Summary of Dade Hayes's Binge Times , livre ebook

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Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The final season of fantasy TV series Game of Thrones was premiered at Radio City Music Hall in New York City. It was a send-off to the most-watched show in the history of HBO.
#2 The Radio City premiere was a bittersweet affair, as the company was undergoing a massive restructuring process. Richard Plepler, the company's longtime New York headquarters building's owner, had already packed his office and was about to leave the company.
#3 John Stankey, the 57-year-old Eagle Scout who grew up in Southern California, was in charge of restructuring HBO and breaking down the silos that made Time Warner a collection of largely autonomous nation-states. He also wanted to take on his greatest enemy on its own turf: Netflix.
#4 Standing in the Radio City lobby, Stankey looked relaxed in an unbuttoned blue oxford dress shirt. He ate small handfuls of popcorn from one of the red-and-white-striped boxes being handed out to attendees.

Sujets

Communication médiatique

Media

Industrie

Communications

Business

Economics

Marketing et communication

Industries

Informations

Publié par	Everest Media LLC
Date de parution	01 mai 2022
Nombre de lectures	0
EAN13	9781669396345
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0150€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Insights on Dade Hayes's Binge Times
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3 Insights from Chapter 4 Insights from Chapter 5 Insights from Chapter 6 Insights from Chapter 7
Insights from Chapter 1

#1

The final season of fantasy TV series Game of Thrones was premiered at Radio City Music Hall in New York City. It was a send-off to the most-watched show in the history of HBO.

#2

The Radio City premiere was a bittersweet affair, as the company was undergoing a massive restructuring process. Richard Plepler, the company's longtime New York headquarters building's owner, had already packed his office and was about to leave the company.

#3

John Stankey, the 57-year-old Eagle Scout who grew up in Southern California, was in charge of restructuring HBO and breaking down the silos that made Time Warner a collection of largely autonomous nation-states. He also wanted to take on his greatest enemy on its own turf: Netflix.

#4

Standing in the Radio City lobby, Stankey looked relaxed in an unbuttoned blue oxford dress shirt. He ate small handfuls of popcorn from one of the red-and-white-striped boxes being handed out to attendees.

#5

The increasing level of competition in the streaming market and the collision of old and new media was reflected in public and fascinating ways. Apple’s premiere for The Morning Show also served as an elaborate opening ceremony for Apple TV+.

#6

The company's reach was global, but its brand and $225 billion-a-year hardware business were too valuable to allow an anything goes approach to Apple TV+ programming. Because of its worldwide reach and the close alignment of the programming with devices, the idea of releasing groundbreaking, edgy series like The Sopranos or Breaking Bad was unlikely.

#7

The creators of For All Mankind, an alternate history of space exploration in the 1960s, clashed with Apple executives over the amount of smoking in the show. The series lacked library support and had to be completely rewritten under intense deadline pressure.

#8

The arrival of Netflix’s The Irishman, which was backed by the company, had a palpable dimension beyond the cross-section of cultural, financial elites and A-list stars attending the premiere. It had real stakes.

#9

Despite the fact that streaming services have released many prestige films, the general approach to releasing prestige films has remained stuck in a twentieth-century mindset.

#10

Netflix’s wallet was the fattest in media history, and that alone helped explain the electric charge that night. The company had begun streaming films and TV shows over the internet in 2007, a decade after it opened its doors as a business sending customers DVDs through the mail in red envelopes.

#11

The Cannes Film Festival had banned Netflix from its preeminent global film showcase and marketplace in 2018, because streaming with a presence in actual theaters is anathema to true cinema. However, the New York Film Festival warmly welcomed Netflix and other streaming titles.

#12

The Irishman was a $160 million budget film that required special effects to digitally alter the appearances of the cast members, who played characters across decades. It was a risky move for Scorsese, who had an overall deal with Paramount Pictures.

#13

Scorsese’s film was released on Netflix, and viewers began discussing why it was a single feature instead of a multipart series. They even debated why it wasn’t broken into four manageable chunks.
Insights from Chapter 2

#1

As an independent filmmaker, David Blair had presented his movies at plenty of festivals and college campuses, where the screening ritual was well established. But on this April day in 1993, as Blair entered the General Motors building in Manhattan, he knew this screening would have a completely different feel. The audience would watch his experimental new work, Wax, or the Discovery of Television Among the Bees, become the first feature-length film ever streamed online.

#2

The first attempt to send a digital video stream was in 1995, for the movie The Net. It was delivered at a slow fifteen frames per second, with sound like a bad phone call. But it marked the birth of digital video.

#3

Robida, a contemporary of Jules Verne, wrote and illustrated a series of technology-obsessed stories. He anticipated devices and consumer habits that are at the heart of today’s connected, streaming world.

#4

Around the same time, Mark Cuban was sitting in a California Pizza Kitchen in Dallas, having lunch with his friend and business partner Todd Wagner, and thinking about how they could transmit live sports to people’s pagers. They launched AudioNet. com, selling a local AM radio station on the notion that the internet could be as big a disruptive force to radio as cable was to television.

#5

In 1996, Taplin launched Intertainer, a video streaming service. It had the largest online movie library of its kind, and was gaining momentum as high-speed internet access reached more homes. But in 2002, the studios pulled back all the rights and control over internet distribution, through a Sony-led venture called Moviefly.

#6

In the music industry, the revenue peaked at $14. 6 billion in 1999, and has since dropped to about $7 billion in 2015. The movie industry was feeling the same anxiety.

#7

After squandering early chances to innovate, the media elites of the 2010s rushed headlong after futurist Albert Robida into the living room, believing his vision of streaming movies would be the supreme culmination of prior innovations.

#8

The story of Hollywood is the story of arrivistes. The first movie studios were founded a century ago by a group of mostly Jewish immigrants, and they converted a patch of desert scrubland into a fantasy factory.

#9

Netflix has established itself as the new center of show-business gravity in Los Angeles, as its aesthetic is thoroughly twenty-first century, but it shares the energy of the places Haines defined in 1940s Hollywood in one important respect: it is the new center of show-business gravity.

#10

The U. S. workplace is hard to predict, but it is clear that remote work will not be the same after COVID-19. Many companies have begun to incorporate their core values into their offices, from Netflix to CAA and Endeavor.

#11

The story of Netflix begins with Reed Hastings getting socked with a $40 late fee on Apollo 13 at Blockbuster and wondering what if there were no late fees at all. The streaming giant's origin story is more complicated than this convenient narrative.

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Summary of Dade Hayes's Binge Times , livre ebook

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