2021 11:00:00 GMT

Since people increasingly access and depend upon content distributed through electronic communications networks, the Luxembourg legislators introduced the Act of Feb. 26 2021 that modifies the Law of 27 July 1991 on electronic media, otherwise known as the “Electronic Media Law.”

Scotland’s Small Screen Machine Steps Up to Bat with Big Streamers

Fri, 28 May 2021 11:05:00 GMT

With movie theaters closed during the pandemic, moviemakers and -goers alike have had to shift their cinematic expectations. This is no different in the isolated Scottish Highlands and Islands.

Countries Say “No” to ‘Family Guy’

Fri, 21 May 2021 11:00:00 GMT

Explore why some countries reject Family Guy and uncover the global debate on its controversial humor and cultural impact.

Spherex Partners with Maverick Entertainment

Wed, 19 May 2021 12:00:00 GMT

Maverick Entertainment Group to adapt select catalog titles for international distribution. The Spherex technology solution views.

Mass Appeal of K-Dramas and the “Hallyu Wave” Lockdown Effect

Fri, 14 May 2021 17:36:00 GMT

During 2020’s lockdown, we all found ways of coping. For a growing number of people, Korean TV shows and films offer an enchanting escape from pandemic reality. Netflix has reportedly seen a “370% increase in viewership of Korean content in 2020” over the previous year, and this order of growth is expected to continue as lockdown restrictions ease.

Spherex Partners with Vision Films

Wed, 12 May 2021 12:00:00 GMT

Data and technology company Spherex announced today that they have partnered with global distribution company Vision Films.

FCAT Demise Makes Releasing Content in India More Challenging

Fri, 07 May 2021 10:30:00 GMT

India is the fourth largest film market on the planet. Besides Hollywood releases, the country’s Bollywood industry churns out film and TV shows at a prodigious rate, adding $2.4B annually to the Indian GDP.

Accelerate Your Global Title Releases with Spherexratings™

Fri, 30 Apr 2021 10:17:00 GMT

To recap, according to IMDBPro, each year an average of 356,000 titles are released. Currently, there are about 31,000 movies, TV movies, TV series and TV miniseries in some stage of production around the world. Every one of those titles destined for general release anywhere on the planet must be viewed and rated by some regulatory body, agency or platform and be assigned a country-specific age-rating.

10 Innovators to Watch Discuss Rebuilding Their Companies Amid the Pandemic

Thu, 29 Apr 2021 12:00:00 GMT

“It was a collective creative effort to survive,” said Fabrice Sergent, referring to his company Bandsintown’s transformation amid the pandemic. “You have to go deep into the mission of the company, its values and its constituencies, to rebirth out of such a radical threat.”

10 Entertainment Tech Innovators to Watch Create Solutions on Global Scale

Wed, 28 Apr 2021 12:00:00 GMT

Phillips offers a cutting-edge solution for increasingly global entertainment biz, hyper-conscious about offending viewers’ cultural sensibilities.

Sri Lanka Implements Singapore Style Law to Control Fake News

Fri, 23 Apr 2021 06:16:00 GMT

In a recent announcement, Sri Lanka’s Information Minister, Keheliya Rambukwella, shared that the country is drafting a new law to check the spread of fake news on social media platforms. “The spread of false information on the internet poses a serious threat and is seen as being used to divide society, to spread hatred and to weaken democratic institutions.”

Indian Supreme Court Asks Big Streamers to Review Content

Fri, 16 Apr 2021 06:58:00 GMT

The Justice for Rights Foundation, an Indian non-government organization (NGO), filed a plea “seeking regulation on the functioning of” over-the-top (OTT) platforms such as Netflix, Amazon Prime and Disney+ Hotstar, among others before the Supreme Court.

Variety 10 Innovators to Watch Announced | Spherex

Wed, 14 Apr 2021 12:00:00 GMT

"10 Innovators to Watch” will highlight emerging talent and technologies in communications, entertainment and more on April 28.

Female Disruptors: Teresa Phillips of Spherex On The Three Things You Need To Shake Up Your Industry

Tue, 13 Apr 2021 12:00:00 GMT

“Carve out everything that ain’t the duck.” — An old cowboy I admired growing up carved wood in his spare time.

Worldwide Content Classification – What Happens When You Get It Wrong

Fri, 09 Apr 2021 15:22:00 GMT

Why Culture Matters for Global Content Distribution | Spherex

Wed, 07 Apr 2021 12:10:00 GMT

By 2025, eighteen years after Netflix became the first company to stream content into people’s homes, the expected global value of the Over-The-Top (OTT) market is expected to exceed $167B and reach two billion subscribers . These subscribers have access to hundreds of OTT and various flavors of Video-on-Demand (VOD) providers, serving dozens of countries and territories. While most enterprises focus on the sales value, they overlook what these two billion consumers are looking for – content.

According to IMDbPro, an average of 356,781 titles were released across the globe over the last five years. That’s a total of 1.8 million films, TV shows, shorts, and other video content in search of distribution deals and a lot of content consumers now must sort through to find something to watch. However, just because a film or TV show gets produced doesn’t mean international distribution is a sure thing. Deciding – to- distribute internationally may be the easiest part of exhibiting content worldwide.

International content distribution is very complex and creators must answer some basic questions and overcome several challenges before they have any hope of getting their content into international homes. These questions include:

Which countries on which continents?
How to manage cultural and religious concerns?
Who is the regulatory/censorship body or agency and what are their requirements?
Which languages?
Which platforms, e.g., Netflix, Amazon, Roku, Tubi, Hotstar, etc.?
How to manage platform distribution requirements (they all differ)?
What is the age group of the target audience?
Is the work necessary to get into specific international markets worth the trouble?

Each of these are important business decisions and navigating them requires some level of expertise or forethought. At the end of the day, however, the objective is to distribute content, attract viewers, and make money. Getting any one of these challenges wrong could greatly threaten a company’s ability to profit from entering new markets or undermine its brand.

The key to obtaining permission to exhibit content in another country is obtaining an appropriate age rating from the country’s governmental regulatory or censorship authority or from a commercial provider such as Spherex. This is analogous to obtaining an MPAA rating for content released in the U.S., e.g., G, PG, PG-13, or R, with the exception that these regulators can literally ban your content from their country if they find any part of it objectionable. Just because your film may have obtained a PG rating from the MPAA, it doesn’t mean the content is a shoo-in for acceptable age ratings in other countries. Getting the rating wrong can significantly impact box office. Here’s an example.

The popular 2012 film “Hunger Games” obtained an MPAA rating of PG-13. If content providers didn’t understand cultural sensitivities and wanted to market the film in Germany, they could simply assign an equivalency rating of FSK16, when the appropriate rating should be FSK12 based on cultural differences between the U.S. and Germany. This guess, in effect, would rate the content too high and preclude 2.6 million youth in Germany from seeing the film. Given the average cost of a movie ticket in Germany is $10, that’s a potential box office loss of $26M. On the other hand, too low a rating, as in the case of rating the film a “12” in Brazil, could put the content provider in legal jeopardy for exposing young children to culturally unacceptable content, such as violence.

Several of the top 20 film markets in the world have cultural sensitivities that can seriously impact content. Issues like drug addiction, rape, child abuse, sexual assault, and suicide are perceived differently in many cultures, and the context around these events must be taken into consideration. Suicide, for example, is treated differently in film in the US, UK, New Zealand, Denmark, and Japan. How it is portrayed matters. Is it a primary theme of the story and does it involve the main character? How is it depicted in the film? Is it detailed, realistic, can it be imitated? Without a full understanding of these cultural factors, content providers can make mistakes that directly impact markets and revenue.

Besides the hit on revenue, penalties for ignoring these risks include take-down notices, monetary sanctions, legal sanctions, bad press, negative brand and business impact, and even imprisonment. It pays to recognize cultural sensitivities and respect the regulatory process and the potential impact it has on content distribution and monetization. Getting it wrong can have serious consequences.

With over 356,000 new titles being released every year, the competition for content placement on the top VOD and OTT platforms will be fierce. Whether it’s one title or 100 titles that are targeted for international release, without exception, every single title requires an in-country rating and that requires an appropriate and professional cultural review to ensure the rating your content receives is appropriate for the country and for the audience you want to reach. With over 20M movies and television series listings in 200+ territories worldwide on over 50 platforms in 45 languages, Spherex can get your content to market efficiently, cost-effectively, and correctly.

Source: coruzant.com

Why Culture Matters to Globalization

Wed, 07 Apr 2021 12:05:00 GMT

Infusing AI into a Unique Cultural Playbook in Media and Entertainment with CEO Teresa Phillips...

Mouse House Charges More for Disney+

Fri, 02 Apr 2021 12:38:00 GMT

Everyone’s favorite rodent has been killing it in the streaming wars. Ole Mickey and friends are dominating the OTT game with recent title releases like “WandaVision” and “Falcon and The Winter Soldier.”

Worldwide Content Classification – How Hard Can It Be?

Fri, 26 Mar 2021 05:24:00 GMT

The explosion of direct streaming and OTT services worldwide on a wide range of platforms e.g., online, mobile, and Connected TV (CTV)means content creator’s products have global potential. That means films, TV shows, documentaries, and live events can reach new markets and generate additional revenue for everyone in the production chain.

Making Content Culturally Intelligent

Thu, 25 Mar 2021 21:42:29 GMT

Spherex Recently Debuted a New Solution

Santa Clara, California-based data and technology firm Spherex recently debuted a new solution for media and entertainment companies that tackles one of the industry’s biggest problems: how to adapt content to be relevant, compliant, rated, and culturally appropriate for every global market.

Backed by artificial intelligence and machine learning, Spherex’s solution assesses and recommends the proper course of action for each individual title in any library, covering new releases, original content, and catalogue.

Spherex CEO Teresa Phillips spoke with MESA about what went into developing the solution, how human curation will always be a must-have within any AI/ML solution, and how Spherex’s technology can change how content is distributed and monetised in today’s global streaming world.

MESA : This new Spherex solution was a decade in the making. A lot of work must have gone into this.

Phillips : Yes, it has. We’ve taken the expertise and knowledge we’ve developed over the years and converted it into a new set of Artificial Intelligence (AI) and Machine Learning (ML) products, which we have just announced. Our core competency has always been in metadata management, supply chain operations, and international distribution. With a specialisation in local age ratings, we’ve synthesised our knowledge in culture and content regulation and imbedded it into systems that essentially culture-fit content for international markets. We’ve taken the guessing out of age ratings worldwide. No one has anything like it anywhere, and we’re very proud of it.

MESA : All these new D2C and OTT services are doing their best to go worldwide. How important is it to get the cultural aspect of content correct?

Phillips : It’s more important than people realise. Culturalisation is a step beyond how our industry thinks about localisation. Localisation is the process of adapting to one’s local area with regards to language, technology, or legal requirements. On the other hand, culturalisation is adapting to one’s cultural environment – their beliefs, values, and customs. Localisation is quite a mature industry, whereas culturalisation is just emerging. Cultural sensitivities such as violence, LGTBQ or sexual scenes, or certain religious depictions vary widely from country to country.

To operate in a country, content providers and streaming platforms must be compliant with local regulations and statutes.

Compliance entails everything from editing prohibited content and assigning accurate age ratings to promoting appropriate artwork and trailers. With nearly 200 countries in the world, it’s almost impossible for any content creator to know what is or is not prohibited in certain countries. Cultural competence is key and that’s where Spherex is unmatched. We know how to handle all of these issues and can get them right the first time to reduce cost, mitigate risk, and accelerate time-to-market.

MESA : There’s a human element to the curation around this, along with the artificial intelligence and machine learning aspects. How do you balance the two?

Phillips : All AI engines have biases trained into them by their human developers. It’s unavoidable. To strip bias, many of the datasets used to train our system have been curated from our own work in human annotation of cultural events within a film or tv show. We use people power to train our system to interpret context of events, which is essential in our business. Local policies and consumer sentiment also evolve, which require continual updates to the knowledge objects within the system.

That said, getting machines to make recommendations that make sense to machines isn’t solving the right problem. We’re reminded constantly in our work that machines don’t subscribe to VOD and OTT services, people do. People tend not to make the same generalisations as machines because, well, they aren’t machines. Looking at different cues within a title, and there are many, has allowed us to create a set of products that help prepare films and tv shows for international distribution, while also creating the capacity to make recommendations that make sense to people when they’re looking for something to watch.

MESA : The numbers here are a little daunting: Spherex manages more than 20 million movies and TV series titles in 200 territories across 50 platforms and in 45 languages. I imagine you’re not done.

Phillips : With an average of 356,000 titles being released each year worldwide, we’ll never be done. Another part of our business monitors our clients’ storefront titles, so that’s 20 million titles under management. When you propagate that out across languages, territories, versions and formats, and business models like TVOD and SVOD, now you’re talking billions of data points that describe in great detail highly valuable content.

We use those data to provide metadata as a service and to also train our AI system to generate culturalised listings and recommendations with high quality and clarity.

MESA : What kind of feedback have you gotten thus far?

Phillips : We’re just now beginning outreach to our existing customers, which span the spectrum of original content providers, studios, tv networks, distributors, and streaming platforms. For the most part, we are tightly integrated with our customers’ content supply chains and help them do everything from making informed decisions on content licensing and compliance edits; plus provide age ratings, localised metadata, and storefront monitoring.

While our customers don’t always understand “how the sausage gets made,” they know we deliver on our commitments and produce accurate, reliable results. Thus far, they’ve been very interested in learning how our new offerings can help them accelerate international expansion.

MESA : What’s next for the platform, is there anything you’d like to improve on or add?

Phillips : Spherex is always looking to improve its products. We never stop doing that. Currently, we’re looking for partners with large content catalogues to further train our system and who may benefit from our novel approach to content recommendations. We’ve used 1.9M titles so far and those data have helped tremendously, but there is never enough. Our approach of using cues from many different aspects of a title that others overlook because it’s hard to do is unique. No one is extracting signals from the content itself in an automated, nonlinear way.

No one is examining titles as closely as we are for cultural or thematic cues. But we’re still at the early stages of applying AI to generate culturalised listings and to improve content discovery.

As I mentioned earlier, with an average 356,000 new titles being released every year, people new to international distribution don’t know what they don’t know. They’re just coming to realise that the regulatory environment isn’t just about content classification, but extends to local quotas, taxation, and other constraints. It’s a slippery slope and getting one thing very wrong can impact not only revenue, but brand reputation. Once you get in the crosshairs of a country’s regulator, it’s a difficult climb back. Some of the big players are beginning to realise this.

Recognising cultural differences doesn’t mean creating multiple versions of a film or tv show. Much of the time there are simple cuts of scenes, bleeping of language and blurring of images. The solution can be how you market the film, choosing the right artwork and creating an appropriate trailer. Regulators and families need good information about a title. With our suite of tools and years of expertise, Spherex will help content creators and streaming platforms deliver appropriate versions of their content for every market they choose to enter.

Source: www.mesaonline.org

Foreign Censors Blocking Your Content? Culturalize It!

Wed, 24 Mar 2021 21:54:19 GMT

There are 246 territories among 195 countries, and each has rules and regulations about what is acceptable in a movie or show. If you do not want your content to fall afoul of censors, you need to culturalize it!

In this interview with the Founder and CEO of Spherex Teresa Phillips, she explains why culturalization matters and the Spherex approach to getting it done.

Source: nscreenmedia.com

The U.K.’s Creative Industry Faces “A Point of Jeopardy” as Streaming Gains Ground

Fri, 19 Mar 2021 06:24:00 GMT

Spherex unveils new technology solution

Fri, 12 Mar 2021 12:03:00 GMT

The post Spherex unveils new technology solution appeared first on Spherex .

Global data and technology company Spherex

Fri, 12 Mar 2021 12:01:00 GMT

Global data and technology company Spherex unveiled a technology solution that enables media and entertainment companies.

Insider’s Top Advertising and Media Stories for March 12

Fri, 12 Mar 2021 12:00:00 GMT

How a tech startup is helping streaming TV services comply with local laws and avoid cultural missteps as they expand internationally.

AppleTV+ Gives Tom Holland’s ‘Cherry’ R-Rating

Fri, 12 Mar 2021 11:26:00 GMT

Spherex Introduces First-of-Its-Kind Tech to Culturalize TV and Films for Global Markets

Thu, 11 Mar 2021 12:00:00 GMT

Global data and technology company Spherex unveiled their new technology solution today that enables media and entertainment companies.

Spherex Introduces First-of-Its-Kind Tech to Culturalize TV and Films for Global Markets

Thu, 11 Mar 2021 11:00:00 GMT

The post Spherex Introduces First-of-Its-Kind Tech to Culturalize TV and Films for Global Markets appeared first on Spherex .

Spherex Introduces First-of-Its-Kind Tech to Culturalize TV and Films for Global Markets

Thu, 11 Mar 2021 10:00:00 GMT

Global data and technology company Spherex unveiled their new technology solution that enables media and entertainment companies.

OTT.X Wednesday Webinar

Wed, 10 Mar 2021 20:42:33 GMT

International Expansion - Cultural Conflicts

The rapid expansion of content in non-US markets has expedited the need for content creators, distributors and platforms to understand local market sensibilities, cultural norms, regulatory issues and political institutions. Join Spherex’s Davinder Luthra as he examines these issues and their potential impact on your content in the global marketplace.

Original event date: 10:00am - 11:00AM

New Rules for Regulation of Digital Platforms in India

Fri, 05 Mar 2021 09:11:00 GMT

India’s government has established new rules for digital news organizations, social media intermediaries and OTT platforms under the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021, released by the Electronics & Information Technology Ministry and the Information & Broadcasting Ministry on Feb. 25 2021.

Framed under the Information Technology Act or the IT Act, 2000, the guidelines for digital media and OTT will become active on the date of publication in the official Gazette of India . The rules consist of three main parts, where Part I defines the terms and Parts II and III delineates compliance requirements. The regulation of social media intermediaries like WhatsApp, Telegram, Facebook, Instagram etc., is detailed in Part II and will be overseen by the Ministry of Electronics and Information Technology (MeitY). Regulations for digital news media and OTT platforms like Netflix, Hotstar, Amazon Prime etc., are contained in Part III, which will be managed by the Ministry of Information & Broadcasting.

Under the IT Act, 2000, OTT platforms were not previously regulated. The new rules however, framed under this Act, seek to exercise the power to regulate them, which can constitutionally only be done via a parliamentary enactment.

Code of Ethics
A Code of Ethics for OTT platforms is outlined in the Appendix of the Rules, under which is present a three tier Grievance Redressal mechanism. Level I – Self-regulation by the applicable entity, Level II – Self-regulation by the self-regulating bodies of the applicable entities and Level III – Oversight mechanism by the Central Government. There does not appear to be any legislative backing or a parliamentary law behind the Oversight Mechanism, which also allows the Ministry emergency powers to block content.

Grievance Redressal and Self-Regulating Mechanism
Level I states that OTT platforms must draw up a grievance redressal mechanism which will be headed by a Grievance Officer who must be an Indian citizen. A 15-day time period has been allocated for the Grievance Officer to address the complaint and revert, beyond which it will be escalated to Level II. In case the complainant is not satisfied with the publisher’s decision, they also have the choice to appeal to the self-regulating body in Level II within 15 days of receiving such a decision.

Level II contains the independent self-regulating body, comprising of publishers or their associations and is expected to be headed by a retired judge of either the Supreme Court, High Court or any eminent personality from the fields of media, broadcasting, entertainment or other relevant fields and have a maximum of six other members from these fields. This body must register itself with the Ministry of Information & Broadcasting and has the power to provide warnings, censure, admonish or reprimand the publisher, require an apology from the publisher, reclassify ratings, make changes to the content descriptors, synopsis, access control measures of the content or even censor the content. It will then pass on its decision to the publisher in the form of a guidance or advisory and inform the complainant of its decision within 15 days.

In Level III, if the complainant is not satisfied by the self-regulating body’s decision, they can appeal to the Oversight Mechanism of the Central Government within 15 days of receiving the decision. Non-compliance by the publisher to the self-regulating body’s directions can also result in the complaint being forwarded to Level III. This level comprises an Inter-Departmental Committee consisting of representatives from the Ministry of Information & Broadcasting, Ministry of Women & Child Development, Ministry of Law & Justice, Ministry of Home Affairs, Ministry of Electronics & Information Technology, Ministry of External Affairs, Ministry of Defense and such other Ministries and Organizations, including domain experts. The Chairman of the Committee will be a Joint Secretary from the Ministry of Information & Broadcasting. The primary objective of this Committee will be to address complaints regarding decisions taken at Levels I and II, and it is empowered to delete or modify content for preventing incitement to the commission of a cognizable offence relating to public order.

Rules for providers of OTT content
OTT content publishers are forbidden from showing any content that is prohibited under Indian law. There is also mention of exercising caution when showing content that can be detrimental to the sovereignty and integrity of India or has the potential to cause friction with its allies. Additionally, OTT providers are asked to remain sensitive when portraying the culture, beliefs, practices or views of any racial or religious group in the country. Also required is self-classification of the OTT content into five new age-based categories – U (Universal), U/A 7+, U/A 13+, U/A 16+, and A (Adult). Access control mechanisms like parental locks for content classified U/A 13+ or higher and reliable age verification mechanisms for content classified as “A” must be implemented by the OTT providers.

A major concern for OTT providers is the Oversight Committee’s power to block access to content that it deems unfit for the public which is seen as the government’s overreach to suppress creativity. However, the secretary of the Ministry of Information & Broadcasting, Amit Khare, moved to quash these concerns – “There will be no authoritarian process. The regulation system is accountable to the courts. Any misuse of power can be checked.”

Khare said that these rules represent a paradigm shift in policy. “As of now, any movie that released to theaters needs to be approved by the Classification Board, but for these OTT platforms, no such requirement is there. The government has left the decision up to them. They can decide what labels to use. The idea is that the viewer should be aware of what they will be watching.”

He stressed that government would in no way alter the content available. “Films only have three categories, while we have provided five for OTT platforms. The government is willing to consider extending a similar classification for movies released in theatres as well.” Khare also highlighted how OTT platforms have democratized entertainment. “These rules were debated for over a year-and-a-half. We have also taken a conscious decision to not set up a web portal where grievances can be filed as we wanted to make sure people didn’t think the government was needlessly interfering,” he said. “The people can directly complain to the platform and if the complaint is not resolved by their standards, it can be escalated to the ministry.”

Australia’s New Media Bill Could Give Big Tech the Boot

Wed, 24 Feb 2021 05:41:00 GMT

Big Tech is on watch with Australia’s new media bill . Introduced to parliament in December 2020, the new bill “will pass into law fairly soon” and require digital platforms to pay for news. This means that companies like Google and Facebook will have “to pay local media outlets and publishers to link their content,” according to CNBC.

Paul Fletcher, Australian Minister of Communications, Urban Infrastructure, Cities, and the Arts, spoke with CNBC’s “Street Signs Asia” about the new law, saying the government expects large companies like Google and Facebook to comply with the bill. “The democratically elected government of Australia expects that businesses that are doing business in Australia will comply with our laws.”

How Much Does Each Company Pay?
According to the bill itself, each digital platform must make an offer to each registered news business corporation (RNBC): “the agreement specifies that the responsible digital platform corporation will ensure the payment of remuneration to the covered RNBC (or a related body corporate of the covered RNBC) for the making available of the registered news business’ covered news content by one or more of the covered services, in respect of the covered period.” Any offer made by a company then becomes a binding agreement.

Essentially, the amount paid is determined by an offer made by the company in question (Google, Facebook, etc.) to an RNBC, and it is then either accepted or declined by the RNBC.

What Kind of News Are They Paying For?
The bill defines all covered media content as “core news content” or “content that reports, investigates or explains current issues or events of interest to Australians.” Essentially any news that a user could get through a basic Google search or scroll through their Facebook feed would be regulated by this law. This has executives at Google and Facebook concerned.

What Does this Mean Going Forward?
According to CNBC, Google could pull its search engine from Australia entirely, despite its 94.5% market share. This move could allow other companies such as Bing or DuckDuckGo, to expand their reach and user base. Facebook (and FB-owned companies) have also come out saying they could prevent Australians from sharing news on their social networks.

Google CEO Sundar Pichai met with Fletcher as well the Australian Prime Minister, Scott Morrison, and Treasurer, Josh Frydenberg, to discuss the bill. During the meeting, it was made clear that Google would have to comply with the terms if they wanted to maintain a presence in Australia.

“We have seen from time to time over the last few years, big tech companies — typically U.S. tech companies — make threats about leaving Australia if they weren’t happy with our regulatory settings,” Fletcher said.

According to The Guardian , Tim Berns-Lee, who invented the iconic world wide web (WWW) in 1989, said this new media bill “risks breaching a fundamental principle of the web by requiring payment for linking between certain content online.”

Berns-Lee went on to say that blocking a user’s ability to share links with other users was a core value of the web and requiring companies to pay for that privilege was considered a world-first provision.

“If this precedent were followed elsewhere it could make the web unworkable around the world,” he said. “I therefore respectfully urge the committee to remove this mechanism from the code.”

Google and Facebook are the primary targets of this bill, since they make up 80% of the advertising spend in Australia. Facebook appealed to the Australian Senate committee, arguing that the new regime created by the bill was “complex, unpredictable and unworkable for our business.” They even suggested that such a bill runs “contrary to the Australia-US free trade agreement,” echoing a similar concern from the US government.

Google also believes the code is unworkable, and “would break the way search engines and the internet work for everyone.” It even proposed that their search engine be exempt from Australia’s new code.

According to Financial Review , Microsoft’s president, Brad Smith, thinks the media bill helps “level the playing field” between Big Tech and news media. He said he would make sure Microsoft complied with the order and was willing to sacrifice profit if the US government decided to adopt a similar bill.

The Falcon and the Winter Soldier Rated 16+

Fri, 12 Feb 2021 15:14:00 GMT

The Mouse Empire is on roll, churning out quality content for its lucrative Disney+ which currently has 95 million subscribers. Mickey has developed a devout following that consumes whatever the Disney overlords produce. So, to further its ambition to win the streaming wars, Mickey and friends are giving the fans what they want-more violence.

With the highly successful R-rated “Deadpool” franchise and “Logan,” it is no surprise Marvel is in pursuit of another edgy series upon which fans can binge, feasting on bashing bravados against CGI backdrops. This darker tone from Marvel is on par with Netflix’s “Daredevil,” “Jessica Jones” and “Luke Cage” series’ which have adult themes that leave the audience craving more. It was recently revealed the film, “The Falcon and the Winter Soldier” has earned a TV rating of 16+ which is a bold new direction for the MCU.

Math Erao writes that the Dutch film and television rating board, Kijkwijzer, rated the “The Falcon and the Winter Soldier” 16+ citing “violence” and “coarse language” as rationale for the mature rating. Earo implies this tone resembles the Marvel shows released on Netflix. The intense fight sequences and adult themes presented in “Daredevil,” “Jessica Jones” and “Luke Cage” can be expected from the upcoming Disney+ show. Furthermore, Earo states the 16+ rating is like a soft TV-MA which makes this the “most mature rated Marvel Studios property.”

According to Erao, all other properties carry a 12+ rating. When the 2003 film “Daredevil” was released, it received a PG-13 rating for its “heavy use of violence” which remains true to the original comics. Fast forward to the now Disney-owned Marvel and this brutality and bloodshed is highly frowned upon. Erao suggests that “fans have yet to see a movie display a similar amount of violence (to “Daredevil).” Interestingly, the recent Disney+ “Wanda Vision” series initially received a TV-PG rating.

However, by the fourth episode, the tone shifted toward a heavier narrative ultimately giving it a mild TV-14 rating. All the films currently in the MCU are rated PG-13. Naturally, there are going to be some elements not suitable for younglings. Excitingly, this tidbit of news proves “The Falcon and the Winter Soldier” will increase MCU’s ferocity cred.

It is also apparent that the ‘Merc with the mouth’ Deadpool is getting a hard R rating for its third installment. This seems to confirm that Disney is allowing its “non-family-friendly” catalog of titles to emerge from darkness into the light of day. While the Mouse Empire does keep a tight lid on what’s going on behind the scenes, rumor has it that there might soon be an adult section of Disney+. Similarly, long running shows like “It’s Always Sunny in Philadelphia,” are now under the Mouse umbrella, so it seems that Mickey is fine with streaming mature titles. Looks like Disney is ready to tickle that adult demographic with mechanical wings and a fake robot arm. Watch “The Falcon and the Winter Soldier” fly into your living room when it premieres March 19th on Disney+.

Controversy around Amazon’s Indian Series ‘Tandav’

Fri, 05 Feb 2021 12:17:00 GMT

The recent release of Amazon Prime Video’s “Tandav” created enormous controversy in India. Many viewers accused the show of offending religious sentiments. “Tandav” is a political drama with several popular Indian actors including Saif Ali Khan who also starred in the contentious “Sacred Games” and Dimple Kapadia who was seen in Christopher Nolan’s “Tenet.” The actors ran into trouble when, in six different states, multiple police cases were filed (FIRs) against the program’s creators and cast.

The fictional series’ focuses on clashes between a political leader and a student activist. In the two scenes causing the most backlash, one actor portrays the Hindu Lord Shiva using objectionable language; in the other, an actor portrays the Prime Minister insulting a leader of a less privileged class, which is viewed as discriminatory.

The rising number of complaints against the show prompted India’s Ministry of Information and Broadcasting to summon Amazon Prime Video Executives for questioning and an explanation of the controversial content in the series. Director Ali Abbas Zafar released a statement apologizing for any unintentional disrespect caused by the show. Following a second round of talks with the Ministry, Zafar released a statement on Twitter confirming that the disputed scenes will be dropped from the series, effectively resulting in censorship.

Despite the public mea culpas, criticism mounted forcing creators and cast to ask India’s Supreme Court for interim protection from arrest, which the apex court denied. In its ruling, the court emphasized that “freedom of speech is not absolute” and “You cannot play the role of character that hurts the sentiments of a community.” Given the intensity of grievances against “Tandav” and other streaming platform content (“Mirzapur”), the Information and Broadcasting Ministry announced that they would soon provide official guidelines to regulate content available on these services.

There have been numerous attempts of censorship in India; film and/or series content is flagged for containing material deemed objectionable. Netflix faced a boycott when in its series “A Suitable Boy,” one of the episodes depicted a Muslim man kissing a Hindu woman allegedly within the premises of a temple. The scene hurt the sentiments of people of a particular religion and resulted in filing of police cases against the Vice President of Content and Director of Public Policies at Netflix India.

Ultimately, in a country as vast and varied as India, some content is bound to be offensive to certain parts of the population. Self-regulation, as practiced internationally is surely the way forward to protect the freedom of expression guaranteed by the India’s Constitution. Following this path will not only enhance the credibility of the media industry, but also inspire confidence in the responsibility of the content creators while protecting their independence and lessening the pressure on the judiciary.

‘Deadpool 3’ Gets R-Rating | Spherex

Fri, 29 Jan 2021 14:56:00 GMT

Who knew back in 2016 that “Deadpool” would become the highest grossing R-rated superhero movie of all time? It’s no surprise that its sequel “Deadpool 2” would garner even more success. After everyone’s favorite rodent swallowed the Fox Corporation back in 2019, they acquired the rights to the Deadpool franchise. Now fans can rejoice that “Merc With a Mouth” is back for a third installment-thanks to Disney. The Mouse Empire revealed its plans to release “Deadpool 3” with an R rating; the first R-Rated film set in the Marvel Cinematic Universe.

Tim Adams’ article shares that Marvel President Kevin Feige is currently working on “Deadpool 3” and Ryan Reynolds is closely overseeing production. According to Adams, the script is written by Wendy Molyneux and Lizzie Molyneux-Loeglin. However, it is not yet clear who will direct. Feige notes that filming won’t begin till next year because “Ryan is a very busy, very successful actor” and describes Reynolds as “a force of nature.”

The character Deadpool originally debuted in February 1991’s “The New Mutants” Issue No. 98 created by writer Fabian Nicieza and writer and artist Rob Liefeld. The first live action appearance of Reynold’s Deadpool was featured in 2009’s “X-Men Origins: Wolverine.” This origin film is commonly referred to among fans as “the movie we don’t speak of” due to its laughable execution but at least it gave us Ryan Reynolds. Fast forward to 2016’s “Deadpool” which began as a fan made CGI action sequence voiced by Reynolds. The fan video received so much attention that Fox greenlit the full production, reworking the sequence frame by frame and including it in the feature length film. As with the first film, “Deadpool 2” was released with an R-rating. Interestingly, Disney rereleased 2018’s “Deadpool 2” in theaters as “Once Upon a Deadpool” with a PG-13 rating. This act left audiences wondering if the next Deadpool film would follow a similar path of censorship.

Adams writes “It remains to be seen how the family-friendly studio will choose to handle the decidedly R-rated Deadpool,” whose first two releases grossed over $1.5 billion worldwide. Ideally, Disney should give the fans what they want and let Feige and Reynolds have their way with the franchise. Mickey and Co. should move with the times, do what everyone else is doing and release “Deadpool 3” exclusively on Disney+. It would be the first R-Rated title to premiere on Disney+ and the first R-Rated Deadpool movie to officially debut in the MCU. Would Walt Disney approve of Mickey Mouse endorsing The Merc with the Mouth?

Standard Ratings versus User Ratings: What’s the Difference?

Thu, 21 Jan 2021 11:15:00 GMT

‘The Lady of Heaven’ Banned in Pakistan, Raises Ire in Other Countries

Fri, 15 Jan 2021 11:11:00 GMT

The world is entering a new era of international collaboration in media and entertainment. How do stakeholders and participants blend and interpret their respective cultures and points of view? What results–a piece of work that celebrates the beliefs and values of local people, or will misunderstanding and controversy flourish? The film, “The Lady of Heaven,” is one such multicultural endeavor. It was produced by the U.K.’s Enlightened Kingdom, directed by Eli King, an Australian born actor of Egyptian descent, and written by Sheikh Yasser Al-Habib, a Kuwaiti Shia Muslim cleric, and the head of the London-based Khoddam Al-Mahdi Organization. After watching the trailer, the film appears to be a vivid, multilayered story with significant religious overtones. “The Lady of Heaven” was due to be released Dec. 30 but has not. While no official reason has been given, dissent about the content’s veracity has already begun.

On Jan. 5, the Pakistan Telecommunications Authority (PTA) banned the film, deeming it “sacrilegious.” It ordered social media platforms to remove trailers and promotional material. In Egypt, concerned citizens, religious leaders, and scholars urged that screenings be halted. They called for fatwas (formal legal interpretation of Islamic law) forbidding the film’s viewing and demanded the U.K. cease worldwide distribution. The Council of Jabal Amel Scholars in Lebanon condemned the production, saying the material encourages hate and discord. A few years ago, while it was still in pre-production, Iran clerics blacklisted the film.

The film’s website synopsis reads, “A heart-wrenching journey of Lady Fatima, the daughter of Prophet Muhammad. Separated by 1400 years, an Iraqi child, in the midst of a war-torn country, learns the importance and power of patience. After losing his mother, the child finds himself in a new home, where a loving grandmother shares with him the historical story of The Lady and how her suffering as the first victim of terrorism spun out of control into the 21st century.” A disclaimer adds: “In accordance with Islamic tradition, during the making of this film no individual represented a Holy Personality. The performances of the Holy Personalities were achieved through a unique synthesis of actors, in-camera effects, lighting and visual effects.”

However, suspicions exist about Al-Habib’s intent with his film. He has been accused of creating conflict among Muslims, particularly the Shia and Sunni. Back in September 2010, he angered Sunni Muslims by calling Aisha “an enemy of God,” after which Kuwait revoked his citizenship.
Al-Habib maintains his message is one of love and peace. He states , “It is a call to a better mindset dealing with challenges. I am very proud of this very high-quality cinematic production, as well as the entire team whose highly skilled backgrounds and ideas have contributed to its making. Indeed, the love for this great lady and the belief in her noble message released them.”

For critics, in addition to the portrayal of Fatima, one of the film’s most problematic issues is that it features The Prophet’s voice as a narrator. In Islam, depictions of Muhammad, outside of accepted oral and written descriptions, are factious. While the Quran does not specifically prohibit images and other representations, some ancillary teachings do. “ Al-Azhar , Sunni Islam’s highest religious authority, issued a press statement Dec. 27 through its adviser Mohammed Mehanna, confirming the steadfastness of Al-Azhar’s position regarding the prohibition of the embodiment of the Prophet Muhammad, all prophets and the family members of the prophet (wives, daughters and sons). The statement asserted that the release of this film consecrates the continued disrespect by the West and some Shiite extremists for the sanctities and beliefs of others.”

Others suggest that the film is an opportunity to inform people on differences within doctrines. Dr. Hamid Waqar states , “this film can be considered a source of motivation for mainstream Shia scholars and filmmakers. The possibility of making a Hollywood quality movie with religious content. Hence, if we approach this movie in the right way, we can use it to create growth within the community.”

Switzerland Reveals New Youth Protections for Film and Video Games

Sat, 26 Dec 2020 01:00:00 GMT

Switzerland’s Federal Council recently submitted a draft of the Youth Protection Act (YPA), which will make age labels and controls “uniformly stipulated throughout Switzerland and made mandatory for films and video games.”

According to Media Landscapes , existing legislation provides “guaranteed freedom of press and freedom of trade” as stipulated by Article 16 of the Swiss Federal Constitution. While the Federal Council finds the current broadcasting corporation “most suitable for the future” it did find the need for more stringent demands regarding the requests and public service offerings for Swiss youth. Under the YPA, all media, regardless of how it is presented to the public, will be regulated while keeping the broadcasting corporations on a similar budget to previous legislations.

What Does It Do?

According to the International Law Office , the YPA “aims to enhance the protection of minors against inappropriate media content that could endanger their physical, mental, psychological, moral or social development.” The new law also takes a firm stance against the use of data, especially the data of youth users. While data can be collected per on-demand and platform agreements, under the YPA that data cannot be used for commercial purposes—the use of a minor’s data for anything besides age verification will earn a Sfr40,000 fine, roughly $45,177.53 USD.

When Does It Go into Effect?

Swiss Parliament is set to discuss implementing the YPA in spring 2021. While nothing is certain, Parliament is already keeping a closer eye on service providers and how they handle youth data.

Younger generations are turning away from more “classic or traditional media”; Media Landscapes reported only 20% of people under the age of 24 watch Swiss television broadcasts, while 70% of those over 60 still do. This is because youth are less inclined to watch broadcast content and would rather stream something from a popular provider or download a video game. Even with dwindling broadcast numbers, the Federal Council has chosen to keep the current structure with the addition of the YPA.

Now the Longest Running Comedy Sitcom: ‘It’s Always Sunny in Philadelphia’

Fri, 18 Dec 2020 10:22:00 GMT

More hours are being spent on the couch than on the road now with everyone in quarantine and working from home. We have seemingly replaced commuting in cars to bingeing TV. Streaming platforms are taking advantage of this new reality by churning out as much original content as they can. Older, forgotten shows are getting rebooted or renewed for additional episodes exclusively for their respective platforms. The show “Friends” has a reunion special confirmed to be exclusive to HBOMAX in 2021. Similarly, Disney+ already released new original episodes of the once canceled animated series “Star Wars: The Clone Wars.” If these networks continue this trend, who will have the longest running series? Currently, the longest running animated television series goes to “The Simpsons” (Fox) with 32 seasons followed by “South Park” (Viacom/HBO) with 23 seasons. On the other hand, “Law and Order: SVU” (NBC) has 22 Seasons making it the longest running scripted drama series. As for scripted comedy the record now belongs to “It’s Always Sunny in Philadelphia” which, according to Brandon T. Harden’s article , just got renewed for four more seasons thus making it the longest running live action scripted comedy series on television with 18 seasons.

The 15th season of “It’s Always Sunny in Philadelphia” will premiere on FXX on an unspecified date in 2021 and the following day on FX on Hulu. Interestingly, FXX and Hulu fall under the Fox/Disney umbrella. The show follows a neurotic group of friends who run a bar in South Philadelphia and get into all sorts of greasy shenanigans-funded by the father of two of the characters. Some might complain that 18 seasons of this obnoxious comedy is too many. But you can’t argue with success as evidenced by the thriving careers of the cast. Rob McElhenney now has his own show “Mythic Quest: Raven’s Banquet” which is exclusive to AppleTV. Charlie Day has had major screen roles and did voice acting work with Disney/Pixar. Kaitlin Olson has also had success with Disney and Pixar in her role as Destiny in “Finding Dory.” Glenn Howerton starred in his own show “A.P. Bio” which premiered in September on NBC’s Peacock streaming platform. And finally, the legendary Danny Devito’s career continues to flourish at 76.

According to Harden, “The Adventures of Ozzie and Harriet,” previously held the longest running series record with 14 seasons (1952 through 1966). It’s ironic that The Mouse Empire now owns “It’s Always Sunny in Philadelphia” (thanks to its recent Fox acquisition) and that it is has lasted this long on television. Pop on any episode and it’s very likely you will see scenes of drunken debauchery like a fully nude and sweaty Danny Devito hastily emerging from a leather couch during a holiday work party. Or it’s the episode where the gang solves the mystery of who pooped the bed; naturally, it was Danny Devito’s character Frank. The writers and actors have no comedic limits which might explain its rabidly loyal fan base who continually watch reruns and post “Always Sunny” memes on social media.

It would be wise for Disney+ to incorporate the “Always Sunny” gang into its rumored R-Rated section if they want to expand their adult viewership. The cast is clearly getting older, but they still plan on continuing the show for as long as possible. Creator/co-star Rob McElhenney took to Twitter claiming that “Sunny was originally pitched as a 36-season arc. So happy to be halfway done.” Tim Molloy in his article notes that McElhenney didn’t appreciate how characters in other shows “always get better looking in later seasons, as storylines get syrupier and their stars get richer.” For its seventh season, McElhenney decided sudden weight gain or “cultivating mass” would be a “perfect way to mock other sitcoms and capsize the relentless vanity of his character, Mac.” A clever alternative to the current methods implemented in wardrobe and makeup popularized in productions today. Danny Devito’s character Frank summarized this moment of uncertainty best by telling fans “Well, I don’t know how many years on this Earth I got left. I’m gonna get real weird with it.” Apparently, he’s spending it filming more “Always Sunny,” and it has already been really weird. Well done gang.

The Pot of Gold at the End of the Pandemic

Thu, 17 Dec 2020 12:00:00 GMT

“This year can only be described as surreal. One bright spot for me was the clear reminder of the power our industry holds to bring happiness to an entire nation. Ratings at Food Network, HGTV and TLC broke records as fans came to us to learn new cooking skills, how to furnish a home office, or just enjoy a fun escape together as a family.

Australia Bans Hentai

Fri, 04 Dec 2020 02:31:00 GMT

Australia’s Border Force (ABF) has blocked the popular animated form of Japanese pornography, hentai, from entering the country. Besides hentai, other banned items include sex toys, Japanese porn videos, and sexually suggestive figurines—basically, any product marked with a “+18” symbol. This decision followed an increased number of images depicting rape, incest, pedophilia, and sexual abuse.

This is not the first time Australia has expressed concerns with anime and manga: in February 2020 , Australian politicians advised its government to analyze classification laws after noticing that Japanese videos and comic books portraying sexual images of children were being sold in the country.

According to The Oxford Dictionary “hentai” is defined as “A subgenre of the Japanese genres of manga and anime, characterized by overtly sexualized characters and sexually explicit images and plots.” In Japanese it means “transformation” or “metamorphosis.” Hentai is available through book (comic) and televised media (anime). Anime is a televised cartoon in the Japanese style, like, “Dragon Ball Z: Dead Zone (1989)” or “Sailor Moon Crystal (2014),” which are considered suitable for both children and adults.

Hentai, on the other hand, is a type of anime that includes provocative material with very explicit images and plots. It is strictly prohibited for children and is aimed at adults only. Compared to western cartoons Japan has developed a distinctive visual, dramatic, and artistic style. The first Japanese cartoons were produced in the early 20th century, but anime became even more popular after World War II.

The popular adult store, J-List, confirmed the ban in an interview with Vice : “DHL Japan called us last week, informing us that Australian customs have started rejecting packages containing any adult product. They then advised us to stop sending adult products to the country. Following that, current Australian orders with adult items in them were returned to us this week.” According to J-List, they have been advised to stop shipments to Australia altogether.

The ABF website also warns travelers from bringing hentai and other types of pornography into the country, including “offensive fetishes, bestiality, child pornography, sexual violence.” Anyone found in violation of this new ban can face a heavy fine, loss of property, or up to 10 years in prison, depending on the strength of the offense.

Australia is not the first country to take a firm stance against pornography; France banned its citizens from accessing popular hentai websites in November 2020.

Disney: A Journey of Inclusion

Fri, 27 Nov 2020 09:56:00 GMT

When people think of Disney, they reminisce about movies that defined their childhood, flying like Peter Pan, swimming through coral reefs like Ariel, or even grabbing a feather and “flying” like Dumbo. Disney brings magic to life on and off screen, and parents are more than happy to buy a costume or toy, so their children further enjoy a favorite Disney story.

But even fiction contains some fact, and several earlier Disney films have not aged well. These movies recently sparked public ridicule and scrutiny, and Disney is taking steps to change handling representation in its franchise. Some of Disney’s older films, such as “Peter Pan” (1953) and “Dumbo” (1941), now include a 12-second disclaimer at the beginning before users can stream the films on Disney+. Viewers cannot skip this disclaimer .

“This program includes negative deceptions and/or mistreatment of people or cultures. These stereotypes were wrong then and are wrong now. Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together. Disney is committed to creating stories with inspirational and aspirational themes that reflect the rich diversity of the human experience around the globe.”

Users are also invited to log on to Disney’s “ Stories Matter ” website, where they are greeted by pictures and videos of different people—all of whom deserve a happily ever after!

“Because happily ever after doesn’t just happen. It takes effort. Effort we are making.” The site claims.

The site provides examples of controversy in its films, paired with screenshots from the respective movies. Disney asserts it wants to “embrace each other’s stories…embrace possibility. And that’s why [the company is] committed to doing the best [it] can do to represent communities authentically.”

While some are pleased Disney has taken this step, others remain skeptical, citing the Warner Bros’ disclaimer it has been using for years.

Dumbo (1941)

Everyone loves the story of the small elephant who uses his large ears to fly around the circus tent, with the help of his mouse friend and a magic feather. But during the song “When I See an Elephant Fly,” Dumbo meets a group of black crows, led by Jim Crow—an obvious link to the United States’ Jim Crow laws of the 19 ^th and 20 ^th century. In another song, “The Song of the Roustabouts,” Black circus laborers sing, “when we get our pay, we throw our money away.” The song lyrics are unsettling because of their spotlight on issue of wage theft, and the Black workers are also portrayed without faces.

According to The Fresno Bee , Disney+’s warning for films like “Dumbo” is overdue, if awkward. The film was the shortest made Disney film of its time, and was primarily made to recoup the financial losses of its near predecessors “Fantasia” and “Pinnochio.” The National Film Registry chose to preserve the film in 2017, claiming it is “culturally, historically, and aesthetically significant.” Even so, the more controversial animal characters, such as Jim Crow and Timothy Q. Mouse, were not included in the 2019 remake.

Peter Pan (1953)

We all remember dreaming of Neverland, the place where children never have to grow up. But just because the film’s protagonist has a permanent childlike innocence does not mean moviemakers and viewers must adopt one. In the film, Native people are painted in a very negative and stereotyped way. Peter and the Lost Boys bring the Darling children to visit the Neverland tribe “that reflects neither the diversity of Native peoples nor their authentic cultural traditions.” They don headdresses, dance around a fire, and make noises with their mouths and hands that do nothing to endear their characters to the audience.

According to the Evening Standard , Shannon O’Loughlin, the executive director of the Association on American Indian Affairs , asserted Disney’s portrayal of Native Americans “is indicative of how invisible Native Americans are and how no one really understands who Native Americans are, except for caricatures of them. … It is hard for many Americans, let alone people around the world, to understand there are 574 federally [recognized] tribes in the United States. … Those histories are not well understood and are not well portrayed.”

Movies like “Peter Pan,” “Dumbo,” and “Pocahontas” have been held under the collective microscope for a long time, but recent political upheaval has renewed critics analyses. Representatives such as O’Loughlin are even calling for Disney “to hand over some of the profits” from its films that portray Native Americans.

By calling out Disney’s late films’ negative portrayals of Native and Black people, users have taken up the critic’s cap and have been met with success. Disney has finally put a disclaimer on its earlier films and works to make its current films more inclusive.

Moana (2016)

A shining example of Disney’s “new and more progressive golden age,” “Moana” embraces feminism and multiculturalism. The titular character is playfully called a princess by the demigod Maui, but she is quick to correct him that she is the daughter of the chief—a different title.

While there are some points of contention in the film (lumping all of the Polynesian Islands together, the inclusion of Hawaiian hula dancing) it has been widely embraced for its realistic portrayal of the human body, casting nearly an entire Polynesian voice cast, and how there was no question if Moana would inherit her father’s role as chief, but when.

As for the demigod Maui, he went through many incarnations before he sprang to life on the big screen. His final persona is thanks to the Oceanic Story Trust, a group of Pacific Islanders who specialize in history, linguistics, and culture. According to Vanity Fair , John Lasseter told his team “the project would not go any further until [they] actually went to Polynesia” and did their due diligence to make “Moana” culturally accurate.

Frozen 2 (2019)

One of the more recent steps Disney has taken toward inclusion and feminism is its “Frozen” franchise. The second installment, “Frozen 2,” thrilled fans all over the globe, but most notably the Sami people in northern Europe. The Northuldra people, who live in the forest near Arendelle, are based off the Sami people, and Disney wanted to make sure the clothes and songs they loved so much were represented accurately. The movie’s team “made an effort to sign a contract with Sámi leaders in order to affirm their culture. The Frozen 2 team — including Jennifer Lee, Chris Buck, and Peter Del Vecho — sought expert advice in order to portray Indigenous culture in the most respectful way possible.”

Credit: International Sami Film Institute

“We felt they really listened and that it was very important to them to do this right,” Anne Lajla Utsi, managing director of the International Sámi Film Institute, told Reuters . Disney is making a concerted effort to better its brand and overall viewer experience through inclusion and expert research.

The post Disney: A Journey of Inclusion appeared first on Spherex .

Ontario changes its film ratings system

Fri, 20 Nov 2020 11:38:00 GMT

In a move to modernize the age-rating system for movies in Ontario, Canada, the provincial government recently proposed the ‘Film Content Information Act 2020’ as part of the Budget Bill that does away with General, Parental Guidance, 14 Accompaniment, 18 Accompaniment and Restricted age ratings. The new act would replace the Film Classification Act, 2005 .

In recent years, the Ontario Film Review Board (OFRB) – a film classification body run by the Ontario Film Authority, a nonprofit organization, appears to have fallen behind in assigning the mandatory age-ratings to movies released in the province. This created a problem since films could only be screened by distributors and theatres once they had been assigned an official rating issued by the province. The absence of a rating affected new releases.

There are cases where popular movies like “Roma” were not rated in time for its release. The acronym STC or Subject to Classification started appearing more frequently. Besides the delays, there is also the issue of inconsistent ratings. Films are sometimes assigned higher ratings and, upon further review, re-rated. The OFRB website’s rating database is also outdated.

To bring more efficiency and adapt to the rapidly shifting landscape toward digital platforms and streaming services, the provincial government dissolved the Ontario Film Authority on September 27, 2019 and took control of classifying movies in the province. The government assumed this role until it held consultations with the public and industry in the fall of 2019. The objective was to modernize film classification in Ontario while at the same time continuing to maintain consumer protection. In addition to reducing regulatory requirements, this move will also help the film industry save up to $1.5 million per year on film rating and licensing costs.

The outcome of this consultation with all stakeholders is the proposed new ‘Film Content Information Act, 2020’ that is formulated to replace what the government considers outdated requirements with information that assists the general public in making informed viewing decisions. The Act, if passed into law, would completely abolish the need for film exhibitors, retailers, and distributors to meet the film classification and licensing requirements. However, adult movies with explicit sexual content and video games will continue to be regulated as per the existing rules and regulations.

In contrast to traditional age-ratings, exhibitors are required to provide comprehensive descriptors about the film which could include violence, nudity, profanity, drug use, sexual scenes and more. A suggested age-rating could also be provided but this would only serve as a recommendation and not a rule. To receive feedback about the exhibitor provided ratings and to ensure audience complaints are attended to, contact details will be provided.

It remains to be seen if this proposed new act will provide more content information than traditional age-ratings and influence viewing choices of the audiences. However, in the rapidly changing environment of proliferating media content from both traditional and OTT players, self-regulation appears to be one of the most efficient methods to keep up with content.

Indian Government Regulates OTT Platforms

Thu, 12 Nov 2020 17:01:00 GMT

The latest Media and Entertainment Outlook 2020 report by PwC states India is currently the world’s fastest growing OTT market, and is positioned to become the world’s sixth-largest by 2024. This means India is likely to overtake South Korea, Germany, and Australia in OTT revenue. Sizable investments by Netflix, Amazon, Disney+ Hotstar and other players in both originals and licensed content is expected to make up 93% of total OTT revenue.

This is good news in terms of consumer choices. It also means that with the increased flow of content, the supply chain starting from content production to content release needs to be robust enough to keep pace in the country. Therefore, the recent move by the Indian Government to regulate OTT platforms under the Information & Broadcasting (I&B) ministry may create some roadblocks in India’s OTT landscape.

India has resisted regulation of the OTT space and no laws or rules exist regulating OTT platforms. It is a relatively new medium of entertainment, classified as digital media. Unlike traditional media such as television, films, print or radio, which follow government guidelines under the direction of various regulatory bodies, OTT enjoys a free run. However, there have been frequent calls for censorship of online content by various political groups and social organizations. Shows like Netflix’s “Leila” and “Sacred Games” have invited the ire of certain groups leading to court cases asking for bans or regulation of streaming content. As a pre-emptive measure, in January 2019, nine streaming services in India announced a self-regulation code under the aegis of the Internet and Mobile Association of India (IAMAI). The code settled on some “best practices” to avoid government-led censorship. However, the government indicated that this might not be enough and started holding consultations on the subject.

Consequently, in February 2020, the IAMAI drafted a new code. At the Government’s insistence, a Digital Content Complaints Committee was created to serve as an appeals body that can penalize OTT players. This did not sit well with some of the OTT services indicating lack of consensus and adequate consultation within the IAMAI. In September 2020, the organization prepared a third version of the self-regulatory code. Signatories include 15 international and local platforms on board viz. Netflix, Amazon Prime Video, Disney+ Hotstar, ALTBalaji, ZEE5, Arre, Discovery+, Eros Now, Flickstree, Hoichoi, Hungama, MX Player, Shemaroo, VOOT, Jio Cinema, SonyLIV and Lionsgate Play.

The ministry of information and broadcasting asked IAMAI to consider other self-regulatory models since the government does not support the current one. The letter stated “The proposed self-regulatory mechanism lacks independent third-party monitoring, does not have a well-defined Code of Ethics, does not clearly enunciate prohibited content, and at the second and third-tier level there is an issue of conflict of interest.”

In a far-reaching move, a gazette notification issued Nov. 11 and signed by the president of India, online films, digital news, and current affairs content were brought under the purview of the Government’s I&B Ministry. With the government’s decision to regulate online content providers, the challenge for the OTT platforms would be keeping a check on their content. It is also likely that they would have to apply for certification and approval of the content before streaming. This could give rise to many conflicts as most OTT platforms showcase content that would otherwise be censored by the certification boards in India.

No specific guidelines have been announced as yet, but it is known that the Programme Code governing TV content and which found an outlet in the Cable Television Network Regulation Act, 1995, may serve as a template to frame rules for online content. So, while the industry waits for more regulatory guidelines from the I&B ministry, OTT platforms are likely to resist any plans to censor content being streamed in India citing infringement of creative freedom.

Phallic Fantasies from Amazon’s ‘The Boys’

Fri, 06 Nov 2020 11:45:00 GMT

In the oversaturated Superhero content market, it is rare for heroes to go against the epitomized image of squeaky-clean role models with godlike powers who save us from menacing villains just in the nick of time. Enter “The Boys.” Amazon’s hit show takes this notion and turns it on its head. In the series, Vought International presents to the world, “The Seven.” These corporate Supes (short for superheroes), polished tip to toe are not dissimilar from carefully designed happy meals that conformists consume on a nice platter. Unlike Marvel Studio’s “The Avengers,” these Supes are radically damaged characters created in secret labs, pumped with illicit Vought chemicals to achieve unbelievable abilities. The audience appreciates the struggles facing these characters and we get to see inner demons come to life within each of their psyches; a funky-fresh take on the modern superhero genre.

True fans of “The Boys” are quick to point out the show’s comic book origin and Amazon’s authentic live action adaptation. The show fearlessly presents us with explicit scenes of a man getting violently choked by an evil stretchable penis, a woman accidently squeezing and exploding a man’s head while receiving oral sex, and gill fingering. Oddly enough, public masturbation is where Amazon draws the line. Rebecca Shepherd in a recent article sheds light on “one of the most disturbing moments” where the main antagonist, Homelander, is feverishly pleasuring himself atop a building, his bare buttocks gleaming in the moonlight. Shepherd mentions how co-creator Erik Kripke couldn’t quite understand how Amazon was OK with most of the show but said “F**K NO, you have to cut” the Homelander scene and that “it wasn’t necessary in season 1.”

This is not a show you casually pop on and watch with your parents, who just finished a 1978 “Incredible Hulk” marathon they proudly recorded on Betamax. Most sane people would opt for a more family friendly experience on Disney+. In the season 2 finale of “The Boys,” Amazon asked Kripke to bring “more punch” to the last episode. Kripke quickly got back to them with just the right idea; he reused the infamous Homelander masturbation scene they had originally asked him to cut from season 1. In a separate interview , Jessica Andrews mentions how Kripke thanked Amazon for its lack of censorship. “We put it all into the show,” Kripke said. “If there’s something totally crazy and it works for the characters, we put it in. Amazon’s been amazing about never really censoring that, so there kinda is no line.”

If our modern culture were to jump back to 1956 to watch Elvis Presley’s debut performance on The Ed Sullivan show, viewers would be unable to recognize acts of lewd behavior. However, at that time, fearing exposure to young impressionable teenagers, network executives responded quickly to censor Elvis’ bodacious gyrating hips, switching to close-up shots of his face whenever he was dancing. This live debut performance could be considered one of the earliest forms of censorship from a national television network. Teenagers in 2020 would have a hard time understanding what all the fuss was about. The King’s chaotic twists and turns look chaste compared to the twerking in most mainstream MTV videos. And remember when Madonna kissed Britney Spears and Christina Aguilera live onstage at the 2003 VMAs? At the time it was the most infamous kiss witnessed around the world. Then there was “ Nipplegate ,” Janet Jackson’s infamous wardrobe malfunction that aired on live TV during the 2004 Superbowl halftime show. According to TiVo , “Nipplegate” was one of the most paused televised moments ever recorded in history. Clearly, American audiences are pushing the threshold of what they consider lewd content.

The current trend of streaming services is to cut their umbilical-like ties to the network overlords who essentially gave birth to them. It’s like teenagers going through that classic “parents just don’t understand” phase and refusing to comply with strict standards and practices because the cool kids at Amazon get to produce audacious unrated commercial free content. This direction allows “The Boys’” showrunner Kripke full artistic license to display his wickedly warped creativity without impediment. It is like that line from “Wayne’s World 2” when Jim Morrison tells Wayne Campbell “If you build it, they will come.”

Facebook Is Not Having It: New Turkish Social Media Rules

Fri, 30 Oct 2020 12:12:00 GMT

Turkey enacted a new social media rule Oct. 1, 2020, and several social media platforms are not happy about it. The law “requires [companies] to establish a formal presence within the country” which will increase the companies’ “liability for harmful content.” Originally passed through parliament in July, the law also requires companies to appoint a Turkish representative to respond to content complaints and implement court orders.

According to local authorities, the law exists to “fight internet crime and determine liability.” This essentially means that social media companies that want Turkish users to continue accessing their service must abide by the country’s rules. Unfortunately, many companies, including Facebook, refuse to comply.

What Does This Mean?

If companies refuse to comply with this new law, “they can face penalties” such as heavy fines of 10 million Turkish liras (~$1.3 million) or 30 million liras (~$3.8 million) in December 2020. Companies will also face an ad ban in January 2021 and “have their bandwidth throttled by 90% in another six months.” This means that users will be effectively barred from using most popular social media platforms.

According to TechRadar , several other social media platforms have been blocked or banned in Turkey, including:

The heavy-handed restrictions are linked to the revision of Turkey’s Internet Act of 2007 in February 2014. This “omnibus law … further impacted internet freedoms” and is the main reason Turkey is now classed as “Not Free” by the Freedom House Index .

Earlier in the year, according to MediaNama, Turkish president Recep Tayyip Erdogan noted that social media platforms must either be “completely banned or controlled. He made this declaration after his daughter’s family received “personal attacks” on Twitter.

What Happens Now?

Human rights activists are not convinced that the Turkish government can uphold this law. Back in 2019, before the law was even implemented, Turkey blocked access to “408,000 sites, 40,000 tweets, 10,000 YouTube videos and 6,200 Facebook shares,” according to Sevket Uyanik, an online rights activist.

Activists have described the new law as “draconian” and stifling—another attempt by the government to “chill free speech.”

Emma Sinclair-Webb, senior Turkish researcher for Human Rights Watch stated, “We strongly urge the social media companies not to comply with the new law. It sets a dangerous precedent both for freedom of expression in Turkey and the rest of the world.”

For now, it looks like the law faces a fair amount of social and, possibly legal, opposition although any case could take years to reach Turkey’s constitutional court.

Indian Defence Ministry Attempts to Censor OTT Content

Fri, 23 Oct 2020 11:45:00 GMT

An erotic comedy series on ALTBalaji, an OTT platform in India, recently invited the ire of the Indian Defence Ministry. The ministry objects to certain scenes in “XXX” and expressed its concern in letters to the Central Board of Film Certification (CBFC).

The Defence Ministry contends that that the Indian Army uniform is disrespected and depicted in a negative light that hurts those personnel currently serving and veterans. In one particularly contentious scene , the adulterous wife of an army officer has her boyfriend wear her husband’s uniform and, while indulging in BDSM, rips his uniform apart.

The Ministry wrote to the Central Board of Film Certification requesting it to direct producers of web series to seek permission from the ministry before airing films depicting the Indian Army or military personnel. Considering online content’s regulatory gray area, the letter was also sent to the Ministry of Information and Broadcasting and the Ministry of Electronics and Information Technology.

It is significant to note that the CBFC, which functions under the Information and Broadcasting Ministry, is not authorized to regulate content on video-streaming platforms. Its role is restricted to films released in theatres and on television satellite channels. In India, content on OTT platforms is not monitored by any specific body. The platforms are still in the process of finalising a self-regulatory code for the content they stream.

This is the latest episode of governmental interference related to media content. In a similar incident , the Indian Air Force (IAF) wrote to the Central Board of Film Certification complaining against its ‘undue negative portrayal’ in the movie “Gunjan Saxena: The Kargil Girl” released on Netflix Aug. 12. The film is based on the first Indian Air Force woman pilot who was part of the 1999 Kargil conflict between Pakistan and India.

The letter read “In the aim to glorify the screen character of ‘Ex-Fit Lt Gunjan Saxena,’ the producers present misleading situations and portray an inappropriate work culture, especially against women in the IAF.” The letter also speaks of presentation of incorrect gender bias.

Established in 1952, the bureaucratic film certification system in India is a challenging maze which filmmakers must negotiate. In India, the concept of film certification is often synonymous with censorship, primarily because a large majority of films are pruned by the state to make them ‘fit for certification.’ Critics, commentators, and filmmakers are largely unanimous in expressing their opinions about the system being a social and a judicial construct, and the biggest impediment to creative expression in Indian cinema.

Restrictions on how the armed forces are depicted already exist. A three-stage approval process requires producers to first approach the defence forces before filming begins, and then get an approval through the censor board and the defence ministry for a final release agreement. The current diktat (an order or decree imposed by someone in power without popular consent) declares the Defence Ministry bring web series under that same approval process. Since this is tied to the larger question of how regulations over Indian OTT content evolve, it is likely to remain unresolved in the present. However, there is a growing list of organizations including the Ministry of Defence seeking greater control over web content in India.

‘Cuties’: How a Poster Ignited a Controversy

Fri, 16 Oct 2020 10:47:00 GMT

On Sept. 9, the coming-of-age drama “Cuties,” was released on Netflix in the U.S. The company bought worldwide rights (excluding France) to the film and in January 2020 it premiered at Sundance, winning the World Cinema Dramatic Competition. The film is translated in to more than 40 languages and is available in 190 territories. In France, it was released Aug. 19 by Bac Films, who handled French rights.

At Sundance, the film was well received by an international audience that included many Americans. In France—where it was rated suitable for all ages— “Cuties” opened without debate. Indeed, independent, foreign language films featuring novice talent and helmed by a first-time director ordinarily appeal to a small, niche audience.

Initial Backlash

The outcry began after Netflix’s original marketing campaign. The poster depicted preteen girls posing suggestively in crop tops and short shorts. The accompanying description used the term “twerking,” the definition of which is “to dance to popular music in a sexually provocative manner involving thrusting hip movements and a low, squatting stance.” It is unsurprising that some people expressed outrage.

Netflix quickly acknowledged the artwork was not representative of the film and updated the poster image and description. Director Maïmouna Doucouré maintains she was not consulted on the materials, for which Ted Sarandos, Co-CEO of Netflix, called and apologized.

Dissent Escalates

Unfortunately, the changes and apology came too late. Doucouré began receiving intense criticism and even death threats. The unfavorable response swelled and on Sept. 10, #CancelNetflix was the top trend on Twitter. Over the following days, prominent politicians on both sides of the aisle accused Netflix of sexualizing little girls and demanded “Cuties” be removed from its platform. Those same politicians, led by Texas Republican Senator Ted Cruz, urged the U.S. Dept of Justice to investigate potential violation of federal child pornography laws. Furthermore, anger about the film spilled over into litigation . On Oct. 6, a Tyler County grand jury in Texas charged Netflix for the “promotion of lewd visual material depicting a child,” accusing the film of appealing “to the prurient interest in sex” and saying it has “no literary, artistic, political, or scientific value,” according to a copy of the indictment.

Human rights and child advocacy groups echoed complaints. Susan Peters with UnBound, a nonprofit organization that helps trafficking survivors, says the film is a potential gateway to sexual predators and child sex trafficking. “Media and film can be powerful. So, when you’re connecting this sexual activity with children, that’s incredibly problematic and for our work, it’s super concerning.”

A representative for the conservative National Center on Sexual Exploitation, said in a statement , “While we commend Director Maïmouna Doucouré for exposing the very real threats to young girls having unfettered access to social media and the internet, we cannot condone the hypersexualization and exploitation of the young actresses themselves in order to make her point.”

Defending Her Vision

Doucouré responded to that criticism saying that it was important for her to stay authentic to the theme and using young adult actresses defeated that purpose. She talked at length with her leads and their parents about the importance of the film’s message and the difference between acting and real life. A psychologist was always present on set “to constantly communicate with the girls, and to avoid any risk of confusion with the cinematic roles they were playing and their real lives as children.”

The film is disturbing, but its idea is both bold and valuable. The director draws upon her own experience as a girl from a traditional Muslim Senegalese family growing up in liberal Paris. Additionally, Doucouré’s research included interviewing hundreds of preadolescent girls. What she found is that they perceive dressing and acting seductively equals success in the larger world. Unfortunately, girls mimic what they see online without the maturity to comprehend the meaning of their choices.

The time between girlhood and womanhood is confusing and the images and information on social and in other media make navigating it more difficult and complex. In producing the film, the director intended to start an open discussion on what she sees as a global social dilemma. Despite Doucouré’s noble goal, for some there is stark contradiction between the message and the vehicle.

Culture War

The contentious discourse continued, morphing into full-scale culture war. By Sept.18, there were 83,700,000 Google search results on the subject and 168 Change.org petitions (originating in the U.S. and 11 other countries). Petition signatures range from 5 to 736,803. In addition to the negative commentary and the film’s politicization, 4Chan prohibited all “Cuties” images from its site, the Brazilian government halted screenings, and the Radio and Television High Council banned the film in Turkey.

Moreover, The Council on Islamic-American Relations demanded Netflix remove “Cuties” from its platform and apologize not only for sexualizing prepubescent girls, but also for its Islamophobia . CAIR stated: “It depicts the Muslim girl’s father as a polygamist, her mother as oppressed, and features a scene in which her family conducts an exorcism that leads Amy to gyrate and jerk around while wearing revealing clothing, all as an Arabic recitation plays in the background.”

The Other Side

Not everyone expressed anger about “Cuties.” Film defenders assert that much of the criticism stems from philistinism, images and clips taken out of context and lack of cultural competence. In fact, “Cuties” is meant to shed light on the very subject for which it is criticized: that in our modern, social media drenched society, children–especially girls– grow up too quickly. The New Yorker’s Richard Brody declared that the “subject of the film is exactly the opposite: it dramatizes the difficulties of growing up female in a sexualized and commercialized media culture.”

Unifrance, the company backing “Cuties,” released a statement denouncing the negative response to the film. It reaffirmed its “commitment to supporting the freedom of artistic creation and expression. Because one of the great strengths of cinema is its capacity to reach beyond borders and boundaries, and to offer a critical and constructive viewpoint on the world and the excesses of today’s societies.”

In other countries, advocates include the French culture minister and the Italian Bishops’ newspaper, “Avvenire,” who said the film, if handled correctly, could be used as an educational tool.

Controversy Equals Curiosity?

Despite the online debate, “Cuties” made Netflix’s top 5 list in the U.S. and its top 10 list in 17 other countries. It appears the hostile reaction over the film increased viewership. A Screen Engine/ASI poll found that 52% of U.S. subscribers who watched the film after its release watched because of brouhaha. There might be some truth in the long-held Hollywood notion that controversy can, and often does, increase a film’s audience.

Age Rated and Restricted Access

“Cuties” is rated for suitability in each territory and behind a paywall, so why the cacophony? Are people really scandalized by the film or is it just a moral scapegoat in a larger culture shift? Does the upcoming contentious U.S. election factor in? Regardless, the filmmakers’ desire to raise awareness of the inappropriate messages young girls receive in today’s social media driven society has been lost in a sea of political and moral outrage, ignorance, and misunderstanding.

To think all the discord started with a single image taken out of context. That brief, but powerful, oversight was the match that lit the fire. This inferno was avoidable and emphasizes the importance of taking culture into account and carefully aligning marketing materials with content.

Video Game Ratings Can Bump from T to M at the Drop of DLC

Fri, 09 Oct 2020 12:10:00 GMT

Ratings are a tricky business, with each country having its own set of rules. Throw in the fact that movies, television shows, and video games each have their own set of rating guidelines and you could be reading the specs for ages. In North America, the Entertainment Software Rating Board (ESRB) is responsible for rating video games for mass consumption. Parents want to know exactly what kind of game they are buying for their children, and on the other end of the spectrum, critics want to know how to review games for their fans. Or, you know, people want to just know what to expect when buying a game off a shelf.

Before you read the synopsis on the back of the box, before you know how many players are needed for the best gaming experience, you see the rating on the front of the package. Just like when you go to the movies, those ratings are the first thing you see—and they are constantly changing! A film that was rated PG in the 1960s could jump to a PG-13 in 2020, or the other way around, and video games are no different.

“Elder Scrolls IV: Oblivion”

According to GameRant , the ESRB rules changed shortly after “Elder Scrolls IV: Oblivion” was released. “Elder Scrolls” is a popular franchise that allows its players to run around the fictional world of Skyrim, completing quests and looting treasure. When ESRB found out that PC gamers were modding the game to have female characters walk around in revealing clothing or armor, they changed the rating from T (Teen) to M (Mature).

Mods are not the same as downloadable content (DLC). DLCs are made by the game developers, while mods are created by fans. DLCs and mods both enhance gameplay, but only DLCs can receive their own ratings from the ESRB.

T level content is “generally suitable for ages 13 and up. May contain violence, suggestive themes, crude humor, minimal blood, simulated gambling, and/or infrequent use of strong language.” M level content, on the other hand, includes all of that at a slightly higher level as well as “intense violence, blood and gore, [and] sexual content.”

“Batman: Arkham Knight”

The Batman videogames, both console and PC, give fans of the comics and movies the ability to step into the cape of their favorite billionaire vigilante. Until the release of “Batman: Arkham Knight” every game had been rated T for Teen. “Arkham Knight” received a ratings bump because of two specific torture scenes between Batman and the Joker.

According to GameRant, these torture scenes “seem to go over the top” and there are some other “suggestive scenes,” but the game is otherwise on par with others in the franchise.

These are just two examples of how ratings can change within a game franchise or because of additional content. The ratings scale within North America’s ESRB and similar companies are constantly changing with the times, but the safety of gaming consumers remains constant.

Disney+ Could Get R-Rated Content

Fri, 02 Oct 2020 13:29:00 GMT

In the oceanic depths of online content, there was a tiny litigious rodent named Mickey Mouse that consumed corporate giants to monopolize its stronghold on streaming platforms. When Mickey isn’t floating around on his corporate steamboat Willie enjoying the excesses of his luxurious frugal billionaire lifestyle, this chauvinistic rat is pedaling G-rated content to millions of children all across the world with his new streaming service Disney+. Children’s parents religiously subscribe to monthly subscription fees to keep their children glued to the TV for as long as possible. It’s hard to ignore the amount of content available on Disney+, which signed up 10 million subscribers on its November 2019 launch, and the promise of more original content still on the way . While the children melt their brains with reruns of “Ducktales” or “Kim Possible” downstairs, what adult content (if any) do the parents get to watch on Disney+?

Neeraj Chand’s article claims that the “Mouse Empire,” as he lovingly refers to it, is exploring how to implement newly acquired assets from its recent procurement of Fox. The idea is to be able to access these mature titles in the Disney+ app with a possible pin code scenario in hopes of keeping adult rated titles away from the innocent minds of our youth. Chand refers to Bill Hunt from The Digital Bits who suggests that this could allow mature subscribers access to R-rated titles including the “Deadpool” franchise, “Alien,” and “Bohemian Rhapsody.” It is doubtful that parents will enjoy watching the same G-rated content to which their children have access. How many times can someone watch “Frozen” with their children and not lose their sanity? Chand goes on to suggest that the Mouse Empire “needs to look beyond family-friendly content” if it wants to expand its audience demographics. Disney dominates the “teen and tween subscribers” market. According to Chand, the next obvious step is to entice the parents who already pay for these subscriptions with R-rated content.

Streaming platform options are endless. Most households subscribe to multiple services, the cumulative cost of which is beginning to feel as if we are back to the exorbitant cable TV prices. There is a recent trend where platforms are losing licensing rights to shows and movies and that content is returning to the studios that originally produced it. Programs like “The Office” are leaving Netflix (now on NBC’s new platform Peacock .) “Friends” is being shown exclusively on HBO MAX . Amazon Prime and Apple+ are also producing one-off originals to stay afloat in this content profusion. Chand wants Disney to come to terms with shedding its squeaky clean “singing, dancing, fairytale world” image and embrace the “unwanted step-children” of adult content acquired through Fox and other production companies. This move will indeed have a leg up on the competition especially with more 4k content.

During an episode of “Parks and Recreation” actor Patton Oswald went on an improvised eight minute rant eloquently discussing how Thanos could implement Disney’s newly acquired Fox titles into the monolithic mouse universe by utilizing the Gem Stone he has on his infamous Infinity Gauntlet. Mickey needs to rethink his marketing strategy if he does not want to lose this battle of the streaming wars. The epic rant of Oswald should be taken seriously by the Disney overlords as they begin to embrace their true dark side. The wizards over at Disney can easily create some sorcery and develop a Tony Stark tech-esque iris scanner allowing adult subscribers access to more mature content on the app. Theoretically, Disney could produce crossover films like “The Seven Dwarfs Vs. The Predator,” a buddy cop movie pairing “Die Hard’s” John McClane with “Wall-E,” or a live action “Sleeping Beauty” movie that takes place in the “Alien” universe. Imagine Ellen Ripley going to save Princess Aurora after slaying the Xenomorph Queen. Finally, Ripley can tell that evil Maleficent to “stay away from her you witch!”

It also seems that Disney is not afraid to experiment in markets where it has the opportunity. The Disney+ service in India is a weird combination of children’s fare and R Rated content – possibly the only territory where it has positioned itself that way.

The online platform Hotstar, part of the Fox network in India, launched in 2015 and has been a very popular service with over 300 million active users, far ahead of Netflix and Amazon. In 2019 when Disney completed its acquisition of 20 ^th Century Fox, it acquired Hotstar Instead of starting a completely new service. Disney decided to ride on the platform’s popularity and rebranded it as Disney+ Hotstar. Within a year the service has 8 million paid subscribers out of the Disney+ 50 million worldwide subscriber count. Hotstar also has ongoing agreements with HBO, Showtime and FX. The streaming service now has an interesting concoction of both “Mickey Mouse” and “Game of Thrones.”

Clearly this is an effective solution that the Mouse Empire should continue stateside. As Chand suggested earlier, Disney must try and come to terms with its remonstrated adult titles. It cannot shield them from the public eye, heroically locked away as secrets in its precious vault. Consider when Andy decided to go to college in “Toys Story 3.” Even he was smart enough to know that it was time to move on from playing with dolls to chasing his own collegiate cowgirls. Everyone grows up. It is only natural we give in to our primordial gene for contentious content.

Exploring The Mulan Controversy

Fri, 25 Sep 2020 12:46:00 GMT

Disney’s new film “Mulan” has become a worldwide sensation, but not for the reasons one might think. The live-action film has generated an unusual amount of political debate. “Mulan,” directed by Niki Caro, is Disney’s remake of its 1998 animated film, based on the classic Chinese ballad. Due to the pandemic, the studio released the film on its streaming service Disney+, with plans to screen the film theatrically in countries where cinemas are open.

After keeping quiet calls to boycott the film dominated social media, top Disney brass admitted that a string of controversies created issues for the studio. During a virtual conference , chief financial officer Christine McCarthy discussed the challenges faced by Disney before and after the release of the film.

How does an innocent remake of an animated classic explode into a social media nightmare for a studio specializing in family fare? In this case, several things went wrong for Disney.

The Hong Kong Protests Controversy

In February 2019, China introduced a contentious extradition bill which allowed criminals to be transferred freely between Hong Kong, Taiwan, Macau and mainland China. Critics feared that the bill would be exploited to allow Hong Kong to send criminal suspects to mainland China. The people of Hong Kong saw it as one more attempt by the Chinese Communist Party to encroach on its freedom. Citizens protested strongly and the anti-extradition bill movement evolved into a pro-democracy movement . In retaliation, the Hong Kong Police used aggressive force to discourage protesters which increased the divide between the Hong Kong police and citizens.

Amid the protests, notable Chinese figures such as Jackie Chan and Liu Yifei , among others, voiced their support for both the Chinese government and the Hong Kong police. Liu, a naturalized American citizen, is the lead character who plays Mulan. She shared a meme which was construed as support for the Hong Kong police. It did not take long for the post to circulate and spark backlash from pro-democracy supporters. With that, the call began for a boycott of “Mulan” and #BoycottMulan started to trend in several countries. The second problem for “Mulan” is its filming location.

The Uighur Dispute

It appears parts of “Mulan” were filmed in Xinjiang , China, two years ago. Viewers noticed this in the credits when Disney thanked eight government bodies in Xinjiang, a western province in China where around 2 million Uighur Muslims have been allegedly forced into concentration camps by the Chinese government. The film credits specifically praise the police security bureau in Turpan , a city in eastern Xinjiang with a large Uighur population. Experts say that bureau is tasked with running some of the internment camps and was blacklisted last year by the U.S. Commerce Department.

The outcry over the filming location now includes U.S. lawmakers . Politicians from both parties have already criticized China over a range of issues in the run-up to the November 2020 elections. American politicians fired off vehement missives against Disney. Representative Mike Gallagher, Republican of Wisconsin, tweeted that “while the CCP is committing crimes against humanity in Xinjiang, @Disney thanked four of the propaganda departments that are lying to the world about these crimes. It also thanked the Turpan Public Security Bureau, which is on the entity list for its role in these atrocities.”

Reactions Against Direct to Streaming Release

Even in Europe, the strife doggedly follows “Mulan.” The news that Disney would bypass cinemas by premiering “ Mulan ” directly onto Disney+ provoked a furious backlash from international exhibitors who felt the studio was declining support in times of need. In France, Gerard Lemoine, a frustrated theater owner, displayed his anger with Disney’s decision in an extreme fashion. Lemoine, who owns the French indie venue Cinepal in Palaiseau, posted a video of him destroying “Mulan” pop-up art via Twitter. Lemoine’s video has over 328K views and the post received a substantial amount of replies.

Cultural Dissonance

Though Disney did its best to create a film that that would appeal to China, many Chinese viewers rejected the film as offensively inauthentic. “The Americans invited all the famous Chinese actors they could think of and piled together all the Chinese elements that they could find to create this car crash,” reads one of the most popular reviews . “It’s full of Western stereotypes and conjectures about China, and particularly ancient China.”

Many viewers in China felt that Disney’s new heroine starts out from childhood already equipped with superhero-like abilities, thanks to her extraordinary reserves of “qi.” While Chinese viewers are familiar with the concept of “qi,” they are puzzled by Disney’s take on the vital energy traditionally considered to underlie the practice of Chinese medicine and martial arts, asking: “What exactly is ‘qi’ here?”- hinting that concepts were applied without any real understanding of the cultural roots.

“Mulan,” much like “ Crazy Rich Asians ” was initially celebrated in the West for being a landmark for Asian American representation, due to its all-Asian cast . Yet many of the elements included to boost its cultural resonance have not succeeded in appealing to its target mainland audience.

One viewer wrote that the script’s constant repetition of the terms “loyal, brave and true” felt like “ a Google Translate take on Chinese .” In one scene, Mulan throws away all her protective armor in the middle of a battle. To the ethnic audience, the choice is obviously nonsensical, but it is also highly unfilial, since the garb is a treasured heirloom from her father.

Chinese audience members are familiar with the original ballad in its classical Chinese. They intimately know final lines — an allegory for gender equality that male and female rabbits look identical when running side by side. Numerous respondents laughed at how the film presents this by having the young heroine spot two rabbits in a field and commenting on how she could not determine their gender, calling the moment one of “forced East-West fusion.”

Once again, “Mulan” clearly demonstrates Hollywood’s lack of detail and accuracy in its attempt to bridge the cultural gap between the East and the West.

Disney’s chief financial officer Christine McCarthy said, in her statement addressing the criticism, “Let me just put something into context. The real facts are that “Mulan” was primarily shot — almost entirely — in New Zealand.” She continued, “In an effort to accurately depict some of the unique landscape and geography of the country of China for this period drama, we filmed scenery in 20 different locations in China.” McCarthy then explained, “It’s common knowledge that to film in China, you have to be granted permission. That permission comes from the central government. So, in our credits, it recognized both China and locations in New Zealand. I would just leave it at that, but it has generated a lot of issues for us.”

Authorities in China recently ordered media outlets not to cover “Mulan’s” release in China. While no official reason is given, reports conclude the international backlash relating to Xinjiang is likely the major cause.

Diktat for Content Creators in Nigeria

Fri, 18 Sep 2020 06:00:00 GMT

Nigeria is located on the western coast of Africa. The country has been home to a number of ancient pre-colonial states and kingdoms over the millennia. Modern Nigeria originated from British colonial rule beginning in the 19th century. Nigeria’s most diverse feature is its people; there are more than 250 ethnic groups with over 500 distinct languages all identifying with a wide variety of cultures.

Thailand Bans “The Kingmaker” Amid Objections

Fri, 11 Sep 2020 05:53:00 GMT

“The Kingmaker,” a documentary film that follows the life of Imelda Marcos, was banned in the south of Thailand following objections from its politicians. The film chronicles the lengths Marcos was willing to go through to restore her family to past glory, namely through her son and heir.

Film Industry in Tanzania

Fri, 04 Sep 2020 23:02:00 GMT

Situated just south of the equator, Tanzania is an East African country. It became a sovereign state in 1964 through the union of the theretofore separate states of Tanganyika and Zanzibar. The name is derived from first three letters of two states Tanganyika and Zanzibar (“Tan” and “Zan”) and the suffix, “ia” to form Tanzania . The country has two official languages Swahili and English. Swahili is the country’s lingua franca comprised of Bantu dialects and Arabic.

The country continues its oral storytelling and tribal dancing traditions . In 1930s, music containing Cuban elements was popular and in the 1960s Congolese music, with its peculiar guitar sound and mix of Cuban and African rhythms evolved as an important part of the culture. In the early 21st century rap and reggae emerged as musical genres, and mchiriku, a techno-style sound influenced by traditional rhythms, also became prominent.

Besides consuming content from Hollywood, India and Nigeria, Tanzania has its own emerging industry informally known as Swahiliwood . These films are referred as ‘bongo films’ as they are produced with low budgets, short schedules, on camcorders and mass released in DVD format. Media for Development International Tanzania (MFDI-TZ) promotes development through socially conscious programming in Tanzania and Africa at large. Employing locals, it produces film, video, television, serials, and music.

MFDI , a nonprofit organization registered in the United States, is run by six board members from around the world. The organization plans to collaborate and coproduce feature films with Entertainment-Education (EE). This production process will build up local filmmakers with assistance from Swahiliwood’s vast distribution network to reach wide audiences. Through this program, Swahili filmmakers attend workshops in script development, preproduction, production, postproduction, and marketing.

Tanzania filmmakers often have limited production skills and equipment but are determined to develop the industry to rival Nigeria’s Nollywood. According to Mr. Paul Mashauri a member of creative moviemakers in Tanzania’s film industry, “The Tanzanian film industry has lots of potential as Tanzania has a beautiful landscape for filming, plenty of creative people and good talented actors and actresses. The movie industry for instance now, there is a growing demand for the local content through cable network TV’s and online platforms, which means that if you can develop or produce a good movie here, and be able capture the attention of the market in east Africa which is more than 100 million people, it is a very huge business.”

The Tanzanian film industry is making efforts to improve production with high-tech cameras, better production facilities and developing filmmaking skills.

Recently the Tanzanian government introduced new regulations and operational costs to the film industry. Dr. Hasaan Abbasi, permanent secretary of the ministry of Information, Culture, Arts and Sports declared the reduction of filming permit fees to help actors and filmmakers to produce high quality movies. According to new regulations filmmakers will pay only Sh50, 000 ($21) to get a filming permit instead of Sh500,000 ($215). Dr. Abbasi wants filmmakers to make movies attractive enough to grab audience attention and generate business. The film board and the ministry are forming a committee responsible for copyrights and contracts, ensuring actors get paid fairly.

The Tanzanian government believes the film industry has potential to create employment opportunities while simultaneously boosting Tanzania’s brand and Kiswahili language. The film industry can be used to achieve national progress, a government official said. In 2019, Tanzania passed a bill that demands local and foreign film companies share their raw footage with the government and allow it to use the video to promote the country.

Hungary Implements EU Rules for Video-Sharing Platforms

Fri, 21 Aug 2020 03:37:00 GMT

As social media and technology advances, new types of video content services and user experiences are rapidly evolving. The blend of modern content creation and internet services has changed viewing habits, especially for newer generations. Though traditional television remains an important source of entertainment, increasingly, audiences now prefer to consume video-sharing on portable devices.

Video-sharing platforms are a popular medium. These contain a mix of original drama, catalogue titles, documentaries, sports events, live broadcasts, and user-generated content. Since platforms are competing for the same audiences and revenues as other media services, the European Union Council decided to include them in the original Audio-Visual Media Services Directive by passing an amendment in 2018. The council believes that the services video-sharing platforms provide are like traditional audio-visual media and require the same provisions and regulations.

Hungary-European Union members-adopted this directive on May 5, 2020, also defining video-sharing platform service as a standalone service category. The Hungarian Parliament authorised the National Media and Info Communications Authority (NMHH) to govern video-sharing platforms. The NMHH, an autonomous regulatory body has authority to prohibit ‘infringing conduct,’ suspend services for up to one week, impose a fine up to 100 million in Hungarian currency and delete the video-sharing provider from the registry. In line with the Audio-Visual Media Services Directive, providers will take measures to protect:

To meet the above requirements, the video-sharing providers shall use effective technical tools and procedures such as clauses in the terms and conditions of service, age verification, parental controls, process to report infringing content, user grievance resolution and provision for users to declare commercial communication within the content they upload. Video-sharing providers are also expected to comply with advertisement regulations outlined in the Hungarian Media Act . The safe harbour provisions in the Hungarian E-Commerce Act and the exemption of liability rules for intermediaries are both extended to video-sharing platform providers.

The new framework endorses co-regulation and fostering of self-regulation. Video-sharing providers may be granted authorization to act in a self-regulatory procedure toward its members. Others may submit themselves to NMHH’s co-regulatory regime.

The new rules are effective June 2020. All companies falling under Hungary’s jurisdiction are obliged to register with the NMHH within 60 days. With respect to other obligations, the providers have 150 days to comply. The registration, however, is not a pre-requisite to commence the provision of services.

Authorities across the globe are adapting to changing technology and introducing governing frameworks that suit newer platforms and accommodate the shifting media landscape. The Audio-Visual Media Services Directive in Europe attempts to create a regulatory environment fairer to all participants, including more flexibility in advertising for broadcasters, protecting minors and tackling hate speech in all audio-visual content, better promote European productions and ensuring regulator independence.

Film Classification Committee in Ghana

Fri, 14 Aug 2020 06:37:00 GMT

Very close to the equator is Ghana, a small tropical West African country Located right in the center of the world. Ghana’s population is incredibly diverse, its citizens speak at least 79 different languages and dialects . The two main languages are Twi, spoken by the Ashanti community in the southern and central region, and Dagbani by the Dagomba people in the north. English emerged as the language of choice to bridge cultural differences in Ghana. It is the official language and even the national anthem is sung in English.

Ghana’s many tourist attractions include a year-round equatorial climate, diverse wildlife, the Kintampo and Wli waterfalls, Lake Volta-the world’s largest man-made lake (by surface area), palm-lined, sandy beaches, caves, mountains, nature reserves and national parks.

Movies were introduced in Ghana (then known as the British colony of Gold Coast) in 1923. It was a luxurious pastime and only handful of people could afford it, mostly the colonial masters. Due to the interest and focus of Kwame Nkrumah, the country’s first president, the film industry began to take off in the 1960s . The president founded the Ghana Film Industry Corporation (GFIC) in Accra, the country’s capital city. Nkrumah sent many Ghanaians abroad to learn filmmaking for the purpose of running the GFIC efficiently. 150 GFIC productions were made during this time, all intended to reverse the negative Ghanaian stereotypes promoted by the previous colonial government. This run ended in 1966, after the Nkrumah government was overthrown.

In the 1980s, an independent booming video film industry evolved in Ghana. Since funds for cinematography dried up for both the state owned GFIC and for independent filmmakers, people in Ghana began making their own films using VHS video cameras. The independent filmmakers wrote their own stories and scripts, assembled actors-both professionals and amateurs-and produced successful films-especially in the capital city.

Accra continues as the film industry capital. The movies generally center on issues facing urban Ghana. Nigeria, whose film industry is colloquially known as Nollywood and is immensely popular in the region, produces over 600 films annually is planning to set up partnerships with Ghanaians. International media companies are starting to notice the country’s creative landscape, which is evident from Ghanaian films on Netflix

In 2016 the government passed a new film act to promote and develop the Ghanaian film industry and lay the groundwork to establish the National Film Authority (NFA) to oversee such development, including establishing an industry code of ethics, creating a committee to approve and classify films, and managing a new film fund. The contemporary law repealed Cinematography Act of 1961 and the Cinematography Amendment Decree of 1975 since these were outdated.

On May 14, 2020, the National Film Authority established the Film Classification Committee (FCC). The twelve-member committee categorizes, classifies, standardizes, and previews viewer content. Its purview consists of movies, television programs and music videos.

The committee is headed by popular film producer, Socrate Safo, who is also the Director of Creative Arts at the Commission for National Culture. NFA’s president, David Dontoh, describes the Classification Committee as a very important arm of the NFA. He declares classification integral to the National Film Authority’s overall mission and recognized by law. Though audiovisual materials’ classification was suspended in 2016, it was reinstated because, apart from being legally mandated, it is also important that all material for public exhibition, whether film, documentary, advert, music video or soap opera, be classified. The NFA did not make specific reference to content on online platforms.

Barbara Oteng Gyasi, the Ghanaian Tourism Minister, in her speech stated that she is confident the classification committee will open a new chapter in Ghana’s film industry development and its work will ensure that the impact of culture, economic, historical, political and technological dimensions will change narratives of film making in Ghana protecting viewers in the best interests of the country.

Viewers’ protection is the driving concept as Socrate Safo declared , it is very important for the committee to protect Ghanaians identity so that acts of future generations are not informed by outside culture. Chairman of the National Film Authority (NFA), David Dontoh rallied support and cooperation with the newly inaugurated film body to make its work seamless.

LGBTQ+ Rights in Lithuania

Fri, 07 Aug 2020 05:43:00 GMT

While much of the European Union acknowledges and accepts LGBTQ+ rights and relationships, Lithuania has some of the strictest laws in the region. The Baltic Republic was originally part of USSR, which itself has a history of being unfriendly to LGBTQ+ people. In 2020, more than 16 years after joining the EU, Lithuanians continue to oppose granting the LGBTQ+ community the same rights as heterosexuals. According to surveys conducted by the European Commission, only 30% support same-sex marriages .

Same-sex activity, although legal since 1993 does not provide the same rights and legal recognition to the community that civil same-sex partnerships and marriages do. This bias prevalent in Lithuanian society and unsurprisingly offenses against the LGBTQ+ people often go uninvestigated or are dismissed outright.

Nongovernmental organizations like the Lithuanian Gay League (LGL) that fight for and represent the rights of LGBTQ+ people in the country have routinely raised the issue of the Law on the Protection of Minors against the Detrimental Effect of Public Information. The law was enacted to protect minors from information in the public domain that could negatively influence their mental well-being. In a contentious move, this law was amended in 2009 to include any information that could be construed as promoting LGBTQ+ relationships or way of life.

Numerous examples of censorship exist in the media of content involving the LGBTQ+ community. The award-winning band, Skamp, known for its fusion of pop, reggae and hip-hop music, saw the video of its song “Love Me Like There’s No Tomorrow” banned because it included kissing scenes involving same-sex couples.

Elena Reimerytė’s documentary “Spalvos“ (“Colours“) on gay parenting via surrogacy in the UK was removed from the Lithuanian national broadcaster LRT’s platforms after homophobic protestors assailed its portrayal of LGBTQ+ family life; a world that deviates from the one the Lithuanian Constitution enshrines. The regulatory body ruled the program was not harmful to minors and did not violate any existing regulations.

LGBTQ+ suppression is also evident in the fairytale book “Amber Heart” by the author Neringa Dangvydė. Publication and sales were halted after complaints by conservative MP’s with the University of Education and Office of the Inspector of Journalistic Ethics. The book conveys stories of both happy heterosexual families and homosexual families. The reason for the ban is-again-the distorted concept of family outlined in the Lithuanian Constitution.

After the author approached the courts, the publisher agreed to resume publication – only under the N-14 label which deems the material to be inappropriate for children under the age of 14. A move widely condemned by NGO’s around the world. Ultimately four Lithuanian-based organizations launched an international crowdfunding appeal to publish the book and distribute among local libraries.

Counter to conservative actions, openly gay filmmakers such as Romas Zabarauskas, want to change people’s perspective. Romas’s recent venture “The Lawyer” centers on the relationship between a gay Lithuanian lawyer and a bisexual Syrian sex-cam worker. It’s the first mainstream Lithuanian film with male same-sex relationships as its focal point. Perhaps in a sign of changing times, Romas also managed to bag a 197,500 euros production grant from the Lithuanian Film Centre-a first for him. The film is scheduled for theatrical release in state cinemas in September 2020 after being postponed due to the Covid-19 pandemic.

Organizations such as the LGL and individuals like Romas continue to push societal and constitutional reforms toward a diverse and accepting Lithuanian society. It is also incumbent on the State to consider revising existing laws that lead to discrimination on grounds of sexual orientation. Perceived family values from the times under the USSR are the main obstacle to the advancement of LGBTQ+ rights. Lithuania’s inclusion into the EU appears to be driving change as the European Parliament acts to protect the rights of the LGBTQ+ community by asking member states to approve anti-discriminatory laws. There remains a lot of work to be done in the Baltic state but the LGBTQ+ community in Lithuania is finally beginning to see some acceptance.

“Hamilton” Nixes F-words to Score PG-13 Rating

Fri, 31 Jul 2020 04:13:00 GMT

The moment fans have been waiting for is finally here— “Hamilton” is coming to Disney+ ! Fans of the Broadway favorite that “uses hip-hop to tell the story of founding father and America’s first treasury secretary Alexander Hamilton” have been clamoring for a televised version for years, and it’s finally a reality.

You thought it was quiet uptown? Not after fans got a hold of the news!

The historically based show has been hailed a masterpiece for Lin-Manuel Miranda. From its costumes to its musical lyrics, the show is visually stunning and the king of all earworms. But, as most fans will attest, Miranda does not shy away from language—with three instances of the F-word throughout the musical. By making “Hamilton” available on Disney+, Miranda’s hit show must abide by the ratings system set forth by the Motion Picture Association (MPA). This means that the musical’s iconic lyrics, though fun to sing at home, must be censored for a wider viewing audience.

Lin-Manuel Miranda confirmed on Twitter that two swear words were censored in order to get a PG-13 rating. “In Yorktown, there’s a mute over “I get the f___ back up again” he wrote, adding that the other line is now, “Southern *record scratch*kin’ Democratic Republicans.”

According to the MPA website, any type of content containing more than one strong expletive gets at least a R rating: “A motion picture’s single use of one of the harsher sexually derived words, though only as an expletive, initially requires at least a PG-13 rating. More than one such expletive requires an R rating.”

Based on the Ron Chernow book of the same name, “Hamilton” has won many awards, including 11 Tony Awards (2016) and the 2016 Pulitzer Prize in Drama. While it is heralded as a modern breath of fresh air on Alexander Hamilton’s history, it is also applauded for casting Black, Latino, and Asian American actors for its original cast.

Grab some popcorn and a seat on the couch, it’s showtime!

Netflix Censors Vikings in India, Blurs Nudity and Meat

Thu, 23 Jul 2020 01:19:00 GMT

Netflix released the popular historical drama series “Vikings” in India in May 2020. However, to viewer’s shock it was a censored version. The show, released uncensored in US and Italy, comes with several cuts and blurs as reported by users. The scenes censored depict nudity, violence and even meat!

Scenes containing nudity are completely blurred and some violent scenes are cut. The scenes of meat involve two pieces of cooked pork-which Muslims find offensive. Ironically the scenes remained uncensored on Netflix in UAE a predominantly Muslim nation with strict rules against pork. In context, internationally on Netflix, Viking season 5, episode 12 is around 46 minutes long but in India, it’s around 42 and half minutes .

This is not the first time that Netflix released a sanitized show in India. Before this, the online streaming platform broadcast a censored version of the film “Angry Indian Goddesses” despite releasing uncut versions in other countries. Later, Netflix released the original version after receiving user complaints.

Considering that several series and films containing violent and sexual content are already available to Indian audiences on OTT platforms, censoring scenes containing pig meat, for instance, appear ironical to viewers. Netflix is known to make bold statements with its content, especially with shows like “Sacred Games” that were criticised for being Hindu-phobic .

Several users commented on Twitter that they will cancel their Netflix subscriptions if it continues censoring shows for India. Users are enraged that the platform is giving in to restrictive pressures.

In response, Netflix tweeted “Netflix remains sensitive to the preferences, needs and local regulatory requirements in the markets where we operate. We comply if we receive written legal demand by the local governing authority.”

Further investigation reveals Netflix is streaming the show that initially premiered on History TV18 in India. History TV18 is a joint venture between the A+E Networks-owner of History Channel-U.S. broadcaster of Vikings and Reliance Industries. The channel blurred out the images of two cooked pigs in the episode titled “Murder Most Foul,” the sixth in the Nordic drama series. Netflix is airing the Indian TV-approved version of Vikings because it’s the only one with Hindi-language subtitles and voice dub which helps Netflix to create a wider regional and local reach for the show.

Netflix’s censorship in India is otherwise more subtle. Based on a report in Medianama , Netflix lawyers urged Hasan Minhaj to not show a map of Jammu and Kashmir on his show “Patriot Act,” asserting that they’d be sued if he did so. Minhaj complied to the request. In another instance, it backed out of buying a film called “Sexy Durga,” presumably to steer clear of backlash and criticism from Hindu viewers.

India’s Information and Broadcasting Ministry is mulling censorship regulations for at least a year. The industry remains divided over implementation of censorship on OTT platforms. According to Krish Arvapally, co-founder, President and CTO of UNREEL Entertainment, “Such a move could creatively limit content creators, economically hobble young media businesses, and in a socio-political sense, it could set troubling precedents on what can and cannot be shown or communicated to the general public.”

Regardless of the government’s decision, it appears that OTT platforms such as Netflix are increasingly taking initiative to adopt self-censorship in India based on their assessment of offending cultural content.

Anti-Racism Debate on UK TV Shows

Fri, 17 Jul 2020 04:37:00 GMT

The impact of George Floyd’s death in Minneapolis is reverberating across the world. In the entertainment industry, the incident and subsequent movement are compelling broadcasters in many countries to reassess available content for racially insensitive material. In the UK, an episode of the 1975 comedy sitcom “Fawlty Towers” was temporarily removed from BBC owned UKTV’s streaming service as it contains offensive racist language. Scenes show an exchange between characters Major Gowen and his female friend where they refer to Indians using the ‘N-word.’

In a statement , UKTV said “The episode contains racial slurs so we are taking the episode down while we review it. We regularly review older content to ensure it meets audience expectations and are particularly aware of the impact of outdated language. Some shows carry warnings and others are edited. We want to take time to consider our options for this episode.”

John Cleese, who plays Basil Fawlty in the series has slammed the move as “cowardly and gutless” and accused the BBC of trying to appease a few people. In a statement on Twitter he said “I would have hoped that someone at the BBC would understand that there are two ways of making fun of human behavior. One is to attack it directly. The other is to have someone who is patently a figure of fun, speak up on behalf of that behavior.”

The episode remains available on other streaming platforms like Britbox, also partly owned by the BBC with the guidance of “contains some offensive racial language of the time and upsetting scenes” and Netflix where it carries the warning “Language, discrimination.”

Another popular British comedy “Little Britain,” released on television in 2003, was removed from the iPlayer and Britbox platforms by the BBC due to the spotlight on racism. The show contains parodies of everyday life in Britain and has long received criticism for its portrayal of black and Asian characters by using blackface – a concept where nonblack actors use dark makeup to represent a caricature of a black person.

Creators of the show, Matt Lucas and David Walliams have publicly apologized and expressed regret for doing roles in which they played characters of other races using blackface. “Come Fly with Me” – a mockumentary series created by the duo that released in 2010 has also been taken off Britbox and BBC iPlayer for its use of dark makeup by white protagonists.

Netflix meanwhile, has removed “Little Britain” and “Come Fly With Me” from their list of catalogue offerings in addition to other British comedies like “The League of Gentlemen” and “The Mighty Boosh.” Netflix has not commented on cutting these shows, or if they will be available in the future. It is assumed this was done for the reasons of white actors essaying roles of people of color.

In contrast, ‘’The League of Gentlemen’’ and ‘’The Mighty Boosh’’ remain available on BBC iPlayer with the BBC director general Tony Hall stating “We are constantly assessing whether things feel appropriate. Using art, film, comedy, whatever, to help put context on the way that people thought, the way they behaved, and make that come to light now, and help us with the issues we’re currently dealing with, I think is really important. We all need that context and we need that history.”

‘‘Saturday Night Takeaway,’’ the British comedy where creators Anthony McPartlin and Declan Donnelly impersonate people of color using dark makeup and prosthetics to prank celebrities. McPartlin and Donnelly requested the broadcaster ITV pull the show from its offerings.

Netflix and BBC in a bid to act swiftly in the wake of the George Floyd incident, remain at odds on which shows to censor. Conversely, actors such as John Cleese believe that satirical shows tackle racism rather than promote it and should not be subjected to censorship. The decision by streaming services to remove material featuring racist depictions, though haphazard, is generally welcomed by artists of color in a number of countries including Australia . However, many also think it is ultimately a simple move that should not preclude the services from the more meaningful work of investing in additional diverse stories.

HBO Max Removes “Gone with the Wind”

Fri, 10 Jul 2020 04:22:00 GMT

HBO Max, the newest incarnation of the channel’s popular streaming platform, has removed “Gone with the Wind” (1939). This, the company claims, is because it portrays “ethnic and racial prejudices” that “were wrong then and are wrong today.” The film, based on the Margaret Mitchell novel set during the American Civil War, is about a slave-owning family who retain the loyalty of their slaves after the war has ended and slaves are freed. It was first released to streaming in March 2020.

“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” said John Ridley, the Oscar-winning screenwriter of “12 Years A Slave.”

Hatti McDaniel, who played Mammy in the film, was the first black actress to be nominated for and win an Academy Award for her role. The movie won 10 Oscars and was one of the highest grossing films of its time.

But does that make it a staple of American filmmaking, or is it time to take a long, hard look at what is allowed on streaming platforms? “Gone with the Wind” stands high on the Rotten Tomatoes scale at 91%, and has a G rating. This means it has been deemed acceptable for audiences of any age. By removing it from their streaming platform, HBO Max is not only calling out a film that “glorifies the antebellum south,” but is raising an important question about how films are rated.

In his Los Angeles Times op-ed , John Ridley asserts, “I would just ask, after a respectful amount of time has passed that the film be re-introduced to the HBO Max platform along with other films that give a more broad-based and complete picture of what slavery and the Confederacy truly were.”

“At a moment when we are all considering what more we can do to fight bigotry and intolerance, I ask all content providers review their libraries and make a good-faith effort to separate programming that might be lacking in its representation from that which is blatant in its demonization.”

Some have strongly protested HBO’s actions and proclaimed their support for the film by propelling its DVD edition to the top spot on the Amazon’s online sales charts. Megan McCain, TV host, expressed shock and dismay at HBO’s decision, tweeting, “Are we going to pull all of the movies in which women are treated as sex objects too? Guess how many films we’ll have left? Where does this end??”

According to Forbes, “Gone with the Wind” is not retired from HBO Max forever, but instead “temporarily removed…with the intent on returning it alongside contextual content.” The film is expected to return to the streaming service at a future date with an introduction from Jacqueline Stewart, a Turner Classic Movies host and professor in the Department of Cinema and Media Studies at the University of Chicago.

Content Stands Tall By Getting Shorter

Fri, 03 Jul 2020 04:39:00 GMT

According to PWC’s M&E outlook for 2018-2023, the U.S. entertainment marketplace is expected to reach more than $825 billion. The report includes revenues from a wide range of sources, including global content creators (Disney, Warner Bros., Starz, CBS, AMC, etc.), multichannel video programming distributors (Comcast, AT&T, Verizon, etc.), digital stores (Apple iTunes, Amazon Prime, Google Play, etc.), and streaming platforms (Netflix, Amazon Prime, YouTube, etc.). In total, these segments represent approximately one third of global revenue in this category. This also considers increasing adoption of various access options, like AVOD, DTC subscription-channels, and SVOD. Given the paradigm shift away from traditional programming forms and access methods, it’s hard not to wonder if there is such a thing as “nontraditional” anymore.

Industry growth is particularly relevant to the rapid evolution of short-form programming. Traditionally relegated to the chaotic “User Generated Content” category, this format now spans highly scripted, carefully produced shows from the likes of Quibi, Netflix, and YouTube. Short-form content also includes promotions, stunts, material repurposed from longer-form linear broadcasts, and a variety of other subjects. Like the variation found in the content itself, programming lengths vary widely, but most industry participants see higher production quality content at 8-15 minutes, though that can be higher or lower depending on platform, show-type, or distribution bias (i.e., daily entertainment news, a reality-show primed for any platform, or a premium weekly scripted show with named talent and viewing experiences tailored to smartphones).

As short-form content propels on to the main stage of consumption, Spherex has been tracking trends and insights along its trajectory. Through an innovative partnership with a major network, Spherex tracked premium daily and weekend shows to understand the distribution of short-form content freely available on the network’s website, as well as via YouTube in comparison to the shows’ linear broadcast segment. In this case, short-form is defined as between 2-6 minutes in length and derived from the network’s long-form formats, i.e., 45-60 minutes per episode. These shorts represented a category mix of popular news content and late-night-interview format shows.

Over a period of one month, Spherex Monitoring found 30-70% of the broadcast content was also freely available in short-form-version, either via owned-and-operated properties or via the network’s managed YouTube channel. The high availability of short segments signals strong acceptance that short-form content is an integral component of promotional and distribution strategies. The plan appears to be “we’ll air programming over linear broadcast; and then in a controlled way, release segments across our online presence.” Spherex’s analysis revealed both anticipated and surprising findings.

Programming teams normally expect between 25-30% of content runtime to potentially reappear in corresponding short-form versions. The fact that as much as 70% of runtime overlap occurred between specific shows and their segment-based online programming provides evidence that a staggering amount of viewing is now being presented ‘off-network.’ If such an elevated amount of content is being made regularly available online, there is little incentive for audiences to consume shows via traditional networks channels.

Additionally, on any given day, the distribution footprint of snackable ‘give-away’ programming on ‘YouTube Channels’ as compared to ‘Owned and Operated’ properties is highly unpredictable. More than half of the time, there is at least a 30% variation in total content runtime between these two channels, and a quarter of the time, the difference was more than double. On average, slightly over 8 clips are presented per show on any given day. The YouTube channel often had a wider selection of content; sometimes presenting double the number of short-form clips.

Financial considerations also arise when significantly more than planned or expected viewing is occurring via third-party channels as compared to direct online properties. In this situation, external entities are disproportionately benefiting from advertising revenue and not sharing detailed viewing habits. Content owners are also incurring ongoing administration overhead for their personnel to edit/post/maintain high volumes of short-form clips. Additionally, YouTube continues to attract large numbers of highly engaged fans who will sometimes upload an entire long-form show before short-form clips are even made available for distribution. Such actions clearly must be subject to take-down notices, but are these notices being issued and being acted upon in a timely manner? Clearly a better solution would be for more expedient posting of officially released clips.

Spherex’s study highlights how the growing reliance on short-form content places pressure on content owners. For example, how aligned are internal stakeholders on the promotions and distribution strategies being employed? Are these strategies being comprehensively monitored to ensure compliance across high profile shows and networks? Are underlying return-on-investment models for promotional content being negatively affected by lack of cross-channel performance data? What are the systemic operational issues that need to be addressed? These are just a few of the many ongoing questions related to the need for monitoring short-form content by the Media & Entertainment industry as this exciting form continues to gain popularity.

Netflix: Back 2 Censoring the Future

Thu, 25 Jun 2020 23:58:00 GMT

Flying DeLoreans, stolen plutonium, and pornographic magazines might seem like classic tropes from an episode of the adult animated science fiction sitcom , “Rick and Morty.” But those images are from the 1985 film, “Back to the Future.” The 1980s was an interesting time, particularly for movie goers. Are you hungry? You can have bowls of monkey brains for lunch in “Indiana Jones And the Temple of Doom.” Do you enjoy animated musicals? Check out Jessica Rabbit’s sensual performance in “Who Framed Roger Rabbit?” Are you looking for love? I hear ghosts are giving oral sex in “Ghostbusters.” By today’s age ratings standards, it’s shocking these films were featured in theaters with a PG rating. Back then, audiences had a much different perspective on what they considered lewd and offensive.

Younger generations are getting a ‘taste’ of that perspective as content streaming platforms present older programming. Consider Millennials watching “Tropic Thunder” and, for the first time, witnessing blackface. Robert Downey Jr. plays Kirk Lazarus: a white actor, playing an Australian actor, playing a black man. They might find it difficult to know what to think: is it a brilliant satirical take on Hollywood hubris or extremely insensitive and offensive? “Tropic Thunder” cannot be broadcast on TV without heavy censorship. Enter Netflix- it’s a no-brainer for it to present films and programs from years’ past. However, when Netflix acquired the licensing rights for the “Back to the Future” Trilogy, it caught flak from consumers who spotted a revision to the cult classic’s second installment.

Omitting or including additional content after a theatrical release is common practice for most studios. Consider 1995’s gangster classic “Casino” with 422 f-bombs and several other contentious scenes not appropriate for television airplay. When audiences watch “Casino” on TV, the experience is more comical than an episode of “Golden Girls.” It just doesn’t translate well. Disney rereleased 2018’s “Deadpool 2” back in theaters as “Once Upon a Deadpool” with a PG-13 rating and featuring 20 minutes of completely new footage, though it is a censored version. Unrated versions or director’s cuts can be released alongside the theatrical version to appease audiences who crave racy content. Similarly, Netflix gives its subscribers the option to see the 2015 theatrical release, “The Hateful Eight” or the extended, four-part mini-series version.

“Back to the Future 2” fans voiced concerns over social media about an omitted scene. Marty McFly sneaks into Mr. Strickland’s office to acquire Biff Tannen’s confiscated Sports Almanac magazine from the future. After locating the magazine, the scene cuts to Marty rifling through the pages, only to realize the Sports Almanac had been swapped with Biff’s smut magazine titled “Oh Lá Lá.” Netflix released a cut of the film which omitted footage showing the cover of the magazine but left in the other pages of women exposing themselves.

Jason Ingolfsland’s article claims “Back to the Future 2” was edited by Netflix and released for the U.S. on its streaming platform. More recently, Philip Palermo states that Netflix swapped out a censored version of the film after fans and screenwriter Bob Gale noticed the change. Gale expressed his discontent to The Hollywood Reporter asserting that the version available on Netflix was “a foreign version which neither director Robert Zemeckis nor I even knew existed, for some country that had a problem with the “Oh Lá Lá” magazine cover.” Gale insisted he asked Universal Pictures to destroy that version of the film but doesn’t blame Netflix. He continues “the issue stems from the version Universal supplied to Netflix, rather than the streaming company actively trying to alter the film.”

In fact, Netflix doesn’t edit films it receives from studios, and only streams content made available to them; they’re essentially “blameless.” Gale suggests fans focus frustration at Universal Studios. Thankfully, “Back to the Future” fans can rejoice as Netflix added the unaltered original version of the film back onto its platform. Though Netflix has not released an official statement or commented on the matter. In the future, Biff won’t need to hide the pages of his Oh Lá Lá magazine from Mr. Strickland, he’ll just swipe right on Tinder .

Nintendo Switch Releases a Violent Game With “E for Everyone” Rating

Fri, 19 Jun 2020 03:16:00 GMT

There are many different video games to choose from, but they all must receive an age appropriate rating before being sold. As with movies and television shows, parents want to know what they are purchasing for their children. Ratings help them know exactly what they are buying and how that content is consumed. So, it was surprising Nintendo Switch released the indie game “Do Not Feed the Monkeys” in North America with an “E for Everyone” rating.

For consumers based in North America, ratings are provided by the Entertainment Software Rating Board (ESRB) which has provided ratings for video games since 1994. Its current ratings system is “based on an analysis of other rating systems and what kind of information is valuable to parents,” and considers both the age of the ideal consumer and specific aspects of the game that might contribute to a higher rating. European ratings are provided by the Pan European Game Information (PEGI).

ESRB Ratings, Image Courtesy of Nintendo Life

PEGI Ratings, Image Courtesy of Ask About Games

“Do Not Feed the Monkeys” is centered around the act of voyeurism and complete with scenes featuring nudity and sexual content and even has a demo available for download. Quickly following its June 1 release, Alwar, the game developer, addressed this mishap on their Twitter page:

“As some of you may know, we intended to release “Do Not Feed the Monkeys” on Switch today. Unfortunately, we had to change the ratings. We are waiting for the rating update to be tested, and we’ll be able to release the game after that. Sorry for any inconvenience!”

As of June 5, the North American eShop took the game down with a new release date yet to be determined. Nintendo has since released a new M (17+) rating in North America. The game, which has “content not appropriate for all ages, or may not be appropriate for viewing at work,” received a 12 for European audiences.

“Do Not Feed the Monkeys” is visible on Steam and Google Play with a Mature (17+) rating.

Parental Control Vs. Age Ratings

Fri, 12 Jun 2020 05:10:00 GMT

As Covid-19 concerns persist and stay-at-home/social distancing continues, it’s difficult to find a single industry unchanged. Even streaming companies, most of whom just gained a bevy of new subscribers, have changed their services. In early April Netflix dropped streaming quality in order to ease overworked broadband servers as people increasingly plopped down in front of the TV to escape the current state of things. In addition, the streaming company announced that they will alter specific elements of the parental control features. Among the changes-in addition to rating-is a new capability to filter based on titles . Though the broadband restrictions are easing as the pandemic limitations ease, the filter settings are the new standard.

The shift is an interesting one. On the one hand, it seems an obvious move: every child is different, and not all of them are going to be able to handle the same thematic content. On the other, shouldn’t that be covered under ratings?

Most Netflix territories allow self-rating with government-determined age ratings for the video-on-demand content offerings. For countries with vague local ratings a generic set are used, usually ALL, 7+, 13+, 16+, 18+. The first two are defined by the FAQ as appropriate for “little kids” by the FAQ. For the U.S., TV-Y, TV-Y7, G, TV-G, PG, TV-PG are considered “kids” ratings. With all those options, the ability to tag specific titles as inappropriate for specific children regardless of rating seems like an acknowledgement that age-based ratings aren’t the panacea of what’s appropriate for children. Parents have known this for years: not every episode of Darkwing Duck is good for every kid. But with the spread available, you’d think that would mean particularly borderline episodes would just get bumped up a notch—from ALL to 7+, for example, allowing the parents of sensitive children to only allow shows rated ALL and be done with it. But what’s a 7+ for one parentis a 13+ for another. And ratings only cover so many of the sociocultural differences that go into age appropriateness.

Some differences are obvious

Singapore, in the latest iteration of its video-on-demand code of practice , specifies that films with content involving homosexuality must be rated at an NC16 or above. If the content is board-rated, they flag such themes with a specific content advisory, just like they would violence or sexuality. In contrast the British Board of Film Classification specifies that all content is rated without considering sexuality . A sitcom with minimal profanity, no sexuality and no violence but where the two main characters are a happily married gay couple might be rated PG in the UK—and up to R21 in Singapore.

The MPAA’s treatment of the “f-word” is the stuff of legend. Excepting extreme circumstances, there’s one allowed per PG-13; two is borderline and anything more than that results in an immediate R for coarse language. Lower ratings have similar rules for language: when “ Detective Pikachu ” featured a halfway uttered “sh*t,” that represented a loosening of those rules, which traditionally didn’t allow harsher expletives at a PG. TV stations will (mostly) bleep any profanity at a PG level, and even shows like the notoriously violent “24” only had one use of the “f-word.”

In Europe however, profanity isn’t usually even a consideration when assigning an age rating. Netherlands’ rating system, Kijkwijzer, explicitly states that there isn’t any rating associated with profanity, though it is used as a content advisory. In part, the system states that the science around when children pick up profanity is fuzzy, and while a younger child imitating what they hear on TV might be harmful, it’s difficult to know specifics. It’s widely recognized how common profanity is, particularly in older teens, and different parents have contrasting opinions on who can say what, so it’s difficult to legislate. Similarly, Germany and France don’t particularly concern themselves with language alone. Though specific uses of the “f-word” might bump the age (anything used aggressively or sexually, for example), there are no definite rules. A character stubbing their toe and using that top-tier expletive wouldn’t raise eyebrows—or ratings. In the U.S., though that alone is enough to nab a PG-13 .

Subjects like violence or sexuality are trickier. An explosive car crash with a driver sitting on the side of the road, forehead injury oozing blood, is a G in one country and a 12 in another; a couple kissing passionately in the back of a truck overlooking the city can get anywhere from a G to an 18 depending on the region. Even graphic sexual references receive a lower rating if they’re educational or comedic, depending on what country you’re distributing to.

This may seem to undermine the point of age ratings: after all, a 13-year-old in Singapore is the same as a 13-year-old in Mexico. But that assumption relies on a similarity of culture, particularly culture with regards to taboo subjects that frankly does not exist. The U.S. culture around profanity, for example, is unique. An American couple allowing their children watch Netflix in the Netherlands, then, should expect to hear a lot more cussing at a 7+ than ever allowed at that U.S. age rating and might want to appropriately adjust their filtering settings. That could mean not allowing any rating higher than the very lowest, but with the new options that could mean filtering content parents find specifically harmful and not eliminating the rest. Unfortunately, the reverse is not yet true: it’s not possible to set the child’s account only allowing TV-PG and below, except for a set of titles the parents choose. A Dutch couple who moves to the U.S., then, is stuck with the U.S. rules regarding profanity. rules regarding profanity.

Assumption of accuracy

Of course, that’s assuming the titles are rated correctly. With Netflix rating its own original content and spending the bulk of its budget on creating that original content, correctly rating each episode (or series) for each territory’s cultural expectation is more difficult. That includes what ages the country in question uses for its ratings. Not all countries care about the same thing, and not all countries care about the same age groups seeing the same things. Netflix’s new series “ Hollywood ” is a great example of this: the miniseries is rated TV-MA in the U.S., and though several episodes have nudity and sexuality, the reason for that rating is the frequent use of harsh profanity. Given the U.S. rules for content classification, that’s a correct rating.

The Dutch rating for the same series, however, is a 14, a relatively new rating , reserved at present for theatrical content that’s too intense for the usual 12 and not at the level of a 16. That’s where things get distorted: there’s sex in the show, and certainly adult themes, along with nudity, some of it sexual. But the violence is minimal, and heavily discouraged. The Kijkwijzer system rates violence much more strictly than it does sexuality, but even “ 1917 ” and “ Jojo Rabbit, ” both relatively violent war movies, were released at a 12+ in the country. “ The Danish Girl, ” which has fully nude characters and graphic sex scenes, got the same rating. Given that, is a 14 the most appropriate rating for “Hollywood?” If not, does it make more sense given the updates to the parental controls to drop the rating for countries where it ought to be dropped, and let parents make their own choices?

That’s if the ratings are correct. South Africa’s official rating system for television involves PG, 7-9PG, 10-12PG, among others. Netflix uses its standard system of ALL, 7+, 13+, 16+, 18+. Given those differences, it makes sense to allow parents to more finely tune their children’s ability to view content.

Complexity of ratings

With the difficulty of identifying the appropriate age ratings (no mean feat in some countries), then identifying the specific rules associated with those ratings, and then figuring out how to apply them, adding additional ways for parents to filter content is the most expedient option. After all, age ratings exist to ensure that children are protected from harmful content. The additional ability to filter out specific titles only assists in that aim—and as streaming video-on-demand becomes commonplace, more tools are sure to come.

Disney+ Pixar Short Features First Gay Main Character

Thu, 04 Jun 2020 23:09:00 GMT

The Walt Disney Co. might be new to the streaming game, but it is not new to representing the LGBTQ community in its content. It’s latest piece , streaming exclusively on its Disney+ platform, is called “Out.”

“Out” is part of Disney’s SparkShorts series, which showcases independent projects from some of Pixar’s big-name animators. This story focuses on Greg, who is nervous about coming out to his family. When they show up at his house to help him and his boyfriend move, he does everything possible to keep them from discovering his secret.

Past Disney projects received generally positive reviews for including LGBTQ characters, such as LeFou in “Beauty and the Beast” (2019) and Officer Specter in “Onward” (2019); however, even these supporting roles resulted in specific countries banning the movies.

Disney Pixar’s 3D-animated fantasy “Onward,” was banned in multiple Middle Eastern countries due to a brief reference to a lesbian relationship. The passing LGBTQ reference occurs as the elf brothers discuss parenting with two female police officers. One of them is a purple cyclops named Specter, who’s voiced by Lena Waithe and is, according to the studio, Disney’s first openly gay character. Specter tells “Officer Bronco,” “It’s not easy being a new parent. My girlfriend’s daughter got me pulling my hair out, okay?”

The experience has not deterred Disney and the studio decided to push the envelope by introducing a lead gay character in “Out.” However, since this is a short and is available on video platforms rather than as a theatrical release, Disney faces a lower risk of regulator censorship due to the distribution method.

Meanwhile, according to a popular fan site, Just Jared , “Many fans are raving about the new short on how relatable it is, and how it will be so helpful for many young kids to see.”

Other admirers of the short took to Twitter with appreciation and hope viewers (parents, children, and everyone in between) are reminded that love is a universal language.

“Out” was released Friday, May 22, 2020, and is available to stream on Disney+.

Japanese Influence on Hollywood

Fri, 29 May 2020 03:14:00 GMT

Japan, famously known as the “Land of Rising Sun” is located at edge of the Asian continent. From China’s perspective, it creates the illusion that the sun rises from Japan. Its citizens call their country “Nippon” or “Nihon,” which literally translated means “source of the sun.” Contemporary culture is a combination of influences from Asia, Europe and North America. Although for most of the population, Japanese is their first language, it’s mandatory to study Japanese as well as English in school. The country is famous for its code of etiquette, rich culture, cuisine, cherry blossoms and its anime and movies.

Although Hollywood inspires some of the major film industries in Africa and Asia , Hollywood filmmakers have long been inspired by Japanese content. Japan has one of the world’s oldest and largest film industries; producing well-respected films since 1897. The best example is “Godzilla,” released in 1954. Two years later, in 1956, the heavily re-edited American adaptation (referred to as an “Americanization”) “Godzilla, King of the Monsters!” was released in the United States.

Did you know “Star Wars,” “Avatar,” “The Matrix,” “The Lion King,” “The Magnificent Seven,” “The Ring” and rock band Kiss all have one thing in common? The characters and plots are inspired by Japanese cinema and art.

“Star Wars” was influenced by “The Hidden Fortress” and “Seven Samurai” directed by Akira Kurosawa. George Lucas not only borrowed the storyline but also heroic scenes by Jedi’s wearing long Japanese Buddhist monk-influenced robes and cloaks. The term “Jedi” is derived from the Japanese jidaigeki, meaning period drama. Whereas Darth Vader’s costume and helmet were inspired by Japanese warlords’ uniform and headwear.

“The Magnificent Seven , ” released in 1960 is an adaptation of Kurosawa’s 1954 epic film “Seven Samurai.” It tells the story of a village of farmers who hire seven Ronin to fight bandits planning to steal their crops. James Cameron’s “Avatar” was inspired from Japanese director and manga artist Hayao Miyazaki’s “Princess Mononok.”

Like movies, animes also greatly influence western culture. Anime’s influence in Japan introduced a new subculture, otaku , which includes role-playing, gaming and cosplaying. Anime is a combination of graphic art, characterization, cinematography and other creative techniques. Contrary to popular belief, anime is not only for children; often the themes are adult. Many Hollywood movies are adaptations of anime.

“Inception” is thought to be inspired from the Japanese anime “ Paprika ” directed by Satoshi Kon. The plot differs but the idea is similar, where with the help of a dream machine, the therapist can enter others’ minds and can change them. It also deals with concept of reality versus virtual reality. “The Matrix” is inspired by “Ghost in the Shell,” a tale of a hacker in a world of futuristic cyborg agents. The action scenes, style and setting are similar though plot differences exist.

Filmmakers worldwide are inspired by Japanese movies and animes because the characters are strong and powerful which audiences admire. Besides characterizations, storylines are intriguing. Anime appeals to both young and old. They can be about drugs, grief and loss, abuse, mental health issues, revenge and wars. With such a wealth of content, Japan has become a pop culture superpower . It has a lot of rich ideas to offer and the Hollywood adaptations make it more accessible to audiences all over the world.

OTT Platforms Challenging Ideologies in India

Thu, 21 May 2020 23:42:00 GMT

Russian writer Yevgeny Zamyatin published “We” in 1921. The story follows the totalitarian society, One State, its architecture is made-up almost entirely of glass. The citizens are under mass surveillance and society functions strictly by logic and reasoning which justify the common law . The book is as contentious now as it was when it was released. The fallout after the novel circulated forced Zamyatin to move to Paris as his career in Russia was declared dead. He was blacklisted in his homeland. Though he eventually died penniless and in poverty, “We” is considered one of the greatest Dystopian masterpieces.

So, what is it about Dystopia that makes people-particularly those in power-so uncomfortable? In many ways, Dystopian stories are political satires that explore possibilities of what can go wrong in that environment.

In 2019, Netflix India released “Leila,” based on the book of the same name by Indian journalist and novelist, Prayaag Akbar. The story follows a woman named Shalini in her quest to find her daughter, Leila, kidnapped by a totalitarian regime. The regime known as Aryavarta is controlled by supreme leader, Doctor Joshi, who rules with an iron fist. People are segregated based on their religion and forbidden to mate beyond the confines of it. Those who do not obey the law are punished and children of those unions are forcefully taken away. The series contains considerable imagery and symbolism derived from Hinduism.

So, it was not unexpected when far-right Indian organizations started striking out at the series, calling it ‘Anti-Hindu’ and accusing it of spreading #Hinduphobia, which went on to become a Twitter trend.

“Leila” dares to ask uncomfortable questions.

Netflix India’s horror offering, “Ghoul” released in 2018, follows characters in a not too distant future overtaken by sectarianism. In this story, words like ‘anti-national’ are used openly to label anyone daring to challenge the State’s authority. While the central plot focuses on the dark mysteries of one detention facility inmate, the sharp political jabs asserted throughout hit their mark. The world of “Ghoul” is one where intellectuals are routinely rounded-up, heckled and profiled. A time where literature is contraband and book burning the norm; a grim projection of what can be.

The need for Dystopian content is now. When Yevgeny Zamyatin wrote “We,” sealing his own fate, he bravely set out to question Stalin and his policies. When objections are raised about a fictious regime in “Leila,” citizens ought to question why .

Singapore: Political Depictions in Film

Thu, 14 May 2020 04:38:00 GMT

Singapore is the world’s fourth strongest financial market with the highest concentration of millionaire households. Evolving greatly from its humble beginnings, the tiny island nation is one of Asia’s richest and most robust countries. Singapore has the second highest per capita gross domestic product. A highly economically developed country, it hosts a rich cultural heritage. Tracing its roots back to the third century, Singapore has witnessed civilizations, wars, foreign occupation and liberation before finally emerging as a powerhouse.

In contrast to its potent modernization is Singapore’s occasional conservative approach toward arts and culture; some domestic films and foreign-produced movies are banned. Politically charged content is particularly sensitive and Singapore takes a cautious approach to content and entertainment classification. The country’s classification watchdog, the Info-communications Media Development Authority (IMDA) is especially mindful of government’s preferences.

Here are a few landmark movies about Singapore and its political history.

“To Singapore with Love” directed by Tan Pin Pin (2013)

The documentary features nine exiled Singaporeans who leave their country during the communist struggle of 1960s to 1980s. This period continues to be a very sensitive topic. The communist insurgency in the 1960s and the activities of the now defunct pro-communist Singapore Association of Trade Unions led to the killing and wounding of thousands of people in Malaysia and Singapore. It is a dark chapter in its history . Tan Pin Pin’s documentary “To Singapore with Love” features the communist perspective. The IMDA banned the movie stating it threatened Singapore’s national security as the people featured provide a distorted and untruthful account of the circumstances.

“1987: Untracing The Conspiracy” directed by Jason Soo (2015)

Though not prohibited, the documentary depicts the arrest of 22 alleged Marxist conspiracists and under Singapore’s Internal Security Act (ISA) was rated R21 without it featuring violence, drugs, nudity or LGBTQ content. Filmmaker Jason Soo appealed for a much lower rating of PG13. The rejection of the PG13 rating appeal was justified by The Films Appeal Committee (FAC) which stated that, “The selective use of excerpts from newspaper reports and television programs featured in the film did not provide a balanced account of history. Instead, they appeared to reinforce the one-sided narrative of the former detainees. As maturity was needed to understand the context within which the information was being presented, the FAC felt that the film would be more appropriate for mature viewers above 21 years old.”

The laws of the land define freedom of expression. It is possible while countries might not agree with what can be expressed lawfully, it is important to understand why. Under Section 33 of the Films Act, the making, importing, distribution or screening of a “party political film” is banned, but films which meet certain criteria are excluded from this prohibition. Some politicians have noted that there has been “greater interest in different interpretations of Singapore’s history” in recent years and called for historical events of the 1950s and 1960s to be reexamined for “multiple but fair interpretations.”

For now, the government upholds that party political films continue to remain an offense under the Films Act, as they risk harming political discourse. While the government acknowledges there are differing accounts of Singapore’s formative events, it also feels the need for safeguards preventing distortion and misrepresentation of facts. Its government believes Singapore continues to strike the right balance between freedom of speech and protecting citizen interests.

Cultural Landscape: Thailand

Wed, 06 May 2020 02:24:00 GMT

Thailand is a melting pot of different people and cultures. At present, over 52% of the population resides in cities. Primarily a Buddhist country, about 94.6% of its citizens follow the Theravada tradition and the remaining 4.3% and 1.1% observe Islam and Christianity respectively .

While Thailand is more open and welcoming than other Asian countries, it too, has points of cultural sensitivity. Presented below are a few examples of its conservative side.

Respect for Buddhism

Religious respect is deeply rooted in Thai culture. Buddhism and its belief symbols are revered, and any gesture of disrespect is unacceptable by person or in media. In 2015, the Thai Culture Ministry banned horror movie “Arbat” citing contempt for Buddhism. The movie depicted Thai monks engaging in misconduct including drinking, consuming drugs and having improper relations with women. Moreover, the Thailand Film Censorship Board stated that some scenes disrespected Buddha.

This is not an isolated incident. Over the years, the Board banned several films it deemed disparaging to Buddhism and Buddhists.

Political Sensitivity

Thailand is quite politically sensitive and films with political content undergo cautious scrutiny in the country. Consider the 2012 film “Shakespeare Must Die.” This adaptation of Shakespeare’s play Macbeth was banned by the country’s culture minister citing it would “cause divisions between Thai people” due to its underlying references criticizing Thai politics and monarchy through characters such as a dictator named Dear Leader. In “Symmetry of Splendour,” the independent filmmaker did not release this film in Thailand in fear of government reprisals due to its references to the 1965 military crackdown, albeit it received critically acclaimed reviews around the world.

Moral Sensitivity

The film “Syndromes and a Century” also received global critical acclaim. However, the director, Apichatpong Weerasethakul pulled the release rather than comply with the Thailand Film Censorship Board’s demand that four scenes be cut. Those contentious scenes depicted characters kissing and using alcohol and Buddhist monks playing the guitar and with a remote-control toy.

LGBTQ Representation

The 2010 film about a transgender father, “Insects in the Backyard,” was banned for “violating the moral values of society.” This inspired the movie maker, Tanwarin Sukkhapisit to join politics and become the first transgender parliament member in the country. A seven-year-long legal battle for the movie’s release resulted in screening approval for audiences aged 20 and above after a three-second nudity scene was cut. Tanwarin Sukkhapisit also sought an amendment to the Film and Video Act to improve freedom of expression and better gender equality.

Thailand is a place of majestic natural beauty with a vital and varied culture. While change is potent and inevitable, Thai citizens strive to maintain traditions and preserve their heritage as they enter each new era.

STX Entertainment Merges with India’s Largest Film Studio

Wed, 29 Apr 2020 07:39:00 GMT

STX Entertainment is merging with Eros International, India’s largest film studio, after a “trying year,” according to Variety , and will henceforth be known as the Eros STX Global Corporation. In 2019 viewers saw some midbudget films from STX, including “Hustlers” and “Ugly Dolls.” The merger with Eros International will bring both studios into a higher financial bracket, currently slated around $300 million for future revenue.

What This Means

Merger specifics include a “stock-for-stock” and publicly traded, independent content. Eros STX Global is currently set to remain on the New York Stock Exchange, according to Yahoo Finance and will maintain offices in Mumbai and Burbank. The newly consolidated company will also have a new distribution presence in the United States, India and China.

As new content is created, existing partnerships with NBCUniversal, Google, Apple, YouTube, Amazon and Microsoft will expand. Eros STX Global Corporation 2020 slate consists of 40 feature films and over 100 hours of original episodic content.

Company Expansion

New team members are excited. Robert Simonds, the new Co-Chairman and chief executive officer, spoke with Variety about the now vast resources the companies have brought to the table.

“Together we will have the relationships, management expertise and resources to create new content and grow rapidly in the largest and most attractive global markets,” said Simonds. “On Day One, we will have the ability to tap into our significant combined libraries and draw upon our deep relationships with A-list actors, directors and producers across the globe to create even more compelling content for millions of consumers.”

As a combined entity, the company is excited about creating new opportunities in China. Although STX has had limited success in China, Eros aims to bridge that gap. Eros has a good track record in distributing successful Indian films in China. Eros India CEO Pradeep Dwivedi explains that “Asian sensibilities of movies are very different from American sensibilities. There is a certain understanding of the cultural ethos of China that we believe we can work with much better compared to STX.”

Content Expansion

Taking a cue from the ongoing success of super-hero films, the company is also keen on building franchises based on stories from Indian mythology , eliminating the socio-religious aspects and adapting them for universal appeal much like the DC and Marvel models.

While STX’s recent film releases have garnered some attention, this union with Eros will serve to strengthen their viewership. Eros Now, a popular streaming platform, brings in roughly 188 million registered users around the globe. This association will increase that market share.

The existing Eros Now platform deals with Indian content, it plans to soon launch a standalone English-language subscription based offering. In March, Eros announced that it had signed NBCUniversal to join this tier. STX content will follow.

Eros also has a new technology deal with Microsoft. As part of the tie-up, Microsoft will build an online video platform for Eros using Azure technology, which will offer interactive voice search features in multiple Indian regional languages. It will also create an AI-powered platform that will enable high-speed subtitling and translations of Hollywood content. This will be available to customers in price-sensitive mass markets like middle India, Africa, Latin America and migrant workers in the Middle East.

Eros STX Global Corporation plans to complete the merger by the end of second quarter, 2020.

India: Hotstar forgoes airing John Oliver’s Commentary on the Prime Minister

Thu, 23 Apr 2020 22:44:00 GMT

Censorship in media has long been a sensitive matter in India. This is especially true for political topics. Recently, India witnessed countrywide unrest triggered by passing a controversial citizenship law aiming to grant citizenship based on religion. The Citizenship Amendment Act or CAA has people in India divided over its constitutionality and apparent violation of the country’s secular foundation.

British-American comedian John Oliver expressed his own views of Indian current affairs on his HBO show “Last Week Tonight.” With US President Donald Trump making his first trip to India amid the prevailing unrest, John did not hold back in his criticism of Indian Prime Minister Narendra Modi.

In addition to Oliver’s comments on how the CAA and the proposed National Register of Citizen (NRC) would negatively affect millions of Indians, he also discussed Narendra Modi’s popularity and Donald Trump’s seeming fondness for him. The comedian spoke of the persecution of minorities, especially Muslims, under the Modi Government. Subsequently, John Oliver started trending on Twitter with numerous tweets asking people to watch and share the Modi episode.

However, not everyone was pleased. Disney-owned streaming platform, Hotstar, did not release the Modi episode in India. It was expected to be available February 25, 2020 and Hotstar did not comment on why it was not aired. The episode is available on “Last Week Tonight” YouTube page and has over 7 million views.

This self-censorship by Hotstar has been condemned in the expanding public conversation on freedom of speech and awareness of restrictions over OTT platforms. Conversely, the Information and Broadcasting Ministry, which oversees regulation of information, broadcasts, movies and the press in India, has denied any governmental involvement in any censorship talks .

Speculation is some OTT platforms are increasingly cautious with content in India to avoid government ire and to protect high public sentiment on the content currently available.

In 2019 numerous objections were raised over certain narratives in OTT entertainment. Among those caught in the crossfire was Netflix India original “ Leila .” Many called the show anti-Hindu and demanded it banned. “ Sacred Games ,” another Netflix India original had a FIR filed against it for a controversial mention of former Prime Minister of India, Rajiv Gandhi in 2018

As for “Last Week Tonight” and Hotstar’s silence over the Modi episode, it is safe to assume that prudence prevails.

Entertainment in the Philippines

Tue, 21 Apr 2020 23:28:00 GMT

Located around 500 miles off Asia’s southeast coast, the beautiful archipelago country of the Philippines includes over 7,000 islands. It is Asia’s largest Christian majority nation with a population of 93 million. Filipino society is shaped by nearby Japan and China as well as India, the Middle East and Borneo. It is also interesting to note major Hispanic influences in the country’s culture and ethnicity owing to its former colonial occupation.

English is the official language and is compulsory in schools. Unsurprisingly, English language literature and entertainment are quite popular. With over a thousand movie theatres, cinema is the most popular entertainment. The regulating organization, the Movie and Television Review and Classification Board (MTRCB), monitors the country’s content.

Keeping in mind that the Philippines culture is more West leaning compared to other Asian countries, exceptions exist on what is acceptable. The MTRCB raised concerns about the following films.

The Da Vinci Code (2006)

Before the Tom Hanks film release in the country, the Philippine Alliance Against Pornography (PAAP) appealed to the then-president, Gloria Macapagal-Arroyo against its screening. PAAP called the film “the most pornographic and blasphemous film in history.” The reason being that the film’s story, like book upon which it is based, suggests Jesus was married. The film’s screening was also opposed by the Roman Catholic population and the Muslim community citing blasphemy. Keeping popular public opinion in mind, the MTRCB gave “ The Da Vinci Code ” a R-18 rating.

Abominable (2019)

For those unfamiliar with the issue of the Nine-dash line, it is an undefined, vaguely located, demarcation line used by China for their claims over the major part of the South China Sea. This claim has been disputed by many countries for many years. So, when US-Chinese-made animated movie “ Abominable ” showed the disputed Nine-dash line map in support of the Chinese claims to almost all of the South China Sea, Philippines was one among many that objected. The board swiftly issued a statement that the film would be removed from the theatres.

Schindler’s List (1994)

The Hollywood cult classic came under scrutiny over a short sex scene with brief nudity. The board asked for objectional segments to be cut from the film. However, after director Steven Spielberg refused to make the cuts, the then-president, Fidel Ramos settled on a compromise. He decided to go forward with the release of Schindler’s List giving it an R-16 rating, forgoing any cuts.

As the top content regulating body, The MTRCB is responsible for monitoring television and film that might violate contemporary values. As a country, the Philippines often asserts its cultural and artistic openness, which its media reflects. It will be interesting to see how the Movie and Television Review and Classification Board adapts to that evolving societal expression.

Concerns About Content on Streaming Platforms

Thu, 16 Apr 2020 22:35:00 GMT

OTT platforms are steadily expanding their international presence. Content providers want to be relevant in local markets by connecting with audiences through content that is culturally relatable. Platforms want to engage consumers to not only passively watch the content but also to share, comment and debate. However, it seems in their quest to provide cutting edge entertainment to customers, OTT platforms in India are ruffling some feathers on the wrong side of the political spectrum.

When it comes to the official government stance, Indian Ministry of Information and Broadcasting has adopted a more cautious approach. Ministry officials are exploring ways to address the issue by inviting suggestions from industry stakeholders. While it is no secret that the current Indian government has strong nationalistic ideologies, so far it has kept a hands-off policy on OTT and refrained from regulating the industry. However, pressure from influential groups could see this change.

Some political organizations want to block content critical of the Indian standpoint on Kashmir or defamatory to Hindu symbols and the Indian Army. One of the shows criticized is “Leila,” which is set in a dystopian future where Hindu nationalism takes over in India. The series has received disapproval from some quarters for showing Hinduism in a negative light. The popular Emmy nominated series “ Sacred Games” is also accused of focusing on violence shown as the result of pro-Hindu sentiments.

For decades Indian broadcast and theatrical content has been censored . OTT streaming services are capitalizing on the freedom they enjoy outside the established regulatory codes by bringing content that is edgy and politically relevant to audiences. On the other hand, many think streaming content producers are taking far too many creative liberties in the absence of regulation.

It is possible a middle ground exists where viewers happily screen relevant creative content that maintains local sensibilities. Non-native content providers are not necessarily the best judge of local preferences and neither are governmental agencies always liberal. Finding a happy medium requires respectful discussion between industry stakeholders and regulators. For now, it appears India is following the democratic process of engagement between government and industry to identify collaborative solutions for the functioning of the OTT industry and this seems to be a step in the right direction.

The Culture of South Korean Entertainment

Tue, 14 Apr 2020 23:20:00 GMT

The land of K-pop, Korean Cinema and kimchi. South Korea is one of the most culturally exquisite countries in the world. During the past decade, the world has witnessed the phenomenal rise of the Korean Wave, dubbed as “Hallyu.” Global awareness and popularity of South Korean culture, entertainment and most significantly music is rapidly growing. Additionally, K-beauty has become a household topic of discussion as well. So, let’s discuss what makes the South Korean Wave such a success.

K-pop

K-pop refers to South Korean Pop Music and typically features boy bands and girl bands. The thing that makes K-pop unique is that it is a confluence of various genres of music like reggae, rap, electronic music and experimental rock. Dance is an important part of any K-pop act. Two of the most famous Korean bands, BTS and Black Pink, perform in front of global audiences and make countless appearances on mainstream Hollywood talk shows. BTS , known for their complex dance routines and spectacular live performances shot to fame with the No.1 single “Blood, Sweat and Tears,” the video garnered over 548 million views on YouTube alone.

K-Drama

South Korean entertainment first entered the global viewing space with television series or K-Dramas with hits like “Descendants of the Sun” (2016), “Boys Over Flowers” (2009) and “Winter Sonata” (2000). These series received great adoration for their stories and performances. A whole generation got acquainted with and later became a fan of K-Drama in the years to come.

South Korean Cinema

In 2020, the South Korean film, “ Parasite ,” made history when it won the Oscar for Best Picture. It is the first non-English movie to win Best Picture. Additionally, “Parasite” is a runaway international commercial success, collecting over $257 million. Director Bong Joon-ho showed the world that it is possible to transcend language and culture-things traditionally used to draw boundaries and separate. What “Parasite” shows us is that there are people just like us, just like those neighbors living down the street in their big house. The only difference is that these other versions are just on the opposite end of the world.

The secret behind the success and mass appeal of South Korean entertainment is its ability to present lives culturally and linguistically different, but which are familiar to our own.

Vietnam Cultural Resonance

Tue, 24 Mar 2020 05:40:00 GMT

On a recent trip to Hanoi, Vietnam, I booked a walking tour to explore the city. My guide was a young university student named Linh who came to Hanoi from a neighboring province a year earlier. As our group walked, Linh excitedly started talking about a TV series “8-Year-Old Bride” that was hugely popular in Vietnam. She further explained that the series was not produced locally, but rather in India. Curious, I decided to find out more about it.

Through research, I learned that the original show was the Indian soap opera drama “Balika Badhu,” which aired in Vietnam under the title “Cô Dâu 8 Tuổi” (“8-Year-Old Bride”). The show was aired from 2014 to 2017 and enjoyed immense popularity in Vietnam during its run—it was the No. 1 show in Vietnam since its premiere. In 2015, the show was the ninth most searched item on Google in Vietnam. It was so popular that when key actors from the show visited Hanoi for a promotional trip organized by Viacom 18 (the Indian production company that created the show), they were mobbed by fans. Some women even gave actors their jewelry as a mark of respect and adulation .

Fascination with a particular TV show outside its country of origin is not new. Some shows capture the imagination of and connect to large global audiences. The compelling aspect in this case, though, is the strong appeal of the show despite cultural differences. Indeed, “Balika Vadhu,” in which child marriage is the central theme, is quite an alien concept in the southeast Asian country.

While “Balika Vadhu” was a tremendously popular show, there is other content from India, Thailand and South Korea that resonates with Vietnamese audiences. Vietnam has a comparatively underdeveloped local content production industry, resulting in a large consumer appetite for imported content. Recently, many private studios and media companies have licensed foreign soap operas from neighboring Asian countries rather than producing their own. The audience ratings of foreign content are 3-5 times higher than those of Vietnamese programming, allowing more advertising revenues to flow into the country. Programming originated in Thailand and the Philippines perform particularly well because their people share common values with Vietnamese viewers, including family honor, respect for elders, and similar family or situational challenges.

Some of these foreign shows cater to the modern goals of the Vietnamese youth because they find them more attainable than the goals of Western societies. In the last few years, an entire subculture known as Hallyu – or “pop wave” — has emerged in Vietnam. Couples can be seen wearing His and Hers shirts, a practice that emulates what youths on popular soaps from South Korea are seen wearing.

As Vietnam teaches us, exporting culture – when done artfully and respectfully – deepens mutual understanding and respect among people of different nations.

Cynopsis Media Tech Update

Sun, 15 Mar 2020 22:00:28 GMT

Facebook announced product updates aimed at helping content creators build a business on Facebook. Noting that in-stream ad payouts grew over 55% from 2019 to 2020, the company shared new ways content creators can monetize Facebook, including making it possible for content creators to monetize all video types and testing sticker ads in Stories; updating in-stream ad eligibility so more video creators can access the program, opening access to in-stream ads for Live and expanding paid online events and fan subscriptions to more countries; and making it easier for creators to get access to fan support while growing consumer adoption via free Stars giveaways to viewers.

HBO Max is introducing interactive digital experience HBO Max Orbit at SXSW Online. The experience will respond to facial movements and voice prompts to allow viewers to interact with characters and stories in a personalized way, surfacing clips of HBO Max characters. “The pandemic has forced brands from all sectors to reimagine experiential marketing and devise new ways to engage and delight users with content,” said Jason Mulderig, SVP Brand Marketing, HBO Max. “HBO Max Orbit is an impressive technical feat, and we’re so pleased to use this technology to create fun, meaningful connections with people from the comfort of their homes.” SXSW Online takes place March 16-20.

TikTok is rolling out two new tools “to promote kindness” on the app . The first feature, Filter All Comments, enables creators to decide which comments appear on their videos. The second is a comment prompt that asks people to reconsider posting unkind or inappropriate comments. “Our goal is to promote a positive environment where people support and lift each other up,” said Tara Wadhwa, Director of Policy, TikTok US.

Conservative social media app Parler , kicked off Apple’s App store after the January 6 attack on the Capitol, tried and failed to get reinstated, reports Bloomberg. Although Parler instituted new community guidelines last month, Apple said, “simple searches reveal highly objectionable content, including easily identified offensive uses of derogatory terms regarding race, religion and sexual orientation, as well as Nazi symbols.”

Global data and technology company Spherex unveiled a technology solution that enables media and entertainment companies to adapt their content to be compliant, relevant, rated, and culturally appropriate for any global market. Using AI and machine learning in addition to human curation, the Spherex solution assesses and recommends a course of action on each individual title in a company’s library. “We’ve taken ten years of deep insight and research on culture and how it applies to film and television and we’ve successfully embedded our knowledge into this technology solution,” said Spherex CEO Teresa Phillips. “Beginning with local age ratings for over 100 markets, Spherex will apply its AI technology to auto-generate culturalized listings and unique title DNA that will fuel international expansion and content recommendations around the world.”

A bipartisan group of lawmakers reintroduced legislation that would allow the news industry to collectively negotiate content deals with tech companies like Facebook and Google, creating an exemption from existing antitrust laws. Sponsored in the Senate by Amy Klobuchar (D-MN) and John Kennedy (R-LA) and in the House by David Cicilline (D-RI), Ken Buck (R-NY) and Mark DeSaulnier (D-CA), similar legislation was first introduced in 2019 but failed to advance..

FreeWheel, A Comcast Company announced the launch of Data Warehouse, part of the Strata ad management platform. Data Warehouse provides Strata users with a single source of consolidated insights into their cross-media campaigns from the Strata system, and it is interoperable with agencies’ existing business intelligence solutions. “In today’s cross-screen advertising world, multi-platform data insights are a must,” said Mark McKee, Chief Revenue Officer, FreeWheel. “But often, the process for obtaining these insights can be time-consuming and complicated. With the Strata Data Warehouse, our clients are seeing measurable time savings.” Data Warehouse will be available to all Strata users in April.

Prime Focus Technologies has been issued a patent for its Just-in-Time embedded watermarking solution of streaming proxies within CLEAR. The solution comes with two major innovations: The ability to apply user-specific burnt-in watermarks, real-time, and to make the experience of a “Just-In-Time-Watermarked” stream as seamless as that of a CLEAN stream. The invention treats every streaming-segment request from a user’s video player, as an atomic segment that will need to be transcoded by a GPU-farm and handed back in real-time to the player. “Piracy has been and continues to heavily impact our industry at the world-wide level. Such an invention now provides studios and content owners the ability to protect their pre-release content through strong and reliable deterrence mechanisms that are embedded within their streaming infrastructures” said Ramki Sankaranarayanan, Founder and Global CEO, Prime Focus Technologies.

SaaS platform Quantum Metric announced that John Chambers , current Founder and CEO of purpose-driven venture firm JC2 Ventures and former Executive Chairman and CEO of Cisco, will join the company’s Board of Directors. As an investor in Quantum Metric and mentor to its CEO, Mario Ciabarra, Chambers will support the company’s endeavors to scale Continuous Product Design as brands continue to adapt to the fundamental digital shift in customer engagement accelerated by COVID-19. “Every company needs to become a technology company if they want to succeed in the digital era, and the need for tools that facilitate digital transformation, optimization, and innovation has increased exponentially as CEOs continue to recognize that fact,” said Chambers.

Source: cynopsis.com

Title Monitoring – An Introduction

Mon, 09 Mar 2020 06:11:00 GMT

According to PriceWaterhouseCoopers’s (PwC) Media and Entertainment (M&E) outlook for 2018-2023, the U.S. industry, which represents one-third of the global M&E industry, is expected to reach more than $825 billion by 2023. This includes revenues from global content creators (Disney, Fox, Warner Bros., Starz, CBS, AMC, etc.), linear broadcast via multichannel video programming distributors (Comcast, AT&T, Verizon, Sky, Virgin, etc.), digital stores (Apple iTunes, Amazon Prime, Google Play, etc.), and digital streaming platforms (Netflix, Amazon Prime, YouTube, etc.).

In 2019, Zenith forecast that an average person will watch 84 minutes of online video daily—up 15 minutes from the previous year. In countries such as China and Sweden, the daily average viewing time was reported to be 100 and 103 minutes, respectively. According to Netflix’s vice president of original content, Cindy Holland, an average subscriber spends 120 minutes daily on Netflix. Nielson’s 2018 data for the United States reported that audiences within the age groups 50-64 and 65+ watched a whopping 5.4 hours and 6.6 hours respectively on linear pay-tv.

Yet despite this obvious global surge in demand for video consumption, ensuring seamless title and data delivery through the traditional and nontraditional supply chain is still as complicated as ever. In 2020, content creators have various options in terms of distributing their content. For example, a title can be released digitally on transactional-video-on-demand (TVOD), subscription-video-on-demand (SVOD), advertising-video-on-demand (AVOD), Pay-TV and Pay-per-view channels. Some studios and networks such as Disney, Warner Bros., and HBO also have a Direct-To-Consumer (DTC) option. In such a scenario, an optimal revenue strategy that maximizes potential for its content is dependent on effective management of rights and availability windows.

Peter Drucker said, “What you can’t measure, you cannot manage. What you can’t manage, you cannot change.” In light of the media and entertainment industry’s complex and unreliable supply chain, Peter Drucker’s famous quote could be reimagined to state, “ What you can’t monitor, you cannot measure. What you can’t measure, you cannot manage. What you can’t manage, you cannot change.” In order to have absolute control over the titles available across the various channels of distribution, it is inevitable that the process needs to start with monitoring the availability schedules and the quality of title listings from the lens of the consumer.

When supply chain activities are out of one’s control, global release inefficiencies are bound to pile up, and with them, customer complaints. This leads content creators to respond in a reactionary mindset, always playing a catch-up game. With respect to TVOD title releases, Spherex’s 2019 analysis reported that, on average, premium titles risk losing global revenue between $2.5 to $6.1 million per day due to title availability and quality issues. Whether you’re a studio, a distributor or MVPD, or a digital store, it’s time to start monitoring your content closely, if you’re not already. It is never too late!

Sources:

Cultural Landscape: Indonesia

Mon, 09 Mar 2020 06:03:00 GMT

Spread across thousands of islands bustling with beautiful flora and fauna, Indonesia is the world’s largest island country. Over the centuries, its people have welcomed several cultures they came across through trade and commerce. As a result, we now have a melting pot of cultures in Indonesia to study and appreciate.

Though officially a secular nation, Indonesia is home to the largest Muslim population in the world, with about 87 percent of Indonesians following Islam. Other religions that coexist peacefully include Christianity, Hinduism and Buddhism.

The people of Indonesia are traditional and prefer to follow a more conservative approach to life. Indonesian culture influences age ratings for digital music, film and television in myriad ways.

Sexual Material in Music

Sex and sexuality are topics that Indonesians do not openly discuss. In fact, transgressions can carry heavy consequences. Music that contains sexual lyrics is regulated by the broadcasting authority. In early 2019, the West Java provincial broadcast commission listed 85 songs labelled ‘adult’ which could only be aired between 10 p.m. and 3 a.m. Popular English language songs, including Ed Sheeran’s “Shape of You,” Bruno Mars’ “That’s What I Like,” and Ariana Grande’s “Love Me Harder,” were considered vulgar and negative .

Decency and Decorum

Indonesians prefer to dress modestly in public. The government has in recent years grown more conservative with regards to acceptable clothing choices, particularly for women. It came as less of a surprise when an advertisement for the South Korean female pop group Blackpink was banned because its members dressed in miniskirts. The Indonesian Broadcasting Commission ordered nearly a dozen domestic TV stations to pull the commercial, citing indecency .

Indonesia’s decency filter is applicable to cartoons and works of animation as well. In 2017, the Indonesian Broadcasting Commission (IBC) issued a warning letter about a kissing scene in the cartoon series “Shaun The Sheep.” The authority pointed out that the show violated Article 14 on child protection and Article 16 on the limitation of sexual content in the Broadcasting Code of Conduct and Broadcasting Standards. “SpongeBob SquarePants” and “Doraemon” also drew attention from the IBC as each had a female character sporting swimwear in one or more episodes. The images of these characters in swimwear were subsequently blurred out.

Religious Matters:

As Islam is the predominant religion practiced in Indonesia, authorities protect religious sentiments and seek to minimize or eliminate potentially upsetting material. One example is the Hollywood movie “Noah” starring Russell Crowe. The 2014 film was banned by the Indonesian Film Censorship Board, stating that the story contradicted Quran teachings and may mislead people .

The current trend in Indonesia continues toward a conservative approach. Government authorities closely monitor the Media and Entertainment industry to ensure the sensibilities of the Indonesian people are not offended.

International Expansion – The Case for Title Monitoring

Sun, 01 Mar 2020 21:34:00 GMT

“We are running into the global arena faster than anybody,” Jeff Hirsch, Starz COO declared at a June 2019 conference. He was referring to the fact that the Starz digital platform will soon serve over 50 territories throughout the world. Starz is not alone in focusing on global growth; Roku reported, in its recent fourth quarter earnings release, an expansion into Brazil, one of the largest digital markets in Latin America, as well as a diversification strategy away from its heavy U.S. focus. As content owners and platforms grow geographically, so too is the depth of consumer distribution touchpoints—take for example Acorn-TV, the largest purveyor of British themed programming in the U.S. Acorn is now available over Apple TV Channels, Roku Channels, Amazon Channels, Android TV, Chromecast, Comcast/Xfinity, and via Vizio Smart TV.

Why so many venues for Acorn? The competition for eyeballs, subscriptions, and share of consumer discretionary spending is clearly intensifying. To secure a foothold within such a diversified global audience, content owners and platforms need to be where the viewers are. They want their assets available for viewing on license window start dates, to feature accurate, localized metadata/artwork, and to be displayed properly within listing pages. Equally important is confirmation of the relevancy of programming selection and curated choice for consumers. But all of this is not so simple.

The level of complexity needed to perform these tactical compliance checks, while simultaneously achieving business goals, is daunting for resource constrained companies. Indeed, Spherex analysis has discovered that over 90% of episodic titles do not move to on-demand folders as part of the next-day-TV release window and approximately 45% of features are not taken down by license window end dates.

These monitoring tasks, when not diligently and systematically performed, have the lasting and cumulative effect of suppressing potentially higher return-on-investment metrics and confidence within underlying distribution and licensing agreements. With price remaining the principle consumer consideration for a subscription package, the majority of content platforms (outside of the few very large market dominators) complete on the basis of specialized focus and the ability to refresh with ongoing compelling content and overall product quality. A series of recent commentaries looking at the evolving media subscription-based commerce landscape predicts (not unlike retail eCommerce) one-in-five digital content consumers will consider cancellation as they no longer want the content presented (i.e. not compelling vs. other offerings), while one-in-ten will claim deterioration in product quality, including product descriptions.

Overall, a conservative estimate for this rate of churn can be taken at approximately 10% post the initial subscription period. With the assumption that a targeted D2C streaming platform achieves a successful market position with 1MM global subscribers paying on average $4.99 per month each, annual revenue loss due to overall churn could be as high as $500,000; if one-fifth of this is attributable to lack of competitive content catalog and product quality, that equates to an avoidable annual loss of $100,000 to the bottom-line. Believing in the competitiveness of a catalog/programming assortment relative to competitive outlets and knowing that factors influencing product quality are being monitored, the threat to financial stability and growth for subscription platforms–especially across a global audience base—is removed.

Localization: Put Up and Pay Up, Says France

Wed, 19 Feb 2020 03:38:00 GMT

After localization success with shows like “ Narcos” and “ Dark ,” Netflix continues expanding its catalog of locally produced shows. Now in almost 200 countries, the streaming service has led efforts to create shows that not only cater to local sentiments, but also use local writers, producers and actors. While Amazon has experienced early success doing the same, particularly in India and Japan, other streaming companies lag. Still, when the European Union (EU) decided in October 2018 that all streaming companies will be required to raise local content percentage to 30 percent, Netflix balked.

THIRTY PERCENT OF WHAT?

Part of the reluctance is due to uncertainty of how that 30 percent will be calculated. Despite assurances from the EU that it would issue clarifications by the end of 2019, there’s been no additional information since September. That 30 percent remains nebulous: does it mean 30 percent of the series on the platform or 30 percent of the total available hours of content? Perhaps it’s 30 percent of the production credit? September 2020 is the deadline; and though Netflix was initially critical, CEO Reed Hastings has said the company will comply with the “tough” rule.

LEAVING THE PAST BEHIND

Netflix announced new offices opening in Germany and Italy, joining existing offices in the UK, Spain and the Netherlands. Offices in Italy will even pay country taxes—and invest in local film production-to the tune of 200 million euros.

Netflix’s announcement in September 2018 that a French office will be joining its European holdings seemed an about face given the contentious history between France and the streaming company. France’s strong cultural commitment to cinema as tradition roadblocked Netflix’s attempt to enter its original films into the Cannes Film Festival in 2017. Subsequently, Netflix pulled out of the festival in 2018 and didn’t bother entering in 2019. Still, seven new French shows were announced along with the office, and the company restated its desire to comply with the EU ruling. They even agreed to pay a 2 percent tax on its French revenue to the National Film Board (Centre National du Cinéma).

FRANCE’S LATEST VOLLEY

On January 14, 2020, France detailed a new bill requiring streaming companies to take a financial interest in local cinema markets. The French Culture Ministry announced that the bill, specifically targeted at the foreign video-on-demand services, would require 25 percent of all local revenue to be applied toward local cinema production. As of 2018, streaming platforms’ estimates are approximately 500 million euros, which could mean a 125-million-euro investment. However, as with the EU bill, there’s no firm data on how content will be calculated. The bill is scheduled for debate in March 2020 with a possible adoption date later this year.

THE CHANGING TIDE

The draft legislation also addresses broadcast limits and ad regulations. Despite some indications that France would relax its law banning theatrical releases from streaming services for 36 months, there is no such reference in the draft bill. Details surrounding the bill and its origin are slim. It does, however, come after local investment in French films reached a ten-year record low, dropping to 1.12 billion euros. For a country traditionally focused on the cinema experience, Netflix and other streaming platforms’ practice of releasing straight to digital may also be disrupting local economies.

On January 17th, the Netflix offices in Paris officially opened with 40 employees and a promised investment in local content of about 111 million euros, according to the company’s CEO. Franck Riester, France’s Culture Minister, and the bill’s author attended the opening, as did Dominique Boutonnat, head of the CNC (Centre National du Cinéma). At one of the event’s roundtables, Jean-Pierre Jeunet, “Amelie” Director, praised Netflix for its fast decision making and willingness to create content on which other studios passed for fear of no commercial success. Riester himself made a speech acknowledging his country’s testy relationship with Netflix but concluded that the country couldn’t live without Netflix. This is a huge change in tone from 2017, when France changed its rules surrounding film festivals specifically to exclude the company. Netflix’s announcement that it is partnering with two French film schools and an organization to help underprivileged youth break into the industry probably contributed to the tone change.

For now, other streaming services are playing catch-up to comply with local regulations. Netflix’s early investment in local content has given the company the edge at least in the near term.

Cultural Landscapes: Malaysia

Wed, 29 Jan 2020 12:00:00 GMT

As one of the largest and most economically successful nations in Southeast Asia, Malaysia has had a multi-cultural story from the beginning. With influences from foreign European powers, to nations in the Pacific sphere, Malaysia has been inundated with huge blooms of culture and religion – from its inception, to its independence from the United Kingdom in the 1950s, and finally to the modern Malaysia of today.

However, even with a confluence of multicultural spheres, Malaysia still faces countless struggles over how best to represent the needs and wants of its people in film and television. With more than 30 million people, from diverse backgrounds, denominations, and lifestyles, it can be hard to appropriately cater to the needs and desires of all Malaysians.

Below are some examples from the last several years, sourced from Malaysian news and media, as part of our ‘Cultural Landscapes’ series.

LGBTQ+

In 2019, George Varughese, the president of the Malaysian bar, said that members of the LGBTQ+ community are human beings and that they are Malaysian citizens whose rights must be recognized and respected. Yet, even with the words of a legal leader stating it, many challenges facing the LGBTQ+ community still exist.

One of the more recent films to be the subject of controversy was “Bohemian Rhapsody” (2018). The movie faced several drastic cuts from Malaysian censors, in line with the country’s strict laws on homosexuality. The particular examples given were scenes in which Freddie Mercury revealed his bisexuality alongside another pivotal moment where the band dresses in drag. Because of the material, and even after being censored, the movie received an 18+ rating in Malaysia .

In 2017, the Malaysian regulator insisted that Disney cut four minutes of ‘ exclusively gay content ’ from its movie “ Beauty and the Beast” or else face censorship. However, Disney stood firm on making no cuts, and the film was released in its entirety with a P13 rating. Interestingly, while Disney stood strong against Malaysia’s requests to remove the four minutes of LGBTQ+ content from “Beauty and the Beast”, they completely removed an LGBTQ+ moment from “The Rise of Skywalker” in order to stay culturally compliant in another Southeast Asian country .

RELIGION AND BLASPHEMY

Southeast Asia is home to many cultures, religions and heritages, ranging across a wide variety of unique beliefs. For example, Malaysia’s official religion is Islam, despite having a wide mix of denominations from India, China, Europe, and the Malay people . Despite this melting pot of cultures, they are not shy about censoring content in relation to religion and blasphemy, specifically Islam.

For example, the Bollywood movie, “Padmaavat” (2018), was banned over the negative portrayal of a Muslim ruler, Sultan Alauddin Khalji. Malaysian authorities rejected the film citing communal uneasiness . Similar to other regulators, Malaysia’s Board censors content according to its interpretation of people’s desires. However, unlike other countries in both the East and West, Malaysia’s regulators make the final decision in allowing a film to be exhibited. Its verdict cannot be questioned or challenged by any court of law in Malaysia.

Malaysia’s situation is perhaps one of the most unique within Southeastern Asia. With a large population, a massive respect toward its state religion, and a government body with sole authority, it can be challenging navigating the country’s political and cultural landscape. Often, people need to discuss changes before they can be realized. In this case, the conversation is just as important as the outcome.

Consequently, it falls to the people to ensure their voices are heard.

Cultural Landscapes – The East

Wed, 22 Jan 2020 10:00:00 GMT

The world we live in is as beautiful as it is diverse.

Different landscapes, countless languages, and a bounty of traditions that have continued on through generations, are passed down in stories and song. The cultural fabric of any nation is made up of its people’s beliefs, food, customs, language, and music. Each of these individual parts help make up the unique whole, but each one is tied to the people from which they originate. It is the people’s food, the people’s music, and the people’s language for a reason.

Therefore, in order to understand a cultural identity, one must first understand its people.

In recent years, the many cultures of the world have been often and more aggressively divided into ‘the East’ and ‘the West’. The East (sometimes referred to as the Eastern World, the Far East, and so forth) refers, in large part, to the whole of Pacific Asia, while excluding Australia and New Zealand. The West, however, spans over the whole of Europe, across aforementioned Australasia and the Americas. Of course, it should be mentioned that while these labels are subject to discussion, they are based largely on territory, religion, and culture. Even so, there is flexibility around which countries – even cities – are considered to be in what sphere.

Let’s start by looking at the East, to better understand their personal brand of culture and how they contribute to the diversity of our world. Largely, Eastern outlooks are notably more traditional and conservative than their Western counterparts. They are usually more family-driven, with their family structures rooted in respect for their elders and parents. Even with levels of increasing modernization alongside the internet and social media bringing progressive ideas more often to the forefront, old customs like arranged marriages or integrated families still remain.

Similarly, there are topics and discussions that can trigger the collective sensitivities of a people. When many people, for good or for bad, share the same values, traditions, and a cultural perspective, even the very discussion of a contentious topic can become an issue. With the prevalence of streaming services and a wider access to films and media from other cultures, there is more exposure to topics that may be considered ‘taboo’ for certain groups.

Yet, where can one even begin? After all, the definition of ‘the East’ stretches as far west as Turkey and does not end until the eastern shores of Japan – a distance of over 5,000 miles! Part of the goal of this series is to present different examples of culture-focused controversy and media. Each have come out of the Eastern world, in order for people from all walks of life to better understand cultural sensitivities.

Stay tuned to our blog for a sampling of Eastern countries that have had moments of cultural difficulty in film and TV. The goal here is not to make any single defining statement, but to present and acknowledge each territory’s unique perspective and challenge with how they handle representation, censorship, and media within their own country.

The Power of Listening to a Culture

Thu, 09 Jan 2020 10:00:00 GMT

Every culture has stories. Though most tales have a hero and a villain – a beginning, middle and end – the specifics vary widely. What’s heroic in one culture is villainous in another, and what is deemed controversial might be viewed instead as simple pragmatism. In this era of cross-cultural communications, it can be difficult to parse out what parts of each story are culturally unique. When done successfully, the result is hugely rewarding for everyone involved in the process, including writers, producers, distributors, and local regulators (e.g. Boards).

A local regulator’s focus is to help families choose suitable content and protect children from harmful content. When a Ratings Board listens to the public they represent, maturity ratings over time adapt to the public’s evolving cultural values and standards. As an example, New Zealand’s Office of Film and Literature Classification (OFLC) remains in touch with the community it represents. The OFLC issues maturity ratings for everything from television episodes to cans of soda pop, only rarely banning items for their content. When it does, there’s very little negative feedback because the OFLC cultivates trust with the population they represent by listening and responding to public sentiment.

New Zealand’s Chief Censor blogs regularly, with topics ranging from content that most concerns Kiwis to his thoughts on the word ‘censorship.’ The Youth Advisory Board, a group of teenagers who occasionally sit in and provide advice to the OFLC, is even involved in some classification decisions. They provide the viewpoint of a younger generation, ensuring the regulator’s decisions are in-line with the most vulnerable members of its population. Perhaps most importantly, the OFLC regularly conducts research on how the country feels about its ratings system and modifies it when needed.

Important to the success of New Zealand’s efforts has been the Board listening to the people it serves, rather than simply acting in accordance with the letter of the law. And in doing so, the OFLC has earned high trust and good will among its people. When the population believes a rating is correct, they’re far more likely to abide by it. Plus, as New Zealand contemplates new legislation for streaming content, it possesses an enormous amount of data supporting proposed changes and a group of people willing to stand behind its decision – a hero backed by the people.

Distributors share the responsibility of listening to cultural sensitivities. When Netflix released its series “13 Reasons Why” in New Zealand, the OFLC immediately called the series for review. The review resulted in a whole new ratings category for the country, RP18 – meaning the content could not be viewed by those under age 18 without a parent present. The content warning that Netflix initially provided was insufficient, especially when New Zealand’s ratings code is particularly sensitive to suicide and self-harm. Netflix changed the rating to RP18, as well as submitted the second season of “13 Reasons Why” to the OFLC for Board review.

In Singapore, Netflix and other platforms removed content due to rules against glamorization of illegal drugs. As marijuana is illegal in Singapore, several episodes of a cooking show on how to make edibles were removed.

Listening to a local culture serves everyone involved. Local regulators can best represent the interests of the public, and content owners gain wide distribution of their film and television titles.

Both sides end up winning, and the only villains left are just the ones onscreen.

Disney Edits Latest Star Wars Film for Singapore

Wed, 08 Jan 2020 10:00:00 GMT

Disney recently removed a LGBTQ+ moment from “The Rise of Skywalker” in Singapore, leaving many confused why the media company would make this kind of decision. The answer itself is simple: Disney did this to ensure a lower age rating for the film in its Singaporean markets. This edit translated directly into a wider distribution of the movie and a larger audience. In short — Disney earned more eyes on that film and it was able to better protect its brand in that market. Disney made sure it was not seen as irreverent of local customs or bring any doubt to its kid-friendly, family-focused brand in Singapore. And, as for the Southeast Asian country itself, LGBTQ+ rights have long been a hotly controversial topic despite growing progressive movements within Singapore’s traditionally conservative politics.

While the choice on Disney’s part to remove the scene may be controversial in the eyes of some, it’s important to recognize the business rationale for adjusting content to respect local regulations and cultural sensitivities, while also acknowledging the differences in each culture that calls for such actions. And, in this case? While the seemingly strict crackdown occurred, the removal of the short scene had a positive outcome on the financial and brand successes of “The Rise of Skywalker” in Singapore. For a global company like Disney, its brand is paramount to its success, no matter the territory or region, and cuts like this are commonplace in the industry.

How could this scene have impacted the Disney brand, though? It’s cut and dry — Singaporean censorship rulings firmly state that any film containing LGBTQ+ themes or content may completely be restricted to viewers 18 years of age and above, while any films focusing on homosexuality face harsher scrutiny and may be subject to a 21 and over rating. If the film had been left as is, it automatically would have received an 18 or even 21+ rating in Singaporean markets, due to featuring material that many Singaporeans aren’t comfortable viewing for themselves or for their families. By virtue of removing several seconds of film not integral to the movie plot, the maturity rating completely changed (receiving instead a PG-13 rating for violence) and allowed a much wider audience to be able to pay for, attend and enjoy a film they otherwise would not have been able to. This was a deliberate move on Disney’s part, rather than some last-minute effort or mistake.

Regardless of Singapore’s specific laws, many have said this removal disenfranchises LGBTQ+ representation, and even J. J. Abrams stated in an interview , “In the case of the LGBTQ community, it was important to me that people who go to see this movie feel that they’re being represented in the film.” Others have said that it doesn’t matter that those few seconds were removed, as many viewed the scene as a simple ‘throwaway’ that did not push the envelope or give people from the LGBTQ+ community the representation they wanted or deserved. With many saying it was a step back for LGBTQ+ representation in film rather than a step forward, multitudes of voices on the internet have since called for openly LGBTQ+ characters in future Disney productions instead of relegating the representation to background characters.

Content providers today distributing their titles internationally are often faced with the similar challenge of balancing storytelling and statistics, the integrity of their film with the profits of their franchise, and importantly, the physical distribution of their title within regions that may find some parts of it contentious. Many studios, as a result, elect instead to respect local laws and ensure their films are culturally appropriate so they have the ability to reach the widest market, impact the biggest audience and make the most money. Even just knowing when or where to change a small scene or remove a single frame in a region-specific compliance edit could allow the film to be seen by hundreds of thousands more viewers, and in some markets, even millions.

This example of Singaporean censorship serves as a shining example for how being culturally compliant can be good for business and a brand, while also serving to stress the importance of executing that cultural compliance as openly and tactfully as possible.

Watch CEO Teresa Phillips Discuss Pain Points in Today’s M&E Digital Supply Chain

Thu, 14 Nov 2019 17:17:00 GMT

The post Watch CEO Teresa Phillips Discuss Pain Points in Today’s M&E Digital Supply Chain appeared first on Spherex.

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